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ARE-EXAMINATION THAT FEMALE ANTAGONISTS ARE

REPRESENTATIONS OF MISOGNY IN C. S LEWIS’ S THE CHRONICLES OF

NARNIA

AN UNDERGRADUATE THESIS

Presented as Partial Fulfilment of the Requirements For the Degree of Sarjana Sastra In English Letters

By

Margareth Aritonang

Student Number: 014214063

ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2007

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A RE-EXAMINATION THAT FEMALE ANTAGONISTS ARE

REPRESENTATIONS OF MISOGNY IN C. S LEWIS’ S THE CHRONICLES OF

NARNIA

AN UNDERGRADUATE THESIS

Presented as Partial Fulfilment of the Requirements For the Degree of Sarjana Sastra In English Letters

By

Margareth Aritonang

Student Number: 014214063

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“Apa yang pernah ada akan ada lagi, dan apa yang pernah dibuat akan dibuat lagi; tak ada sesuatu yang baru di bawah matahari”

(Pengkhotbah 1:9)

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They give me references to what Life is and help me to open my heart to

the mystery of it. This thesis is my deepest expression of thankfulness

and prayers to them:

My parents, brothers, and sister,

Sr. Clare Hand, FCJ

The Jansons: Sheralyn, Rinus, Luke and Daniel

Faculty of Letters, University of Sanata Dharma,

Sunday School Ministry, Yogyakarta International Congregation,

Domby Kids Hope,

Ex-CO Mrican,

And those who I’ve encountered in my life

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ACKNOWLEDGEMENTS

I am greatly indebted to Dr. Novita Dewi, who has patiently guided me during the process of writing this thesis. Her willingness to spent times to read my work amidst her hectic schedule is a treasure for me. I am also so grateful for my co- advisor, Dra. Theresia Enny Anggraini, M. A, who has given critical insights to improve my work. My gratitude also goes to Tatang Iskarna, M. Hum for being the guest examiner for my thesis defense. The inputs he suggested help me to make this thesis even much better. Drs. Hirmawan Wijanarka, M. Hum deserves my gratitude also for being so patient to welcome me to his office to consult the schedule for the thesis defense.

My deepest and the most sincere gratitude go to Sr. Clare Hand, FCJ who always has faith in me. I thank her for every single thing she had done for me. This thesis would have never come to finish without her ideas, suggestions, love, and the time she willingly spent to listen to my personal problems. “Thank you so much Sr.

Clare. There are really no words can express how much I appreciate you”. Thanks also to Sr. Elvisa, FCJ for calling the taxi as I finished my consultation. All FCJ

Sisters at Susteran Soropadan deserve my big thanks as well - “thank you all for the foods, the joy, and the prayers!”

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I would never complete my thesis without the love and support my family has been watering me. My big thanks and love goes to The Aritonangs. Mom and Dad have been a great motivation for me in doing anything. I thank the Light and the

Darkness to give me such wonderful parents. My critical and 'philosopher' brothers and sister have motivated me not to take life for granted. My sincere gratitude also goes to my foster family in Buncit Persada. Thanks to Sabine Volker and Manfred

Oepen for always welcoming me to their house every time I need shelter in Jakarta, and for Marieke and Leefke Volker for showing me a new fresh and challenging perspective to view life.

I would like to express my thanks to all people who have came into my life (it would probably take hundred of pages to list their names one by one). Thanks to all those who have been part of my life from the very first time of the writing of this thesis to its end, particularly my beloved friends from ex-CO Mrican (Peggy, Priskila,

Teni, Susi, Dianing, Yeni, Tom Berry, Yuli, Irawati, Lingga, Bilvi, Ratna, Doni,

Aswar, Yana, Yani, Lilian, Santi, Novi, Sepri, Gugun, Bayu, Ino: ”the moments I've spent with you will always remain in my mind'. Thanks also to all children who have visited me during the journey of my life to show me the purity of life. And above all,

I would address my biggest thanks to the Source of Everything for creating everything in life, including the life itself that I may experience it. There are lots of things I don't understand (and may be I would never!) but still I ask You: “Tell me those great and unsearchable things I do not know”.

