Miscellaneous Findings in the Chronicles of Narnia a Trial to Find Correlations Between the Life and the Works of C
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Vocab for Playscript Based on 'The Lion, the Witch and the Wardrobe'
Vocab for Playscript based on ‘The Lion, The Witch and the Wardrobe’ White Witch - confident, annoyed, furious, rage, anger, interrupts, screeches, jumps up, long pause, Edmund -unsure, nervous, frightened, scared, petrified, backs up, coward, jumps back in horror, uncomfortable chuckle. Ice castle - giant throne, glistening floor, cold air, gloomy, quiet. WAGOLL Scene 17 In the Witch’s House White witch music. A gloomy hall with a great throne. On the throne, lit by a single lamp, sits the WITCH. MAUGRIM escorts EDMUND towards her, past the statue of a little Faun, which EDMUND notices. EDMUND bows to the witch. EDMUND: (Eagerly.) I’ve come, your Majesty. WITCH: (In a terrible voice.) How dare you come alone? Did I not tell you to bring the other three along with you? MAUGRIM shakes EDMUND’s arm roughly. MAUGRIM: Answer the great Queen. EDMUND: Please, your majesty, I’ve done the best I can. They’re in Mr and Mrs. Beaver’s house. WITCH: (Smiling a slow, cruel smile.) Is this all your news, son of Adam? EDMUND: No, your Majesty. The Beaver says… (pausing for a few seconds) Aslan is on the move. WITCH: (Standing.) Aslan! EDMUND: They’re going to meet him at the Stone Table. WITCH: Aslan? Aslan! Is this true? If I find you have lied to me – EDMUND: No – that’s what the Beaver said. WITCH: We must make ready for a journey. MAUGRIM: Everything is prepared, your majesty. EDMUND: Please… your majesty, I didn’t have much lunch. Could I have some Turkish Delight? WITCH: Silence, fool! Challenge yourself: Answer the following questions: What kind of woman is the witch, use a word from the script in your answer. -
Fantastical Worlds and the Act of Reading in Peter and Wendy, the Chronicles of Narnia, and Harry Potter
Bucknell University Bucknell Digital Commons Master’s Theses Student Theses Spring 2021 Fantastical Worlds and the Act of Reading in Peter and Wendy, The Chronicles of Narnia, and Harry Potter Grace Monroe Bucknell University, [email protected] Follow this and additional works at: https://digitalcommons.bucknell.edu/masters_theses Part of the Children's and Young Adult Literature Commons, and the Literature in English, British Isles Commons Recommended Citation Monroe, Grace, "Fantastical Worlds and the Act of Reading in Peter and Wendy, The Chronicles of Narnia, and Harry Potter" (2021). Master’s Theses. 247. https://digitalcommons.bucknell.edu/masters_theses/247 This Masters Thesis is brought to you for free and open access by the Student Theses at Bucknell Digital Commons. It has been accepted for inclusion in Master’s Theses by an authorized administrator of Bucknell Digital Commons. For more information, please contact [email protected]. I, Grace Monroe, do grant permission for my thesis to be copied. FANTASTICAL WORLDS AND THE ACT OF READING IN PETER AND WENDY, THE CHRONICLES OF NARNIA, AND HARRY POTTER by Grace Rebecca Monroe (A Thesis) Presented to the Faculty of Bucknell University In Partial Fulfillments of the Requirements for the Degree of Master of Arts in English : Virginia Zimmerman : Anthony Stewart _____May 2021____________ (Date: month and Year) Next moment he was standing erect on the rock again, with that smile on his face and a drum beating within him. It was saying, “To die would be an awfully big adventure.” J.M. Barrie, Peter and Wendy Acknowledgements I would like to thank the many people who have been instrumental in my completion of this project. -
Visions/Versions of the Medieval in C.S. Lewis's the Chronicles of Narnia
