I know that alot of parallels are in the Narnia books and Christianity. I know alot of them, but I want a list of them. 10 points to the longest list...I dont want any links please.
Creator. Died to save innocence. Lived again....
- An SLv 41 decade agoFavorite Answer
Aslan is obviously God and Jesus. In the first book, he dies in a very similar fashion to Jesus, is resurrected and discovered by a girl. Two of which wait and sob at his grave/etc. This wasn't really the intention of Lewis, he just wanted there to be an allegory of a hypothetical incarnation of.
Peter is obviously St Peter. This is not just in his name Sir Peter Wolfsbane of Aslan. Where St. Peter was given the "keys to the kingdom of heaven", Peter closes the door and locks it with a golden key after the judgement.
Edmund is just a parallel to the sinful nature of man, but I kind of see a parallel to Judas.
Susan is just a young child. The innoscence that Jesus talks about when it comes to children. She goes on to live in the new kingdome after she dies, where she also sees Tumnus again. This is a parallel to the concept of heaven being the new kingdom.
Tanas (not sure if I have the name right) is most definitely a fallen angel. Many consider him the parallel to Satan.
The White Witch reminds me of antichrist figures. They appeal to their followers with promises of a better world, and yet lead us down another. She is seen as good only because of being a "white witch" (white being a 'good' color--God is often seen wearing white clothes in portraits) and having beauty, etc. She is cunning, charasmatic, and decieving.
Eustace has parallels to Saul. Eustace was not an original desciple of Aslan and had originally punished the followers of Aslan.
Some people thing the Lady in Green is the White Witch
The apple tree that Aslan has Digory take an apple from could be a loose parallel to the tree of knowledge. It has magical properties in that it 'has the knowledge' (my figurative words, not the books) to cure and to be a portal to the knowledge of Narnia.
When Digory returns to Narnia after his death, he and Polly are both young again. I don't know if this is biblical, but many people think we become young again in heaven.
Shift is even more closely similar to the antichrist of Revelations than is the White Witch. However, some have drawn parallels between Shift and the Catholic Church since he says that the animals need to talk to Aslan through him (like confessions to a priest).
The Last Battle is obviously a parallel to the last battle described in the Bible. The one that unveils the faces of good and evil.
This is all that I can think of at the moment. Many parallels that are found in the Narnia books were not intentional. Lewis drew on a number of sources for his book and ideas. It just turns out that there are a lot of parallels in some of the sources.
- 1 decade ago
The Lion the Witch and The Wardrobe,Prince Caspian,The Horse and his Boy,The Last Battle,The Silver Chair,The Magician's Nephew
- OtaQueenLv 61 decade ago
Aslan is Christ
The children are always called sons of Adam and daughters of Eve, to seperate them from the White Witch.
The White Witch is thought to be Lillith who was Adam's first wife but was kicked out of Eden for refusing to lay under her huband and do what he said.
More in detail:
The Lion, The Witch, and The Wardrobe
The main story is an allegory of Christ's crucifixion. Aslan sacrifices himself for Edmund, a traitor who deserved death, in the same way that Christ sacrificed Himself for sinners. The cross is replaced by the Stone Table (which was used in Celtic religion). Additionally, the splitting of the Stone Table reflects the veil of the temple splitting at the point of Christ's death. As with the Christian Passion, it is women (Susan and Lucy) who tend Aslan's body after he dies and are the first to see him after his resurrection.
The two major themes of the story are courage and chivalry (this is Narnia's Civil War story) and, as Lewis himself said in a letter to an American girl, "the restoration of the true religion after a corruption" . A leading Lewis scholar, Michael Ward, argues in his book Planet Narnia: The Seven Heavens in the Imagination of C.S. Lewis that Lewis based Prince Caspian on the imagery associated with the astrological planet Mars. As a mythological deity, Mars was both god of war (Mars Gradivus) and god of trees and forests. In this latter capacity, Mars was known in classical times as Mars Silvanus; he was the god who gave life to vegetation, which is why the spring month of March is named after him. Ward points out that the events of Prince Caspian are said to take place during the month of 'Greenroof' (the only Narnian month mentioned in the course of the series) and that 'Silvans' are included in the cast of characters in this story (the only time during the series that they appear at all). However, Aslan is portrayed by Lewis as the Christian Jesus Christ. Aslan's father (the "Emperor-Over-Sea") is God the Father. Some believe the story is a parallel to Moses and the freeing of the Israelites.
The Voyage of the Dawn Treader
The role of Aslan as a Christ-like figure is developed further; he appears at the end as a lamb, a Biblical image for Jesus; on the isle of Ramandu the imagery of Aslan's table is also used, and most specifically as the appearance of Christ to his Disciples after the Resurrection, on the shores of Galilee, even down to Aslan's greeting and invitation having near-identical wording. The Voyage of the Dawn Treader is unique in that it contains what might be called the "John 3:16" of the Chronicles of Narnia. When asked by Edmund whether or not Aslan exists in their world he replies:
"I am... but there I have another name. You must learn to know me by that name. This was the very reason why you were brought to Narnia, that by knowing me here for a little, you may know me better there."
