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Then the apple is brought back, it is planted, the tree will protect Narnia, it has to bring together in the most logical way the adventures of later books that have. All this would seem to imply that the Narnia Chronicles use Classical . So far, we have chiefly discussed the first two Narnia books to be published, The Lion. The Chronicles of Narnia is a series of seven fantasy novels written by C. S. Lewis and published between and The 7 books are titled: 1. The Lion .

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Chronicles of Narnia 6 - Magician's Nephew, The · Read more C. S. Lewis-The Chronicles Of Narnia-All 7 Books · Read more. other and were lined with books —- most of them very old books and some bigger . “This is the land of Narnia,” said the Faun, “where we are now; all that lies. Set in the fictional realm of Narnia, a fantasy world of magic, mythical beasts, and talking animals, the series narrates the adventures of various children who play central roles in the unfolding history of that world. Except in The Horse and His Boy, the protagonists are all.

Skip to main content. Log In Sign Up. Juliette Harrisson. Oneofhi smost beloved characters is a faun, a Roman woodland spirit associated with the god Faunus, who was in turn associated with the Greek god Pan, with all the phallic imagery that implies. All this would seem to imply that the Narnia Chronicles use Classical mythology in a rather unusual fashion not entirely appropriate for young children.

Please support the author by buying a copy, thanks. Sadly true. They are corporations, so being immortals, they naturally will want to be paid as long as humankind exists. I love fantasy, and for fantasy lover books like narnia and harry potter are heaven,.


For me, The Chronicles of Narnia represent the apex of creativity. In the same category I put the Lord of the Rings, and no wonder the two writers were friends. Personal Tech. How To. Development You are here: The 7 books are titled: Comments looked for this for ages thanks. It is good but i want to buy the orginal books.. How can I read it? I love Chronicles of Narnia, I think i have read it more than i watched the movie. This is particularly true when Aslan gives a warning to the race of the Children of Adam and Even the human race, that they have to learn how to manage their world properly otherwise it will die out like the world of the witch because one day a bad and evil person will come and conquer and destroy it.

That warning goes along with the command to bury away the rings of the Uncle. Lewis even manages to invent a source for the future wardrobe connected to Narnia to explain its magic power: That sounds good to be standing on two strong feet, but the story is a little bit artificial, even if the language is so fluent and flowing that we just let ourselves be carried by the flow, or should I say the flux. Lucy first goes through the door and spends a few hours there having tea with the faun Tumnus.

Her brothers and sister make fun of her. Edmund will be second and he meets the Witch, Queen Jadis, who has taken over the country. She charms him with Turkish Delight and makes him promise to come back with his brother and sisters. One day, when the children are trying to fly away and hide from a group of visiting tourists in the mansion, they hide in the wardrobe and find themselves in Narnia. They all discover that Mr.

Tumnus has been captured and his house ransacked due to the blabbering Edmund had done with the witch. They are all taken into their homes by Mr. Beaver and it is then that Edmund escapes and goes back to Queen Jadis. He will have there the strongest and most interesting surprise in his life. That leads to the confrontation of Aslan and his human and Narnian supporters on one hand, and Queen Jadis and her own supporters on the other hand.

The real stake is Edmund, the traitor Queen Jadis used to get the information she needed. The Queen demands from Aslan that the old tradition of the execution of the traitor be implemented.

She is then powerless. The four kids are crowned kings and queens of Narnia till one day a White Stagn, like the Celtic messenger from the other world or the Arthurian quest-announcing messenger, leads them back to the lamp post and they come back to this side of the wardrobe door.

The most interesting aspect of this book is the secularizing of religious — deeply Christian, though not only — elements in the legend. We have to think of the Beast when dealing with Jadis, but she is a female witch whereas the Beast of the Apocalypse is a male monster devouring pregnant women, and its number is The future is in the hands of Aslan and the kids.