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TABLE OF CONTENTS

TITLE PAGE ………………………………………………………………………. i APPROVAL PAGE ……………………………………………………… ……….. ii ACCEPTANCE PAGE ……………………………………………………………. iii MOTTO PAGE ...……....…………………………………………………. ……… iv DEDICATION PAGE ...…………………………………………………………… v ACKNOWLEDGEMENTS ……………………………………………………….. vi TABLE OF CONTENTS …………………………………………………………. viii ABSTRACT ………………………………………………………………. ……… x ABSTRAK ………………………………………………………………………… xi CHAPTER I: INTRODUCTION ...... ……... 1 A. Background of the Study ……………………………………………….. 1 B. Problem Formulation …………………………………………...... 4 C. Objectives of the Study …………………………………………………. 5 D. Definition of Terms …………………………………………………….. 6

CHAPTER II: THEORETICAL REVIEW ……………………………………… 9 A. Review of Related Study ………………………………………...... 9 B. Review of Related Theories ……………………………………………. 12 1. Character and Characterization ………………………………….12 2. Reader response theory ………………………………………….14 3. Roland Barthes’ Theory of Text ………………………………...14 4. Theory of Intertextuality ………………………………………...15 5. Misogyny in Literature ………………………………………… 16 C. Biographical Background ……………………………………………… 18 D. Theoretical Framework ………………………………………………….19

CHAPTER III: METHODOLOGY ……………………………………………... 21 A. Object of the Study ……………………………………………………...21 B. Approach of the Study …………………………………………………. 25 C. Method of the Study …………………………………………………… 26

CHAPTER IV: ANALYSIS ……………………………………………………….28 Female Antagonists in The Chronicles of Narnia and the Depiction ………………28 of Male Antagonists in Re-examining the Assumption that the novels are Misogynistic 1. Depictions of Female Antagonists in The Chronicles of …..…...29 Narnia a. The White Witch ………………………………………..29 b. Mrs. Le Fay ……………………………………………..33

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c. Lilith ………………………………………………….. ..34 d. Queen Prunaprismia ……………………………………..35 e. Susan Pevensie …………………………………………. 36 f. The Lady of the Green Kirtle …………………………. . 39

2. Portrayals of male antagonists in The Chronicles of Narnia …. .. 40 in Re-examining the chronicles as Misogynistic a. Digory Kirke …………………………………………… 40 b. Uncle Andrew …………………………………………. 41 c. Edmund Pevensie ………………………………………. 42 d. Rabadash and Tisroc ………………………………….. . 43 e. King Miraz ……………………………………………. . 45 f. Eustace Scrubb ……………………………………….. .. 45 g. Shift the ape …………………………………………... . 46

B. Re-examining the Assumption that The Chronicles of Narnia are ………………47 Misogynistic by looking at the Female Antagonists as the Products of Literary Recycling 1. Literary Allusions recycled in The Chronicles’ female…………47 antagonists h. Jadis ……………………………………………………. 48 i. Lilith …………………………………………………… 52 j. Mrs. Le Fay …………………………………………… 53 k. Queen Prunaprismia …………………………………… 54 l. Susan Pevensie ………………………………………… 56 m. The Lady of the Green Kirtle …………………………. .57

2. Images of Women as Literary Recycling in Re-examining………60 the Assumption that The Chronicles of Narnia are Misogynistic a. Eve and Lilith on the Image of Women ………………… 60 b. Serpent and the Image of Women ……………………….62 c. Witchcraft and the Image of Women ……………………63

CHAPTER V: CONCLUSION …………………………………………………. 66

BIBLIOGRAPHY ………………………………………………………………...70

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ABSTRACT

Margareth Aritonang (2007), A Re-Examination that Female Antagonists are Representations of Misogyny in C. S Lewis’s The Chronicles of Narnia, Yogyakarta: English Letters Study Programme, Sanata Dharma University.

