C.S. Lewis' "The Lion, the Witch, and the Wardrobe" is a classic book that takes readers on a magical and adventurous journey. Set in the fictional land of Narnia, the story follows four siblings - Peter, Susan, Edmund, and Lucy - as they stumble upon a wardrobe that serves as a portal to this enchanting world. **The main idea of "The Lion, the Witch, and the Wardrobe" is the battle between good and evil, as represented by the lion, Aslan, and the White Witch.** Lewis uses rich symbolism and Christian allegory throughout the book to explore themes of sacrifice, redemption, and the power of love.
The Lion, the Witch and the Wardrobe (The Chronicles of Narnia, Book 2)
A beautiful paperback edition of The Lion, the Witch and the Wardrobe, book two in the classic fantasy series, The Chronicles of Narnia. This edition is complete with cover and interior art by the original illustrator, Pauline Baynes.
Four adventurous siblings—Peter, Susan, Edmund, and Lucy Pevensie— step through a wardrobe door and into the land of Narnia, a land frozen in eternal winter and enslaved by the power of the White Witch. But when almost all hope is lost, the return of the Great Lion, Aslan, signals a great change . . . and a great sacrifice.
The Lion, the Witch and the Wardrobe is the second book in C. S. Lewis’s classic fantasy series, which has been drawing readers of all ages into a magical land with unforgettable characters for over sixty years. This is a stand-alone read, but if you would like to explore more of the Narnian realm, pick up The Horse and His Boy, the third book in The Chronicles of Narnia.
Praises & Awards
Praise
- \"The magic of C. S. Lewis's parallel universe never fades,\"The Times
Product Details
On Sale: 01/10/2009
List Price 6.99 GBP
BISAC1: Children's / Fantasy & magical realism (Children's - Teenage)
BISAC2: Children's / Classic fiction (Children's - Teenage)
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Reading The Lion, the Witch, and the Wardrobe with C. S. Lewis
Misconception #3 is to assume that when Lewis composed The Lion, the Witch, and the Wardrobe, he started with a set of ideas and then created fictional details to embody them. While strictly speaking this concerns the composition rather than the reading of The Lion, the Witch, and the Wardrobe, our conception of the origin of a work exerts a formative influence on how we read and interpret that work. Lewis’ comments on the genesis of The Lion, the Witch, and the Wardrobe are surely some of the most surprising passages in the whole realm of literary autobiography:
All my seven Narnian books . . . began with seeing pictures in my head. At first they were not a story, just pictures. The Lion all began with a picture of a Faun carrying an umbrella and parcels in a snowy wood. This picture had been in my mind since I was about sixteen. Then one day, when I was about forty, I said to myself: “Let’s try to make a story about it.” At first I had very little idea how the story would go. But then suddenly Aslan came bounding into it. I think I had been having a good many dreams of lions about that time. Apart from that, I don’t know where the lion came from or why He came. But once He was there he pulled the whole story together, and soon He pulled the six other Narnian stories in after Him. (Of Other Worlds 42)
Some people seem to think that I began by asking myself how I could say something about Christianity to children; then fixed on the fairy tale as an instrument; then . . . drew up a list of basic Christian truths and hammered out “allegories” to embody them. This is all pure moonshine. I couldn’t write in that way at all. Everything began with images; a faun carrying an umbrella, a queen on a sledge, a magnificent lion. At first there wasn’t even anything Christian about them; that element pushed itself in of its own accord. (“Sometimes Fairy Stories May Say Best What’s To Be Said” 36)
The application of this to the reading of The Lion, the Witch, and the Wardrobe is far-reaching in its import. If the composition of the book begins with images, our reading of it must begin the same way. The order of composition suggests an order of reading and assimilation. The story—the imaginative construct—has a place of precedence in the sense of coming first.
In summary, if we intend to read The Lion, the Witch, and the Wardrobe in any of the following three ways, C. S. Lewis would like us to forget about it: using the book instead of receiving it, viewing it primarily as a set of ideas, and assuming that the story is simply the vehicle that Lewis created to clothe a Christian vision.
How to Read The Lion, the Witch, and the Wardrobe
Good practice #1 is to read The Lion, the Witch, and the Wardrobe first as an escape from the real world to an imagined world. To be transported is the goal, and to be unencumbered with anxiety about fears of escapism. I am permanently indebted to Lewis for liberating me from the burden of anxiety and guilt under which I had struggled since my freshman year in college, when I used Laurence Perrine’s book Story and Structure as an introduction to narrative. The opening chapter of that great book claims that all stories are either interpretive or escapist. Here is the prison-breaking passage from An Experiment in Criticism:
Now there is a clear sense in which all reading whatever is an escape. It involves a temporary transference of the mind from our actual surroundings to things merely imagined or conceived. This happens when we read history or science no less than when we read fictions. All such escape is from the same thing; immediate, concrete actuality. The important question is what we escape to. (68)
The first thing we need to do when we reread The Lion, the Witch, and the Wardrobe is to allow ourselves to be transported. The magic of walking through the back of the wardrobe should, indeed, never end.
Good practice#2 is to enter into the particulars of the imagined world that a writer creates. Worldmaking is one of Lewis’ greatest gifts as a fiction writer, but it is equally a quality that he relishes in the literature about which he wrote. Lewis endorsed Tolkien’s theory of the writer as a subcreator—someone whose function (in Lewis’ words) is “not . . . making a ‘comment upon life’ but making . . . a subordinate world of his own” (Of Other Worlds 27).