Aslan has to be sacrificed to be resurrected to save Narnia. This motif of the savior being a resurrected sacrificed person is quasi universal in many religious traditions, and C.

Lewis uses many of them. The sacrificial altar is found in many cultures, among others the Celtic culture, or the Roman or Greek cultures, and even the Jewish tradition, to remain within the Eurasian geographical zone. The resurrected savior is well known in many mythologies and religions, the Christian for one example. The traitor is more Christian and yet there are traitors in Sumerian and Mesopotamian traditions. Lewis regenerates the motif by making the traitor the hero who will save the day by destroying the magic of the witch.

That number four is crucial in the writing and style as opposed to three that seems to represent disorder. Four is like order re-established beyond disorder when the traitor or stray sheep comes back to the fold.

The charm of the book is of course the transmuting of that more or less religious magic into a secular marvelous sorcery that can also be magical, white or black, in a way. The story is packed with gentle and nice events and military and picaresque rebounding details with an invasion, a war, a victory and many other adventures.

The main interest of the story is the comparison and confrontation of the slave kingdom or Calormen to the peaceful and humane kingdoms of Narnia and Archenland.

Slaves are the greater part of the population in Calormen and the country is governed by an absolute ruler, the Tisroc, who is also shrewd and cruel. His main minister is a Grand Vizier who is nothing but a clown and a humbler sufferer, uttering all kinds of maxims, proverbs and apophthegms to make a point that will always get him reviled and rebutted.

They escape together after some chance meeting along with two talking horses from Narnia that had been abducted in their time to become slave horses. On their way they have to cross the capital city of Calormen and that leads them into some adventure in which the girl, Aravis, gets the opportunity to eavesdrop a conversion between the Tisroc, his son Rabadash and the Grand Vizier in which Rabadash explains his plan to invade, with two hundred horsemen, Archenland and Narnia in order to capture Queen Susan with which he is deeply in love.

The escaping boy is revealed to be the older twin brother of Corin, the son of King Lune, the King of Archenland. Rabadash is defeated thanks to the alarm raised by the two escapees, then humiliated into becoming a donkey in the paws of Aslan and then publicly revealed as such when he turns back to his human form in some ceremony in Calormen. The story is pleasant and light and the contrast between a slave state and a democratic kingdom is quite clearly stated and explained for the better education of the readers, particularly young readers of course.

This is a rather dated detail today that has to be handled with care. But with some explanation we can easily bring a younger audience to understanding we are dealing with a detail that has to be overlooked due to the time when the story was written, that is to say the s when the myth — but is it a myth? It is very difficult to write literature for a younger audience and stories that are not trapped by what is happening in the real surrounding world and hence such literature most of the time ages slightly if not a lot at times.

They find themselves in their old Cair Paravel palace and the old treasure chamber where they recover their swords, bows and arrows, and other magic presents, except the horn that has been lost, misplaced if you prefer. On the following morning they save a dwarf to be drowned in the river by two soldiers who run away after a first and only arrow reached them.

The dwarf Trumpkin tells them the situation. Narnia has been conquered by the Telmarines from th Telmar. The legitimate king Caspian 9 was assassinated by his brother and the lawful heir marginalized, and finally was going to be executed because his usurping uncle had just had a son of his own. With the complicity of Professor Cornelius he escapes just in time and goes back to the old Narnians who had disappeared when the Telmarines had arrived.

He is able to rebuild some kind of an army, but the usurper is on his tracks and war breaks out. During these battles Caspian had blown the magic horn that abducted the four kids. With the help of the dwarf they try to join forces with Caspian. Edmund will be next, Peter quite later, and Susan will be last and reluctant. They suggest to propose a single combat to solve the strife and that proposal comes from Peter who is the High King of Narnia, and many other things.

In spite of all logic the usurper accepts the challenge and is on the verge of losing when two of his courtiers cry treachery, kill the usurper and lead the Telmarine army into combat. These come to a ford where there should be a bridge but that bridge has been demolished during the battle by Aslan and the girls with the help of some giant ivy.

