The Lion In The Chronicles Of Narnia Tales – In the 1950s, many critics were cautious about fantasy books for children. They wonder if fantasy can deliver moral instruction. This concern is moving from 19
Century feelings of entertainment and pleasure (in which books written for children escaped the “stiffness” of the past and began to explore the child’s imaginations), and instead, seem to return to the 18
The Lion In The Chronicles Of Narnia Tales
Century values, where the teaching aspects of children’s books overshadowed other features. Addressed by C.S. Lewis addresses this concern in his essay “On Three Ways of Writing for Children,” where he says, fantastical children’s literature “has been accused of giving children a false impression of the world they live in” (Lewis 4). He offers a defense against this claim and highlights his belief in that fantasy
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Teach children about the world they live in. For example, he said, “[t]he boy who once met Mr. Badger [who was] an amalgam of high rank, coarse manners, rudeness, shyness, and virtue…had afterwards, in his bones, a knowledge of English humanity and social history which it could not otherwise have acquired” (3). Thus, fantastic children’s literature can be didactic. The morals in Lewis’s texts were influenced by his own religious beliefs. For example, we are exposed to Christian concepts of punishment and redemption as we follow Lewis’ development of several characters, including Mr. Tumnus and Edmund.
I am surprised that Lewis’s critics are suspicious about the teaching values in his books. I think what C.S. is doing Lewis
A moral text is the inclusion of a narrator who guides readers through the story making sure they understand the moral values within. This maneuver also recalls the role of narrators in many 18
Perhaps the world raconteur, a skilled spinner of tales, illustrates Lewis’s relation to the story. He is not so much a narrator as a storyteller, if I may make the distinction. It was as if he was here in our room, legs spread out in front of the fire, hands gesturing… Notice how often in
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He reminds us of his presence…I and you are scattered throughout the book referring to the narrator and his friend, the reader, establishing a common ground that is almost a one-to-one relationship. (134)
I would also like to add that in this intimate relationship, readers are more likely to view the narrator as a teacher they can learn from.
There are several instances where the narrator’s didacticism appears to us. For example, several times the narrator tells us that it is foolish to leave a wardrobe door open. When Lucy first explores the wardrobe, the narrator says, she leaves the door open “of course, because she knows it’s a fool to lock herself in any wardrobe” (Lewis 7). The narrator again warns against leaving the door open as he reminds the readers, “Of course, Lucy left the door open, because she knew it was a very foolish thing to shut herself in a closet” ( 9). Moreover, when Edmund first enters the wardrobe, we are told that “He jumped up and shut the door, forgetting what a very foolish thing to do” (28). These examples illustrate the narrator’s awareness of his audience. Girls and boys reading Lewis’ book may also want to play with a wardrobe. So, Lewis cautions against leaving the door open. When Edmund enters the wardrobe, for example, readers can laugh at his stupidity because he forgot to leave the door open.
The intervention of the narrator as a teacher appears continuously throughout the story. At one point, the narrator interrupts the story to teach the children a lesson about faith. Shortly after the children met Mr. Beaver, he introduced Aslan’s name to them. Mr. Beaver says, “They said Aslan was on the move – perhaps had arrived” (Lewis 67). At this point in the story, both the Pevensie children and readers have not yet “met” Aslan. The narrator says, “None of the children knows who Aslan is better than you” (67). The narrator adds, “but as soon as the Beaver said these words everyone felt a different feeling” (67). There are two important things here. First, the narrator directly addresses the readers with “you” so that they feel they are experiencing the story in the same way as the characters. And secondly, it is to confirm that even though the readers, like the Pevensie children, have never met Aslan, they can nevertheless “feel” an emotion towards him. The concept of God does not need to be rationalized, but felt. Readers may not know Aslan, but may have faith that Aslan exists because they feel his presence. The narrator continues his didactic lesson on faith and says,
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Perhaps sometimes it happened to you in a dream that someone said something that you did not understand but in the dream seemed to have a great meaning – either a scary one that turns the whole dream into a nightmare or otherwise a lovely one. means too lovely to put into words, making the dream so beautiful that you remember it for the rest of your life and always wish you could enter that dream again. (68)
Although the children may not “understand” Aslan, there is still a sensation within them that “seems to mean so much” (68). Here we see the narrator’s lesson about faith: we may not be able to reason or understand God, but we still know him to have some “meaning” and importance in our lives. It is also in the same scene that the narrator explains how each of the Pevensie children experience the mention of Aslan’s name, thus giving us insight into the morality of our characters while also teaching the readers who they should and shouldn’t be. should be recognized. The narrator explains,
Edmund felt a mysterious shudder. Peter suddenly felt brave and adventurous. Susan felt as if some delicious smell or pleasant strain of music floated over her. And Lucy captures that feeling you get when you wake up in the morning and realize it’s the start of vacation or the start of summer. (68)
The emotions that the Pevensie children experience reflect their inner morality. Edmund, the morally challenged character, feels “horror,” while Lucy, the good character, feels like it’s the “beginning of the holidays,” which certainly connotes feelings of happiness and excitement. Not only does the narrator teach us more about our characters, but he also teaches the readers who they should and shouldn’t identify with. Knowing that Edmund is the difficult and morally challenged child, children are more likely to identify with his experience with Aslan.
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The role of the narrator in the text is clearly defined. The narrator enforces moral messages and teaches the audience what to think and how to feel. Heroic quests, the conflict between good and evil, good characters triumphing in the end, are all conventional fantasy elements meant to be didactic. The same elements are embedded within fantasy books for children as well.
It continues this long tradition of instruction (and fun!) and shows that the fantasy genre for children can be didactic in nature.
A clear instructional text was the 18th century’s way of expressing values. The book teaches morality, goodness, kindness, and courage. It also has clearly defined gender roles. For example, Peter suppresses traditional masculine traits. He is strong, brave, fights for what is right, and in essence, is like a loyal knight. Edmund, however, who is the complete opposite of Peter, is punished for his weakness. In the end, he emerges as a heroic character forgiven by the godlike figure, Aslan. Susan and Lucy also embody traditional feminine roles. Instead of fighting the battle, they comfort Aslan in his difficult time (before sacrificing himself to the White Witch). They offer emotional comfort while Peter offers physical strength. In fact, Susan and Lucy were told by Father Christmas that they would not fight in the battle. The gifts given to the children represent the roles they are to fulfill. Peter was given a shield and a sword. Susan is given a bow and arrow and an ivory horn, but is told, “You must use the bow only in dire need…for I do not mean that you fight in battle” (Lewis 108). Instead, he can honk his horn when there is trouble and help will come. Lucy is given a cordial and thus becomes the healer of the group. All the children embody traditional gender roles and the audience is taught that the boys will fight the battles and the girls will offer emotional comfort and heal the wounded. Although this is reminiscent of 18th century gender roles,
Was given a bow and arrow and while he was told to use them only on important occasions, he was not forbidden to do so. I think he would have done it if given the chance. Interestingly, Susan’s character in the 2005 film
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