This thesis examines the portrayal of female antagonists in the seven books of C. S Lewis’s The Cronicles of Narnia which is assumed as the representations of Misogyny or of hatred towards women. Many critics have undertaken research on the ‘negative’ depiction of female characters in the chronicles, and make the assumption that either the novels or Lewis as the writer is misogynist. This thesis focuses on the portrayal of the female antagonists in the novels and their literary allusions. The examination is done by analyzing each of the females who are considered antagonists in the novels according to their chronological appearance. Portrayal of several male antagonists who are considered major characters is also provided in scrutinizing the textual balance of depiction of antagonist characters, both female and male. The examination later continues by examining literary allusions from other works of literature which are found within the female antagonists in the chronicles. Finally it addresses the images of women from the Bible which has been inspiring numbers of literary works, including the Narnian chronicles. An intertextual approach is used to analyze these novels. This approach helps the writer to re examine the resemblances between literary figures in dealing with certain references they reproduce. At the end of the analysis, it is concluded that the misogynistic accusation leveled at Lewis and his works is still unproven, and therefore is worth re-evaluating. This is due to the number of literary allusions recycled in the Narnian antagonists. The similarity of the female antagonists to other literary figures is not subjective since such allusions are inherited from so-called socio historical interpretations that have passed from generation to generation. The presence of the male antagonists strengthens the need to examine the assumption. There is also no clear and objective fact from Lewis’ life to support the claim that he is a misogynist since his life ended with marriage to Joy Davidman whose death later provoked his deepest agony at losing his beloved one as reflected in his The Grief Observed.

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ABSTRAK

Margareth Aritonang (2007), A Re-Examination that Female Antagonists are Representations of Misogyny in C. S Lewis’s The Chronicles of Narnia, Yogyakarta: Program Studi Sastra Inggris, Universitas Sanata Dharma.

Skripsi ini menguji ulang penggambaran karakter antagonis perempuan yang ada dalam ketujuh novel The Chronicles of Narnia karya C. S Lewis yang diasumsikan sebagai representasi ‘misogyny’ atau kebencian terhadap perempuan. Sejumlah kritikus telah melakukan penelitian yang menyangkut penggambaran negatif karakter-karakter perempuan yang ada di ketujuh seri Narnia dan mengambil kesimpulan bahwa novel-novel tersebut maupun C. S Lewis sebagai penulisnya memaparkan nilai-nilai kebencian terhadap perempuan. Skripsi ini berfokus pada cara penggambaran karakter antagonis perempuan dalam novel Narnia dan juga sejumlah figur sastra yang mereka gaungkan, Pengujian dilakukan dengan menganalisa setiap karakter perempuan yang dianggap antagonis sesuai dengan kemunculan mereka dalam kronologi cerita. Penggambaran beberapa karakter laki-laki juga disertakan untuk menganalisa keseimbangan penggambaran karakter yang dianggap antagonis, baik perempuan maupun laki-laki. Penelitian dilanjutkan dengan menganalisa gaungan sastra yang ter-reproduksi lewat karakter perempuan dalam novel-novel Narnia yang akan menunjukkan imej-imej perempuan dari Alkitab yang diduga menjadi sumber yang banyak menginspirasi sejumlah karya sastra, termasuk novel-novel Narnia. Pendekatan yang digunakan dalam penelitian ini adalah pendekatan intertekstual. Pendekatan ini memungkinkan penulis untuk meneliti kemiripan-kemiripan diantara figur-figur yang ada dalam karya Lewis dan gaungannya. Pada akhirnya disimpulkan bahwa anggapan kalau Lewis maupun novel Narnianya membenci perempuan tidaklah terbukti dan karenanya perlu untuk diuji kembali. Hal ini berhubungan dengan sejumlah karakter perempuan dari karya sastra yang sudah ada yang diproduksi ulang lewat karakter antagonis perempuan dalam Narnia. Kemiripan yang ada antara karakter-karakter perempuan dalam Narnia dan karakter lain dalam karya yang ada sebelumnya menunjukkan bahwa penggambaran karakter-karakter tersebut tidaklah subjektif karena mereka merupakan warisan dari hasil interpretasi masyarakat yang sudah diteruskan dari satu generasi ke generasi berikutnya. Adanya karakter antagonis laki-laki dalam novel Narnia semakin menguatkan akan perlunya pengujian ulang menyangkut masalah ‘misogyny’ yang dituduhkan kepada Lewis dan karyanya. Dan juga tidak ditemukan adanya fakta dalam hidup Lewis pribadi yang memungkinkan anggapan bahwa dia seorang ‘misogynist’ atau pembenci perempuan karena pada kenyataannya Lewis menikah dengan Joy davidman yang kematiannya membuat Lewis sangat menderita. Penderitaan akan kehilangan orang yang dicintainya ini tertuang dalam karyanya yang berjudul The Grief Observed.