The Telmarines are proposed either to stay and accept the new rule, in fact the re-instated old rule, or to go to a land of their own. We discover that they were able to rule over Narnia because they were humans, marooned pirates in some South Sea island where they had found a door to Narnia.

Aslan builds a door in the air with three sticks and suggests that the Telmarines go through back to their South Sea island. The do it only after the four children do it first, though the children will find themselves back on their railway station platform and the Telmarines in their island.

This novel makes it clear that Narnia can only be ruled by a son of Adam or a daughter of Eve. This simple fact has to be understood and it is not simple. These primitive populations of dwarfs and other non human humanoids plus all kinds of magical beings, beasts that speak and trees that walk have to be colonized by people connected to Adam, humans.


The first kings were four children, then the White Witch, one fourth daughter of Adam, took over. Then another human race, the Calormenes try to take over, but the kings and queens are still the four kids. And finally here some humans who got stranded in Narnia had taken over and had to be pushed back to their island by the four kids.

Does it mean only human beings can rule the world, this one or the other world or worlds? Or does it mean that the only humans can rule this Narnia world respectfully, at least for the general ecology of nature and life, and yet all humans are not necessarily good for that, respectful of differences and of democracy, even if the only form of government can be a monarchy?

Chronicles of Narnia by C. S. Lewis (7 books)

Or, since Peter and Susan are excluded for the next episode because they are too old, does it mean only human children can rule Narnia? And the aim is to nicely encourage positive values in these readers, certainly not sever them from what definitely looks like western established ideas.

After all these novels were written during the Cold War and C. Lewis refused science fiction, a genre for adults. He stuck to fairy tales after all. But could the same situation have produced a de-westernized story that could have accepted that non-humans could perfectly well govern themselves in a democratic and humanistic way? We will of course never know. First the two elder Pevensie brother and sister, Peter and Susan, have to be gotten out of the way since they were announced as not taking part in the next mission by Aslan himself.

They go to the USA with their parents for the summer during which the father has a lecturing tour to perform in universities. We could follow the story and just consider the fate of the seven Lords. But that you can read, discover and appreciate all by yourselves. We could concentrate on the change in Eustace who from being a self-conceited nuisance becomes a courageous and even adventurous being, though he still is a human being somewhere rather than a talking beast.

We could also insist on the importance of magic in these adventures, black magic, but also good magic. Lewis does not try to make us suspend our disbelief. He presents that magic as what it is, an extraordinary way to perform something that can be a punishment of some sort against someone who does not respect a simple rule, even if it is a bad rule, but rules have to be abided by.

But it may also be a way to perform something good or that leads to a good ending. It is where we find the models at work behind the novel. The first model ids the Odyssey and several allusions are made to it. Lewis could not ignore in his days, due to his Irish roots and his academic specialization, but here the model is extremely black and C.

Lewis makes it all the more full of light, though some darkness can prevail here and there. It does not try to teach children good and evil.

It aims at making children experience good and evil and situations in which the choice is most obvious and he leads the children into making the good choice, or identifying with those who make the good choice, always based on the temptation for evil and pro and con arguments for good.

And when the good choice is made there is always a reward, just the same as if the evil choice were made there would be a punishment. They have become too old. That sense of aging is ever present in C. Caspian for instance marries after this adventure and becomes the grand father of many generations of kings and queens.

Lewis seems to be an exception. His children heroes are grown- ups in the becoming. But Aslan will always be alive for them, including in their adult world though Aslan does not tell his name in this adult world of ours. Then we can wonder what else could happen in the next volume?

Have we reached the end? Of course not since there are two more novels to come. But for the readers it is a farewell, at least for the older readers who are intended to join the adult world like the fours original children of the saga.

Growing up again. And we can wonder why the two films change the ending of this story. Abd there is only one to run still. It starts in some kind of experimental mixed boarding school in which bullying is slightly more than tolerated.

