Opi is a character that discovers the magic around her. From a young age, she is drawn to the beauty and mystery of the world. She has a keen sense of wonder and an insatiable curiosity that drives her to explore and learn more. As she grows older, Opi's fascination with nature and her surroundings only deepens. She spends hours outside, observing the vibrant colors of the flowers, the graceful movements of the animals, and the soothing sounds of the wind rustling through the trees. She begins to notice patterns and connections between different elements of nature, as if there is a hidden language that only she can understand.

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.

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\"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).

C s lewis the lion the witch and the wardrobe

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She begins to notice patterns and connections between different elements of nature, as if there is a hidden language that only she can understand. One day, while exploring a dense forest, Opi stumbles upon a hidden grove tucked away from the rest of the world. Within this grove, she discovers a powerful source of magic.

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

She can feel its energy pulsating through the air, filling her with a sense of awe and excitement. Opi realizes that she has stumbled upon something extraordinary, something that has the power to change her life forever. As she spends more time in the grove, Opi learns to harness this magic. She discovers that she has the ability to manipulate the world around her, to shape it according to her desires. She creates magnificent landscapes and breathtaking scenes, using the magic to bring her imagination to life. Opi becomes an artist and a storyteller, using her newfound powers to share her experiences and inspire others. But as Opi delves deeper into the magic, she realizes that it comes with a price. The more she uses the magic, the more it consumes her. She becomes addicted to its power, unable to let go of its allure. The lines between reality and fantasy blur, and Opi struggles to distinguish between what is real and what is a product of her imagination. In the end, Opi must learn to control the magic, to find a balance between her newfound abilities and the world around her. She must learn to appreciate the beauty and wonder of the world without relying solely on the magic to create it. Opi's journey is one of self-discovery and growth, of learning to appreciate the magic in everyday life without getting lost in its enchantment..

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