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CHAPTER I

INTRODUCTION

A. Background of the Study

The chronicles narrate the adventures of children who play essential roles in the history that takes place in the fictional world of Narnia, a place with talking animals, with inhabitants who live among and with magic, and where good fights against evil. In the majority of the books, children from the real world (Sons of Adam and Daughters of Eve) are transported to the magical land by various ways through the intervention of Aslan, the Creator of Narnia. Once there, they are immediately involved in settling some wrongs to right and in ruling as Kings and Queens.

The novels, produced between 1954-1956, are considered as classic and are classified as literature for children. These novels gain the hearts of their readers, and thus praise them. However, there are also readers who oppose them and consider as inappropriate for children.

Among all the criticisms leveled at the chronicles, that of misogyny interests the writer most since many scholars suspect that Lewis’ personal experiences with women are a major influence on his view of women which is said to be clearly portrayed through the female characters in the chronicles, the antagonists in particular

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Lewis thinks Circe is similar to Lilith, the examples of women who abuse men with their beauties. He believes this explains all women in general (David Colbert, 2006) [Translation Mine].

Some critics also think that Lewis’ old-fashioned view, his theology, and his

“alleged” hatred of women contribute to the inappropriateness of the novels to be read by children (http://cslewis.drzeus.net/papers/success.html).

J. K Rowling, author of the Harry Potter series, while commenting on

Lewis’s s sentimentality about children, has said

“There comes a point where Susan, who was the older girl, is lost to Narnia because she becomes interested in lipstick. She’s become irreligious basically because she found sex. I have big problem with that”. (http://new.bbc.co.uk/2/hi/entertainment/4347226.8htm).

Others read the stories even more critically, including the issue of sexism. The author of the children’s series Dark Materials, Phillip Pullman, publicly criticized

The Chronicles of Narnia for what he describes as “religious propaganda”. Pullman said the Narnia stories were “monumentally disparaging of women” when he spoke at the Guardian Hay Festival, quoting his statement, “I hate the Narnia books…with a passion…”

“Susan, like Cinderella, is undergoing a transition from one phase of her life to another. Lewis didn’t approve of that. He didn’t like women in general, or sexuality at all. He was frightened and appalled at the notion of wanting to grow up.” (Ibid.)

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These opponents of the Narnian novels address their accusation of the novels as “disparaging of women” are mostly based on the description of Susan Pevensie, and relate this to Lewis’s experiences with women during his life time. Susan is in fact the most argued character due to her exclusion from Narnia in the final book, The

Last Battle.

In contrast to previous studies made by other scholars, the writer scrutinizes the assumption of misogyny in the novels not by looking back through Lewis’s own life but by considering it from an intertextual perspective. It also concerns with other female characters in the novels, so it is not merely about Susan Pevensie.

Intertextuality as stated in Intertextuality, Theories, and Practices, believes that a text cannot exist as a “self-sufficient whole”, i.e. a text is unable to stand by itself, and therefore cannot function as a “closed system”. This is so for two reasons.

Firstly, a writer is once a reader before s/he creates a text, so a work of art is built upon references, quotations, and influences of every kind. Secondly, a text is created only through the process of reading; “what is produced at the moment of reading is due to the cross-fertilization of the packaged textual material (say, a book) by all the texts which the reader brings to it” (Judith Still and Michael Worton, 1990).

The writer finds it interesting to analyze female characters portrayed in the novels by regarding Lewis as a reader of many works of art in the light of the fact that he was a scholar and lecturer in literature. In 1916, Lewis was accepted at University

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College, known as the oldest college (founded 1249) at Oxford University. Following the end of the war in 1918, after serving in The British Army, Lewis returned to

Oxford.He took up his studies again with great enthusiasm. In 1925, after graduating with first-class honours in Greek and Latin Literature, in Philosophy and Ancient

History, and in English Literature, Lewis was elected as English lecturer in

Magdalene College, Oxford. He remained at Oxford for 29 years before becoming a professor of Medieval and Renaissance literature in Magdalene College, Cambridge, in 1955.