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Boise State University - ScholarWorks VISIONS/VERSIONS OF THE MEDIEVAL IN C.S. LEWIS’S THE CHRONICLES OF NARNIA by Heather Herrick Jennings A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in English, Literature Boise State University Summer 2009 © 2009 Heather Herrick Jennings ALL RIGHTS RESERVED v TABLE OF CONTENTS LIST OF ABBREVIATIONS .................................................................................... vii CHAPTER ONE: INTRODUCTION ........................................................................ 1 Lewis and the Middle Ages ............................................................................ 6 The Discarded Image ...................................................................................... 8 A Medieval Atmosphere ................................................................................. 10 CHAPTER TWO: THE HEAVENS OF NARNIA .................................................... 13 The Stars above Narnia ................................................................................... 15 The Narnian Planets ........................................................................................ 18 The Influence of the Planets ........................................................................... 19 The Moon and Fortune in Narnia ................................................................... 22 An Inside-Out Universe ................................................................................. -
The Chronicles of Narnia"
~~~--,-~-~"="~~~=-·~----"-~-~=~,·-~=--~~,~~-~~-~~-,-~~~-=~~==~=-·=1 I I CALIFORNIA STATE UNIVERSITY, NORTHRIDGE I C. S. LEWIS' "THE CHRONICLES OF NARNIA": TOWARDS A DEFINITION OF THE GENRE OF THE CHRISTIAN APOCALYPSE A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in English by Peter Wilhelmsson August 23, 1976 The thesis of Peter Wilhelmsson is approved: David M. Andersen Mahlon Gaumer III 1 Stephen ~eid California State University, Northridge l l~~~--~-·-·"~-·-~-~ ...~~~-~·--·~-~~~ .. -·~·~---~~~~--~~~~~·~-~· ~~-·~----~~~ -~---=~-~ ~---~·~ ACKNOWLEDGMENTS I give special thanks to Dr. David Andersen who patiently worked with me to see this work completed and to !all my friends who have been to Narnia: Lars, Don, Hal, Ricki, and Niqi. I L_~ ~·«---·-~~~=~-~-"--·,.---~ ~--~~-~~~ ·=~-----~ ·-,.~--~--~"~-~-~--~ ii TABLE OF CONTENTS Page ACKNOWLEDGMENT . ii ABSTRACT . iv CHAPTER I Myth and Allegory 1 I I CHAPTER II The Utopian Tradition: The City Of Man ..... 19 ICHAPTER III The Apocalyptic Tradition: The City Of God ..... 44 i l CHAPTER IV The Christian Apocalyptic Vision I 75 ' In "The Chronicles of Narnia" APPENDICES 1-7 . 126 BIBLIOGRAPHY . 144 iii ABSTRACT C. S. LEWIS 1 "THE CHRONICLES OF NARNIA": TOWARDS A DEFINITION OF THE GENRE OF THE CHRISTIAN APOCALYPTIC VISION BY Peter Wilhelmsson Master of Arts in English Most of us are familiar with the central theme of utopia in such works as The Republic, Utopia, Looking Backward, and Walden Two; but because the Christian apoca- lyptic tradition has not been defined previously, it is more difficult for the modern reader to see a common thread of prophecy and hope weaving together works such as the Old Testament, the New Testament, Paradise Lost, Pilgrim's Progress and the writings of C.S. -
Dedicated to Mary Clare Havard