When we enter the imagined world of The Lion, the Witch, and the Wardrobe, we should relish rather than scorn the details that make up the surface level of the story and the obvious human experiences that are portrayed. Lewis’ formula of responding first “to the central, obvious appeal of a great work,” is one of the most important literary principles that we will ever encounter (English Literature in the Sixteenth Century 26). We should avoid the error of Renaissance humanists, whom Lewis scolds for not being able to “bring themselves to believe that the poet cared about the shepherds, lovers, warriors, voyages, and battles. They [wrongly assumed that these elements] must be only a disguise for something more ‘adult'” (28).
To pay attention to the surface details of The Lion, the Witch, and the Wardrobe means that we will not be troubled in the least by the unlifelike qualities of a fantasy story. According to Lewis, it is the “unliterary” who “mistake art for an account of real life” (An Experiment in Criticism 75-76).
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C s lewis the lion the witch and the wardrobe
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** Lewis uses rich symbolism and Christian allegory throughout the book to explore themes of sacrifice, redemption, and the power of love. The story begins when Lucy enters the wardrobe and discovers Narnia, where it is always winter but never Christmas under the rule of the White Witch. Her siblings eventually believe her, and together they join forces with Aslan and his loyal followers, the talking animals, to overthrow the Witch and restore peace to Narnia.
Customer Reviews
"This is a wonderful one act with potential for lots of participation. Our cast ranged in age from 7 - 99. " Review by Charlotte Petti, Woodcliff United Church, Calgary, Alberta "This is a great show for younger ages. I used the script for 4th through 12th. The short length made for easy rehearsals where time could be spent on character development. Great show to work with puppetry and larger than life animal costumes without much risk." Review by Brett Russell, Chesaning Union Schools, Chesaning, Mich. "Our script was a wonderful adaptation of The Lion, the Witch and the Wardrobe. We had 50+ students from grades K-5 involved. The suggestions for staging, costumes, etc. were very helpful. We loved the show and had so much fun doing it." Review by Janie Calvert, Dapple Gray Elementary School, Rolling Hills Estate, Calif. "The script is short and concise but doesn't leave out any of the memorable characters or scenes we all know and love. Perfect for young actors." Review by Kristen Phillips, McDonald Middle School, Mesquite, Texas
Hints, Tips, and Tricks
"I found keeping the staging simple and collecting Christmas trees for the set was all it took for Narnia to come to life. Highly recommend." Tip by Hannah Agee, Emmanuel Christian Academy, Springfield, Ohio "From our experience, simplicity worked well. The story speaks for itself without making the set too complicated." Tip by Charlotte Petti, Woodcliff United Church, Calgary, Alberta "We used animal latex masks for the statues; we used a half face mask for Aslan and made the mane out of different shades of material." Tip by Amy Penny-Lowe, Frank Seale Middle School, Midlothian, Texas
**One of the central characters is Aslan, a majestic and wise lion who sacrifices himself to save Edmund, a mischievous and selfish traitor.** The act of self-sacrifice mirrors the crucifixion of Jesus Christ, portraying Aslan as a Christ-like figure. Through this, Lewis explores the idea of redemption and forgiveness, emphasizing the transformative power of love and sacrifice. As the children and Aslan prepare for the final battle against the White Witch, Edmund plays a pivotal role in the narrative as he is tempted by the Witch's promises of power and betrays his siblings. However, Edmund's redemption comes when Aslan forgives him and offers him a chance to make amends. The climax of the story occurs when Aslan willingly goes to the Witch to be sacrificed in Edmund's place. This symbolic act leads to the resurrection of Aslan, who returns with renewed strength to defeat the Witch and restore peace to Narnia. This resurrection echoes Christian beliefs surrounding the resurrection of Jesus Christ and the ultimate triumph of good over evil. Throughout the book, Lewis presents a clear distinction between good and evil, with the characters serving as representatives of these forces. The children stand for goodness and righteousness, while the Witch embodies evil and the desire for power. This dichotomy allows Lewis to explore moral themes and the eternal struggle between right and wrong. In conclusion, C.S. Lewis' "The Lion, the Witch, and the Wardrobe" is a captivating tale of adventure, sacrifice, and the triumph of good over evil. Through rich symbolism and Christian allegory, Lewis weaves a powerful narrative that explores themes of redemption, forgiveness, and the transformative power of love. It continues to be beloved by readers of all ages and serves as a timeless reminder of the eternal battle between light and darkness..
Reviews for "The Impact of C.S. Lewis: How The Lion, The Witch, and The Wardrobe Shaped Fantasy Literature"
1. Sarah - 2 stars - I found "C.S. Lewis' The Lion, the Witch and the Wardrobe" to be quite disappointing. The story felt outdated and lacked depth. I didn't feel a connection to any of the characters, and the plot felt predictable. The religious undertones also seemed forced and didn't add anything significant to the story. Overall, I was expecting much more from a classic like this.
2. Mark - 2 stars - "The Lion, the Witch and the Wardrobe" by C.S. Lewis fell flat for me. The writing style did not engage me, and I found it difficult to stay interested in the story. The characters lacked depth and development, making it hard for me to connect with their journey. Additionally, the Christian allegory felt heavy-handed and took away from the overall enjoyment. I expected more from such a beloved children's classic.
3. Emily - 1 star - I couldn't understand the hype behind "The Lion, the Witch and the Wardrobe" by C.S. Lewis. The story felt disjointed and lacked a clear direction. The characters were one-dimensional, and I didn't feel invested in their journey. The religious symbolism was overwhelming and distracting. Overall, I found it to be an underwhelming and overrated read.
4. Alex - 2 stars - I was disappointed with "C.S. Lewis' The Lion, the Witch and the Wardrobe." The writing style felt too simplistic for my taste, and the dialogue lacked depth. The plot dragged on, and the pacing felt uneven. I also found the religious themes to be too prominent and distracting. Overall, it didn't captivate me like I expected it to and left me feeling underwhelmed.