Moreover, this thesis will examine those females whose characterisations are based upon stereotypes existing in literature. It is hoped that this paper will later show the literary figures from which Narnia might reproduced, and by doing so the assumption of the novels or Lewis as their author as misogynistic can be re-evaluated that later also evaluates the inappropriateness of the novels as literature for children.

B. Problem Formulation

Referring to the background affirmed earlier, the questions that this paper will attempt to answer are:

1. In what way is the portrayal of female antagonists in The Chronicles of

Narnia assumed to be misogynistic and how can this assumption is examined

by looking at the portrayal of the male characters?

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2. In what way can the female antagonists in The Chronicles of Narnia be

seen as the product of literary recycling and how does this understanding

challenge the accusation that the novels are misogynistic?

C. Objective of the Study

This study aims to respond precisely to the questions formulated above. The focus of this study is the accusation of the Narnian chronicles as misogynistic. In order to examine this accusation, the writer will firstly provide the depiction of female characters which are considered to be antagonist. By doing so, she will later provide literary allusions which resemble similar depiction with Narnian female antagonists. This is done based on her literary competence and also on references from secondary resources.

It is hoped that as the study comes to its end the writer will have shown that the assumption that the novels are ‘disparaging of women’ or misogynistic is unproved and then is still under debate.

D. Definition of Terms

In order to clarify and to avoid misunderstanding, especially dealing with the topic presented, some important terms are defined in this paper. These definitions are meant to help readers to understand this paper.

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1. Antagonist in All American Glossary of Literary Term is defined as the

character in a story or poem, which “deceives, frustrates, or works against the

main character, or protagonist, in some way”. It appears to prevent the main

character or protagonist from living “happily ever after”, and doesn’t

necessarily have to be a person since it could be death, the devil, an illness, or

any challenge that disturb the main character

(http://www.uncp.edu/home/canada/work/allam/general/glossary.htm). A

Glossary of Literary Terms positions it against the protagonist. Contradictory

to protagonist as defined as the “hero” or “heroine”, antagonist is the

“opponent” or the “villain”. It is the evil and capable of behaving cruel and

conducting criminal actions (Abrams, 1993: 159-160).

2. Misogyny is hatred or strong prejudice against women. The word comes

from the Greek words μίσος (misos, "hatred") + γυνη (gunê, "woman"). There

are many different forms of misogyny. In its most overt expression, a

misogynist will openly hate all women simply because they are female. Other

forms of misogyny may be more “subtle”. Some misogynists may simply

have prejudice against all women, or may hate women who do not fall into

one or more acceptable categories

(http://www.theabsolute.net/misogyny/strindb.html). Elaine Showalter in

Literary Criticism used the term misogyny to describe the male hatred of

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women as she tries to position it in against to the term she coins “gynocritics”

(Bressler, 1999: 184).

3. Representation is defined as formation of “ideological products” or “cultural

constructs” of a particular era; and that these cultural and ideological

representations in texts serve mainly to reproduce, confirm, and propagate the

power-structures of domination and subordination which characterize a given

society (Abrams, 1993: 249). The Oxford Dictionary of Philosophy explains

that the human mind (or sometimes the brain) works on representation of the

things and features of things that are perceived or thought about (1994: 328).

4. Allusion; Latin ‘allusion’ which means to play around. It is generally

assumed as reference to a person, place, or event, real or fictitious, or to a

work of art. In literature it means “an implied or indirect reference to a person,

event, thing, or part of another text”. It is distinguished from devices such as

“direct quote” and “imitation or parody”. “Most are based on the assumption

that there is a body of knowledge that is shared by the author and the reader

and that therefore the reader will understand the author’s reference. Allusions

to biblical figures and figures from classical mythology are common in

Western literature for this reason (Merriam Webster’s Encyclopaedia of

Literature, 1995: 37).

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CHAPTER II

THEORETICAL REVIEW

A. Review of Related Studies

This chapter provides information on C. S Lewis and his Chronicles of

Narnia. The information is gained from the studies conducted previously by

literary critics.