It is considered as an expression of the psychological freedom of the bullies and thus it should not be meddled with and in anyway controlled. The two favorite victims of this band of bullies are Eustace Scrubb, the cousin we have already met in the previous episode, and a certain Jill Pole who has no connection with Eustace, though we will learn that in this quarter after the summer recess he has become quite more tolerable than before.

They are in the midst of a bullying chase, whose targets they are, when Aslan calls them off to Narnia where they find Caspian X on the verge of dying, his son Rilian having disappeared, probably kidnapped in the north. Aslan gives the two kids the mission to find the Prince and bring him back. He gives them four signs, four instructions if you prefer that they have to remember and keep all the time.

They recuperate a partner in some marsh. He is a Marsh-wiggle and his name is Puddleglum. And the three go north looking for Rilian. They have to go to a ruined giant city and Rilian is supposed to be under it. They will be welcomed by the giants of Harfang over that ruined city who see them as some delicatessen for their fall celebration sent by providence to enrich their banquet tables.

They manage to escape and they finally go back on the trail of the Prince, a trail they had slightly neglected, which had led them into some kind of a snare from which they do have a very narrow escape. They find refuge in an underground cave but hundreds of gnomes are waiting for them and they have to follow in corridors and tunnels that get narrower and narrower and finally open onto a deep sea without any light what so ever. We are underground and going down.

They are brought to a castle in a distant subterranean city where they find Rilian who is under some kind of charm and does not remember anything. His Lady, the Queen of this Underworld, is absent for the moment and they discover Rilian is supposed to be tied up to a silver chair every night officially to prevent him from becoming dangerous, in fact from being able to escape.

This death liberate the underground world from the charm or curse and the gnomes she was using as slaves liberate themselves and the bottom of this Underworld opens to reveal a world of fire and melting gems or previous metals, the Land of Bism to which all the gnomes run and in which they take refuge.

Then the four heroes, Jill, Eustace, Rilian and Puddleglum go away along an underground road that leads them eventually to the exit the Queen was building to invade Narnia and reconquer it under her control of Rilian, the legitimate heir. They manage to be saved from this dark underworld by fauns and dryads, dwarves and centaurs and be brought back to Cair Paravel where the two children can see, from a distance, the arrival of Caspian X, his last meeting with his son Rilian and his death.

Then Aslan takes them to his own country where they discover Caspian dead and buried in a lake but going back to his young age, the teenager he was in the previous book. There is only one escape which is the collaboration of children from our world and from Narnia to regulate events into some acceptable form in both Narnia and our world. So much suffering and disorder in everyday life because love is absent from our hearts and minds, not to speak of our souls. Lewis wants to terminate the series, like all good sagas, The Lord of the Rings for instance.

To close that story he has to bring Narnia to an end and at the same time to a new beginning. He brings the end from an internal strife of an ape which uses a donkey to play the lion, Aslan, with the skin of one lion. This ape is manipulated by the Calormenes into enabling a total invasion and conquest of Narnia by the Calormenes. Since the ape is speaking in the name of Aslan that he presents to everyone every night he is believed and his orders prepare the enslaving of the Narnians and the conquest of Narnia itself.

Aslan of course brings his favorite kids to Narnia to save the situation which they do not really help and in fact they become the witnesses and even the in-between go-betweens of the current king Tirian and the end of Narnia.

We do have battles and fighting but it leads to deception upon deception, treachery upon treachery and the dwarfs severely impair any chance of a turn around and even speed up the fall by deciding to fight against both sides. How can this complete destruction of Narnia be witnessed by the current king, two children, Jill and Eustace, and a few others and yet lead to a complete revival of Narnia away from the danger of inner strife and outside enemies?