Dedicated to Mary Clare Havard The second in the series, written in late 1949 Published in 1951 Like the others, illustrated by Pauline Baynes The initial setting is England in 1941, fourteen months after they first went to Narnia. In Narnia, it is 1,300 years after The Lion, the Witch and the Wardrobe , year 2303 in Narnian time. The topic according to Lewis: “restoration of the true religion after a corruption” When the children travel from England to Narnia, they almost never leave from their home. By never depicting the children at home, Lewis is able to evoke a longing for home, for a true home. See “The Weight of Glory,” where Lewis claims that we all have a desire for “our own far off country.” The four children are drawn by Susan’s horn (which had been left behind) into Narnia, as the story begins in medias res (the plot does not advance until chapter 8). They discover a ruined Cair Paravel, although they do not realize it at the time. They rescue the dwarf Trumpkin, who tells of Miraz, the Telmarines, and the Narnians driven underground. Caspian, nephew; an heir is born to Miraz; at the urging of his tutor Doctor Cornelius Caspian rides away on his horse Destrier and begins to gather an army around him. The four children make a long and arduous journey with Trumpkin to Aslan’s How. On the way Lucy sees Aslan, but the others don’t believe her. Sub-plot: Lucy’s faith vs. Trumpkin’s skepticism. “But she [Lucy] forgot them [i.e. -
HOME LEARNING the LION, the WITCH and the WARDROBE Subject: ENGLISH YEAR 8 – MRS NORTH Time: 50 Minutes
HOME LEARNING THE LION, THE WITCH AND THE WARDROBE Subject: ENGLISH YEAR 8 – MRS NORTH Time: 50 minutes. Learning Objective: I can describe an event. I can read and understand the text. Task 1: CHAPTER 12: PETER’S FIRST BATTLE Watch Peter’s first battle using the link below. https://www.youtube.com/watch?v=QLtNZgWK32A What happens? Can you describe this in your own words? Task 2: READ THE SUMMARY OF CHAPTER 14: THE TRIUMPTH OVER THE WITCH AND 15: DEEPER MAGIC BEFORE THE DAWN OF TIME No one asks Aslan about the terms of his agreement with the White Witch, but he announces that they must set up camp for the evening in another location: at the Fords of Beruna. While they travel, Aslan tells Peter about the military plan that he has in mind: one battle against the Witch and her followers in the woods, and a second assault on her castle. Aslan then tells Peter that he cannot promise that he will be there to help. Peter is unnerved by Aslan's statement: the lion is clearly preoccupied and sad. That night, Susan and Lucy have trouble sleeping. They have the same horrible feeling that something dreadful is about to happen to Aslan, or that he is about to do something horrible. They begin to wonder whether he is stealing away from the camp at that moment, and go outside to look for him just in time to see the lion leaving the camp. They follow him, and realize that he is making the journey back to the Stone Table. -
Prince Caspian
BASED ON THE NOVEL BY C.S. LEWIS 10 Lesson Series by Susan E. Harper & Curtis Ray PRINCE CASPIAN A TEN-WEEK COMPANION STUDY BASED ON THE NOVEL BY C.S. LEWIS Written by Susan E. Harper Updated by Curtis Ray Caring Hands Ministries Original Copyright © 1999 by Susan E. Harper Revised and Expanded Copyright ©2008 by Kidology Inc. Protect your integrity and help support our ministry by honoring the copyright of this material. You have purchased a single license copy for your own personal use within your local church ministry. It is not to be shared, loaned or copied for others outside of your own local church as you use the materials. If you did not purchase this copy from Kidology, we kindly ask that you visit www.kidology.org and purchase a copy for your own use. Thank you. 2 A Companion Study to PRINCE CASPIAN Adventure in Faith TABLE OF CONTENTS Introduction Using This Companion Study Unit Preparation Suggestions How it All Works LESSON 1: TRANSPORTED BACK TO NARNIA Lesson: God’s plans may not always be clear, but we are to have Faith He will provide. Application: Trust God to take care of you Chapters: 1-3 Video: 20:45-24:32 Memory Verse: Jeremiah 29:11 Bible Story: Ruth (Ruth 1-4) LESSON 2: INTRODUCING PRINCE CASPIAN Lesson: God wants us to have faith in Him, not the worldview. Application: Trust God not the world Chapters: 4-5 Video: 00:00-11:11 Memory Verse: Romans 10:17 Bible Story: Magi (Matt. 2:1-12) LESSON 3: OLD NARNIANS Lesson: God’s plans are bigger than our dreams, we must faithfully follow. -