Many scholars are interested in studying the works of Lewis, and especially

his seven novel series The Chronicles of Narnia. Generally, almost all of the

proposed criticisms dealing with C. S Lewis oeuvre are theological analyses since

C. S Lewis is best known as a Christian apologist though he produced numbers of

non-Christian fiction and non fiction-works. To review all studies previously

made by scholarly critics of Narnia would not be effective in relationship to the

problems affirmed earlier. In light of the fact that there are countless numbers of

critiques on different topics pointing to Lewis’ chronicles, therefore this review

focuses particularly on the responses, both positive and negative, directed at

Lewis’ attitude to women.

Amber Cowart in her article ‘The Success of C. S Lewis in The Chronicles of

Narnia’ dated on April 3, 1996 and posted on

http://cslewis.drzeus.net/papers/success.html provides responses from readers of

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the chronicles. Cowart begins by stating that Lewis had two obvious purposes as

he wrote the story of the magical land visited by English children: “to entertain

the readers and to suggest analogies of the Christian faith”. Responding to these

aims, some critics said that there is something seriously wrong with the chronicles

for offering opinions of “unnamed people” instead of factual information, which

is later, assumed to be full of hatred. Lewis is also accused by some

commentators of depicting violence in his novels, therefore making it

inappropriate for children to read them. Rebutting the antagonists, some readers

state that the chronicles are charming stories and point out that although violence

is presented in the novels more violence is present in other places, television for

instance, and therefore teachers are encouraged to use the novels in the classroom.

There is another criticism entitled Experiment House that explored Lewis’

dislike of and negative attitude toward ‘free’ schools, which were popular in the

1950’s (http://www.aslan.demon.co.uk/eustace.html). Lewis portrayed this sort of

‘free’ school through his description of Experiment House, in which Eustace

Scrubb spent his days of learning. Experiment House is very unlike most Public

or Grammar Schools. “It has ‘masters’ rather than ‘teachers’, the masters call the

pupils by their surnames. The students use public school slang and call each other

by their surnames as well. It has a fairly conventional curriculum; except that the

pupils do not learn much about French, Maths or Latin, but this is due to the

“curious teaching methods not due to the fact that traditional subjects are not

taught. It is dangerously tainted with modernity”. The library is full of factual

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books about ‘exports and imports and governments’ and ‘elevators and fat foreign

children doing exercises in model schools’. “It is co-educational, and moreover it

is secular at any rate Bibles were not encouraged”.

Part of the criticism that the novels have received over the years centers on the

description of Susan Pevensie in The Last Battle. In the last novel of the series,

Susan does not go to Narnia; other characters describe Susan as being "no longer

a friend of Narnia," and as being interested "in nothing now-a-days except nylons

and lipstick and invitations." In addition to sexism, Lewis has also been accused

of racism. Pullman, an atheist, said the books were "blatantly racist". The racism

critique is based on a perceived negative representation of other races and

religions, the Calormenes in particular, as enemies of Aslan and Narnia. The

Calormenes are described as dark-skinned people with a garlic-scented breath,

who wear turbans and pointy slippers, and who are armed with scimitars. This

depiction has been cited as a sinister comparison to the traditional characteristics

of Islam and Sikhism. The Calormenes worship a main "false god" Tash, who is

described as a stereotypical Satanic being requiring evil deeds and sacrifices from

his followers.

Most of these critiques are aware of antagonist depictions of female characters in the chronicles and have thus used them as points crediting Lewis with portraying misogyny in his children’s books, but those critiques do not consider resemblances that Lewis’s characters have to other figures in works he was very familiar well. This

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is fairly to think of as Lewis was a professor of Medieval and Renaissance literature at Cambridge and it is likely that his literary knowledge is consciously or unconsciously echoed in his own novels including his seven novels The Chronicles of

Narnia, and this suggestion distinguishes this thesis from studies done by previous scholars.

B. Review of Related Theories

The theories, which will be applied in the analysis, are the theory on character and characterization, reader response and Barthes’ theory of Text.