Then they go ever further and upper into this country which is some kind of messianic Jerusalem after the apocalypse of Narnia which is very clearly inspired by The Book of Revelation. But this very direct Christian inspiration is weird because the end of Narnia is on the pattern of a totally inverted Genesis. Narnia disappears in flames and destruction and is abandoned to beasts and monsters, even a dragon, which die in the end and that destroyed world is taken over by darkness, cold and water.

We are back to the very first verse of Genesis when the universe was only water in darkness with God and his spirit hovering over it. But C. Lewis resuscitates Narnia beyond that portal of his and our heroes go up and away always deeper and always higher in this world to the inner garden of Aslan where they meet with all the previous heroes of the saga and the kings and other famed characters of Narnia.

In fact this whole seventh book is governed by the seven human heroes of the saga: Suzan is absent because she has chosen the real world instead of Narnia.

These seven are finally reunited with Narnia in the inner garden of Aslan. And the best secret of this new Narnia is that the deeper you go the wider the circle in which you find yourself and this circular pattern is at the same time transcended by a star image in which each world is a spur on the central mountain of Aslan.

But the book seems fine so far though sad somewhere. Why does the author want to kill that world of dream and epic Fantasy? You can imagine there is no easy answer. Of course he makes our human heroes all be the victims of one train accident, a train on which they were all present at that particular moment.

Aslan could have done better and he did not. Of course C. Lewis projects his own grief for the loss of his own mother to cancer, and then his second grief for the dying Joy Gresham who was his very late love in life.

This last volume though seems to have another dimension: It is the vision of a difficult period for the world divided in antagonistic blocs that could only be humanized via imagination and C. It is this end that explains probably why this last volume was never adapted to the screen, and the first in fact the last but one in writing chronology, the one before this last one was not adapted either because it appears slightly artificial, as if the saga needed a beginning to have an end, as if Narnia could not die without being born first, as if the author wanted a group of seven human children mourning — and rejoicing in — the birth and death of Narnia.

Seven is a magic number and C.

Lewis used it as the salvaging symbol. Poor Suzan in a way. Lewis in three separate DVDs and in three miniseries of six episodes each, plus some extras. They were done in , and The first adaptation is capital since it sets the tone and the main characters. The tone is that of the novel and it is done for children.

There is no attempt at making it for older audiences. Lewis at all when there is a voice over. The second double adaptation makes the two full novels into one story with a shift from the first one to the second that is at least abrupt and the packing up of the two in six episodes makes psychological details and even descriptive details scanty and rare. The story becomes in a way a story line more than a fully developed story.

The dragon though is a good nice creation, and it was necessary to do a good job with it since it was an essential element and it had to fly properly, which is not the case with other flying animals, particularly Aslan when it moves in the air.

They are kind of simple and stiff. We must note it keeps the story of the Dawn Treader the way it is in the novel and the end is the real end including the final pilgrimage of the mouse Reepicheep and the return of the children.

It is a lot more respectful of the spirit of the story than the ending of the recent long feature that can be seen in cinemas right now.

The last adaptation is long enough to give details and the witch is a marvel though her becoming a serpent and being killed is less impressive since no green blood is shed and only Prince Rilian takes part in that execution.

I like the idea of Eustace and Puddleglum taking part, but that is in the novel. The escape from the underground city does not try to explain the even deeper world of fire and incandescence into which all the gnomic slaves of the witch jump back happily. Puddleglum is of course slightly too fat for the part as seen by C.

I miss the big celebration outside the hole from which they extract themselves, with fauns and dryads and satyrs and dwarves all dancing together. Lewis on the English school system and the incompetence of headmasters and headmistresses, school inspectors and Members of Parliament. But this set of adaptations is interesting in spite of the shortcomings and the rather primitive special effects.

That is important because then the values that are presented in the films are pedagogical and not only entertaining. It is also important because it avoids, like the books, any subject that is not childlike or child- friendly. No love is wasted on anyone and friendship even is rather kept as lily pure as possible. Even C. Lewis was not that pure. There is a fair and clear condemnation of slavery and the exploitation of animals.

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