Narnian (An)Aesthetics
Narnian (An)aesthetics [Unpublished paper delivered at The Museum of Childhood, Bethnal Green, London, 2000 on the occasion of the 50th Anniversary of the publication The Lion, the Witch, and the Wardrobe] Björn Sundmark In Calormen, story-telling (whether the stories are true or made up) is a thing you’re taught, just as English boys and girls are taught essay-writing. The difference is that people want to hear the stories, whereas I never heard of anyone who wanted to read the essays. (Lewis, The Horse and His Boy, p. 36). In this essay I am going to talk about two things, both of which are implied in the quotation from The Horse and His Boy by C. S. Lewis: storytelling as a craft and what we value in narratives, specifically in fairy tales. I am going to pose the question whether Lewis follows the aesthetic precept above, or whether his Narnian writing deviates from the traditional norms of storytelling in such a way that readers could be put off by it. Has the writing too much of the “English essay” in it and too little of the “grand Calormene manner”? In other words, are the stories aesthetically pleasing or not? The etymology of aesthetics as “things perceptible by the senses” is rather illuminating, I find. Stories are aesthetic when they are heard, when they are read, when they are relished, and when they are in touch with your being. In fact, the idea of sensual perception in connection with the experience of fiction is expressed in a whole range of words and phrases and metaphors. -
C. S. Lewis' the Chronicles of Narnia- the Lion, the Witch and the Wardrobe As an Allegory
ISSN- 2394-5125 VOL 7, ISSUE 11, 2020 C. S. LEWIS’ THE CHRONICLES OF NARNIA- THE LION, THE WITCH AND THE WARDROBE AS AN ALLEGORY Ms. K. Priscilla Harshini1, Dr. N. Nagalakshmi2 1Research Scholar, Assistant Professor, VISTAS, Chennai 2Associate Professor, Department of English, VISTAS, Chennai ABSTRACT: The Chronicles of Narnia by C. S. Lewis is a series of seven books. The Magician‟s Nephew (1955), The Lion, the Witch and the Wardrobe (1950), The Horse and His Boy (1954), Prince Caspian (1951), The Voyage of the Dawn Treader (1952), The Silver Chair (1953) and The Last Battle (1956). The stories centre on the magical land Narnia, which is filled with mythological creatures and talking animals. The great lion, Aslan, is a Christ- figure in the series, appearing in each book. He watches over Narnia and intervenes throughout its history. The Magician‟s Nephew explains how Aslan first created Narnia. Digory, a young boy, and his neighbour, Polly, use magic rings to travel between different worlds. They witness Aslan creating Narnia, and are responsible for enabling the evil White Witch to enter its borders. Digory and Polly bury their magic rings with an apple core from a Narnian tree; a new apple tree grows from its seeds, and Digory uses its wood to build the wardrobe that the Pevensies use to enter Narnia. The Lion, the Witch and the Wardrobe tells how Lucy, Edmund, Susan and Peter Pevensie discover Narnia by walking through a magic wardrobe. The children join Aslan‟s army and fight the White Witch. The Witch attempts to defeat Aslan by demanding Edmund‟s life. -
F NARNIA by PHANIDA SUTHAMCHAI Bachelor of Arts Tham
