The Lion, the Witch and the Wardrobe

As the novel reaches its conclusion, Lewis’s use of Christian allegory also comes full circle. When Aslan gives himself to the Witch in place of Edmund, his sacrifice is so great that the Table and the universal laws are irreparably fractured, allowing Aslan to do the impossible and return from the dead—mirroring Jesus’s resurrection. The Chapters “Deep Magic from the Dawn of Time” and “Deeper Magic from the Dawn of Time” reflect the Old and New Testament teachings, respectively. The Table, inscribed with its ancient symbols, represents the old teaching of an “eye for an eye,” which allows the Witch to claim Edmund for her own. When Aslan sacrifices himself, the Table breaks in half, and through Aslan’s love, a new era commences. This “deeper magic” corresponds to the New Testament teachings of Jesus, based on love, forgiveness, and compassion.

Aslan proves to Lucy and Susan that he is alive by breathing on them, and his power over death is further demonstrated when he breathes on the petrified stone creatures at the Witch’s castle, restoring them to life. The power of the Emperor-beyond-the-Sea has brought Aslan back to life, and he now channels that restorative power himself. The scene in which Aslan reanimates the stone statues recalls the creation story, where God brings the clay figure of man to life, as well as the harrowing of hell, where Jesus frees the souls of the righteous from death.

Despite the religious interpretations of The Lion, the Witch and the Wardrobe, it is important to recognize that the novel is not completely analogous to the Passion of Christ. Lewis may use Christian inspiration to drive his ideas, but the plot also functions independently. Featuring mythological beings, talking animals, and parallel universes, the events of the novel are just as magical as they are miraculous. The narrative also focuses on developing several universal themes, such as growing up and the power of love, as well as containing elements of escapism. The final battle, for example, could be read as much as a victory of good over evil as a Christian allegory of God triumphing over sin and the devil.

The ultimate chapters also complete the bildungsroman for the four siblings. The battle scene sees Peter’s fighting skills and leadership flourish, while Edmund proves his repentance by fighting the White Witch and destroying her wand—almost losing his life in the process. Edmund’s destruction of the Witch’s main conduit of power also reflects his growing wisdom, and his valiant actions ensure that he is fully redeemed. Lewis makes it clear that words are not enough to achieve forgiveness, either spiritually or in earthly relationships; action must reinforce intention.

Following their victory over the Witch, the children are crowned as kings and queens. As they grow into adulthood, the siblings become well known across Narnia for their different characters, which Lewis carefully crafts as the novel progresses. Peter is called King Peter the Magnificent because he is an accomplished warrior and leader; Susan is called Queen Susan the Gentle and is known for her grace; Edmund is called King Edmund the Just because of his intelligence and sound judgment; Lucy is called Queen Lucy the Valiant, presumably because of her noted bravery, and is so “gay and golden haired” that many princes seek her hand in marriage (198).

By the end of the novel, Narnia has become the siblings’ reality, and they can no longer remember their old lives on earth. Even when the monarchs come across the lamppost, they at first can’t remember where they have seen it, and Susan mistakes it for a “tree of iron” (199). The siblings’ pursuit of the White Stag represents the journey back to their old selves. Although it is not their wish to leave Narnia, the Stag appears at a time when the siblings have done and learned all they can in the magical land and must return to their own universe where they can put those virtues into practice. The Professor’s calm acceptance of the children’s tale once again suggests that the old man knows more about Narnia than he at first admits—something which the full Narnia series expands on.