This is arguably the most succinct and precise evidence of a possible parallel between Narnia and the Bible. Also, this once more proves the Christian parallels: Aslan (Jesus) ruling His Country (Heaven, which is all worlds combined), his father, the Emperor over the Sea (the sea being time and the universe) being King of All (God).
The Silver Chair
Due to biblical metaphors by Lewis the two northern witches can be interpreted as the devil. A common theme is their pursuit of acts against Narnia, which is Aslan's land. The imagery of the serpent can also be linked to the serpent that tempted Eve in the Garden of Eden.
The Horse and His Boy
Shasta's journey across the desert (and into other wilderness areas) may be intended to be reminiscent of the Israelites' Exodus from Egypt. For example, at one point in the mountains Aslan produces water from his footprint in the turf, similar to Moses drawing water from the rock.
Furthermore, Shasta's story draws parallels with the story of Moses: both are sent away from their families at birth, both turn away from the country they are raised in, and both eventually end up being the saviour of their true countries (Israel and Archenland). Note that in one aspect, the roles are reversed: Moses was raised in nobility and wealth and eventually became a shepherd. Shasta was raised in a poor fisherman's home, and eventually became a King (although Moses also eventually became the leader of the Israel nation.)
The Magician's Nephew
Readers familiar with Genesis will recognise the parallels to it in Lewis's work. With respect to Creation, it also has some core similarities with Ainulindalë, the Song of the Ainur, the story of creation in J. R. R. Tolkien's The Silmarillion, due, presumably, both to drawing on the Biblical accounts for some of their material and to the close professional relationship between Tolkien and Lewis, who may have discussed together some themes such as a song of creation seen in both Ainulindalë and The Magician's Nephew but not in the Bible.
Another of Lewis's own attitudes is that God might have a sense of humour, evident by "The First Joke." Soon after Aslan makes the Talking Animals to speak (in pairs of their species, biblically reminiscent of Noah's creatures on his Ark), a talking jackdaw makes himself the butt of a joke by accident. When he sees that all the other talking animals are laughing at "his joke", he says to Aslan, "Have I made the first joke?". Aslan responds, "No, you have only been the first joke", and they laugh all the harder, even the Jackdaw.
The characters are developed through a series of moral choices, particularly Digory. Polly is more than a mere sidekick but is assigned to a strong supporting role in the drama; she has more practical common sense than Digory and is not deceived by Jadis. Uncle Andrew, initially a very sinister and manipulative presence, collapses into a figure of fun at the end, while Jadis, the White Witch, provides the real portrayal of evil and temptation not at all far from Christian belief in how Satan works.
The Last Battle
In the Narnia cycle, parts of The Lion, the Witch and the Wardrobe are loosely based on Gospel stories, and The Magician's Nephew on Genesis. The Last Battle completes the cycle and is based on Christian doctrines of the end of the world, judgment, Heaven, death and afterlife, many found in the book of Revelation. The exposition of theological points is more laboured than in some of the earlier books, and the overall tone is darker.
The time that they are in represents what some people interpret as the Tribulation. The ape Shift represents the Antichrist, and his rule resembles modern totalitarianism. His claim that "true freedom means doing what I tell you" is based on Rousseau's "General Will". His claim that he alone can speak for Aslan has sometimes been interpreted as a caricature of Roman Catholicism; but in Lewis' other writings it is made clear that he opposes all forms of theocracy equally, and that he finds exactly the same perversion of religion in Elizabethan Puritanism.The ape's claim that Aslan (God) is not bound by human standards of good and evil is also (in Lewis' view) a Puritan rather than a Catholic trait. In one of the most moving parts of the book, Tirian and the Unicorn, while still believing in the ape's Aslan, agonize over the fact that he is apparently commanding evil, "as if the sun rose one day, and it was a black sun".
Lewis, an expert on the subject of allegory, and the author of The Allegory of Love, maintained that the books were not allegory, and preferred to call the Christian aspects of them "suppositional". This indicates Lewis' view of Narnia as a fictional parallel universes. As Lewis wrote in a letter to a Mrs Hook in December of 1958:
“If Aslan represented the immaterial Deity in the same way in which Giant Despair [a character in The Pilgrim's Progress] represents despair, he would be an allegorical figure. In reality, however, he is an invention giving an imaginary answer to the question, ‘What might Christ become like if there really were a world like Narnia, and He chose to be incarnate and die and rise again in that world as He actually has done in ours?’ This is not allegory at all” (Martindale & Root 1990).