THE FUSION OF CHRISTIAN AND FICTIONAL ELEMENTS IN C. S. LEWIS'S CHRONICLES ~F NARNIA By PHANIDA SUTHAMCHAI \ \' Bachelor of Arts Thammasat University Bangkok, Thailand . 1976 Master of Arts Northeast Missouri State University Kirksville, Missouri 1978 Submitted to the Faculty of the Gr~duate College of the.Oklahoma State University in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY December, 1985 I Thesis Approved: Thesis Adviser () sL~ ~~ - 0 - 12/Jl a c ~f(tf-n-- Dean of the Graduate College AC KN OWL EDGME~TS wish to express my deep appreciation to the members of my disser tation committee--Dr. David S. Berkeley, Dr. Paul Klemp, Dr. Sherry Southard, and Dr. Clyde B. Knight. In writing this dissertation, I am greatly indebted to Dr. David S. Berkeley, my major adviser and dissertation chairman, for not only pro viding indispensable and invaluable assistance and suggestions, but also for kindly lending me his collection of C. S. Lewis books, which benefit ed me tremendously. The inspiration of his scholastic encouragement, his endless generosity, and his patience will remain with me throughout my 1 i fe. would 1 ike to thank Dr. Paul Klemp, who took the trouble of read ing and giving me detailed comments. His insight has been an enormous help in improving my dissertation. wish to express my special thanks to Dr. Sherry Southard for giv ing me invaluable advice and for proofreading my dissertation. Her moral support, generosity, and friendship have always been of a great value to me. I also wish to acknowledge Dr. -
Eucharistic Motifs in the Fantasies of CS Lewis
Volume 22 Number 2 Article 6 1998 "Miraculous Bread… Miraculous Wine": Eucharistic Motifs in the Fantasies of C.S. Lewis Nancy-Lou Patterson Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Patterson, Nancy-Lou (1998) ""Miraculous Bread… Miraculous Wine": Eucharistic Motifs in the Fantasies of C.S. Lewis," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 22 : No. 2 , Article 6. Available at: https://dc.swosu.edu/mythlore/vol22/iss2/6 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Lewis’s use of food symbolism, and particularly Eucharistic symbolism, in his fantasy novels. Additional Keywords Drinking in C.S. Lewis; Eating and feasting in C.S. Lewis; Eucharist in C.S. Lewis; Food—Religious aspects; Food in literature; Lewis, C.S.—Attitude toward Eucharist; Lewis, C.S. -
Scene: Bombing London
1 Thanks to Narniawebbers: Mister_Tumnus, FencerforJesus, aslanshow, QueenSusan15, loneislander, Gymfan15, narnialover101, glumPuddle, suchwascharn, Narnia_nut, Susan Pevensie, PrincessRosario,. Eorneste, DancingFaun, Narniafan405, Aslangirl, aravis21, aravis_117, Slina, meldred, Aravanna, DavisChristian, joanna71985, hobbitongal, qwertykate88, edmundsdefender, loper42, rachelavonlea, No Fear!, mrspretty12, and all the fans who sent in corrections. And a big thanks to ‘huge-narnia-fan’ for editing the script together. This movie script was compiled by NarniaWebbers from memory and will be updated with corrections Updated March 4, 2006 Send corrections to [email protected] Note: When submitting corrections, please include the page numbers. NarniaWeb.com 2 Index Scene: Page # The Blitz 1940 3 Train station 3 ‘Middle of nowhere’ 4 Arriving at the House 5 Lucy Looks into a Wardrobe 5 Lucy Meets Tumnus 6 In Tumnus’ house 7 Back in England 9 Edmund and the Wardrobe 10 Edmund Betrays Lucy 12 The Professor’s Office 13 Cricket 14 Into the Forest 15 Tumnus’ House Destroyed 16 Meeting Mr. Beaver 17 Dinner at the Beavers 18 What Happened After Dinner 20 In the Witch’s House 21 Escape from Beavers House 22 Campfire 24 Edmund and Tumnus Imprisoned 24 Stone Bridge 26 The Witch’s Departure 26 Father Christmas 26 Crossing the Frozen River 28 The Fox Captured 30 Aslan’s Camp 30 Peter & Aslan 31 The Witch’s Camp 32 Peter’s First Battle 32 Edmund Rescued 33 Edmund and Aslan 33 Practice 34 The Deep Magic 35 Stone Table 35 Battle of Beruna 37 Aslan Returns 38 What Happened about the Statues 39 Cair Paravel 40 Hunting of the White Stag 41 Only the Beginning of the Adventures 42 NarniaWeb.com 3 (Walt Disney Pictures logo) (Walden Media logo) Scene: The Blitz 1940 (Blue clouds.