1. Character and Characterization

In A Glossary of Literary Terms M. H Abrams pointed to two definitions of

‘character’: (1) “the character is the name of a literary genre, it is a short, and usually witty, sketch in prose of a distinctive type of person”, and (2) “characters are the persons presented in a dramatic or narrative work, who are interpreted by the reader as being endowed with moral, dispositional, and emotional qualities that are expressed in what they say-the dialogue-and by what they do-the action” (1993: 23-

24). Characters in works of art are also developed upon their motivation that is “the grounds in the characters’ temperament, desires, and moral nature for their speech and actions”. Abrams further explains that a character may remain stable from the

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beginning of a story to its end, or may undergo radical changes through a gradual process.

The Dictionary of Modern Literary Terms defines ‘character’ as “the fictional representation of a person” that is possible to change. We might recognize several

‘characters’ as of “the centre” and others as of “the circumference”. There are

‘characters’ in the Aristotelian sense, that is “detailed figures with their own motives and capacity for distinctive speech and independent action’; others are “enabling aspects of story, minor figures, stereotypes; and there are others “to whose perceptions we give credence and some we regard as contextual society”.

‘Characters’ are also those who partake in and are changed in the action (heroes, protagonists) and confidantes or devices” (1987: 27-28).

Mario Klarer in An Introduction to Literary Studies explains “it is possible to analyse character presentation in the context of narratological structures”. In general, characters in a text can be either “types” or as “individuals”. “A typified character in literature is dominated by one specific trait and is referred to as a flat character, and often represents the general traits of a group of persons or abstract ideas. The term round character usually denotes a persona with more complex and differentiated features” (2004: 17-18).

The writer analyses the depiction of female antagonists in the novels based on their emotional qualities, desires, and moral nature which are expressed in the dialogues and also their actions.

2. Reader response theory

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Reader response criticism, which “came into prominence during 1960’s”

(Abrams, 1993:269), focuses on the plurality of interpretations by readers. It believes that text or author cannot control the reading and signifying process of the audience.

A Glossary of Literary Terms (1993) explains that “the meaning of a text is the

“production” or “creation” of the individual readers, hence that there is no one

“correct meaning for all readers either of the linguistic parts or of the artistic whole of a text” (Abrams, 1993: 269). Readers have the control to produce meaning of a text; they will signify a text according to their personal experience dealing with the theme of the text and literary competence. Literary competence, which means the mastery of literary knowledge, will determine the result of reading, whether or not the readers can interpret certain literary elements properly (Culler, 1977).

3. Roland Barthes’ theory of Text

Modern Literary Theory encloses seven prepositions about Text by Roland

Barthes, i. e method, genres, signs, plurality, filiations, reading and pleasure.

Text is a “methodological field”. It undergoes an ongoing process and will never stop. Hence, it can only be experienced in the activity of production (writing).

Text is always “paradoxical”. It is limitless and goes beyond rules of enunciation, and therefore cannot stop at any certain classification.

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Text is “symbolic”. It is formed by unlimited signifiers which “are realized according to a serial movement of disconnections, overlapping, and variations”

(Barthes, 1996: 194). It is a system without end and centre.

Text is “plural”. It carries multiple meanings, thus does not fulfill a single interpretation.

Text is of a “network”. It is built upon series of combination and is knitted by endless play of signifiers. Thus, its destination cannot be surmised.

Text is not only an object of consumption. It is not closed by an act of reading only, but is also open to the act of writing, i. e “text is not only readable but also writerly. It is not only the object of consumption but also the object of production”

(Barthes, 1996: 196).

Text is of pleasure. It gives pleasure for readers, and furthermore its openness to an act of re-producing (re-writing) emerges as the “jouissance” of the text.

4. Theory of Intertextuality

Intertextuality is the shaping of texts' meanings by other texts. It can refer to

an author’s borrowing and transformation of a prior text and to a reader’s

referencing of one text when reading another. The term “intertextuality” has,

itself, been borrowed and transformed many times since it was officially coined

by poststructuralist Julia Kristeva in 1966. As critic William Irwin says, the term

“has come to have almost as many meanings as users, from those faithful to

Kristeva’s original vision to those who simply use it as a stylish way of talking

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about allusion and influence”. This concept becomes increasingly influential as a

way of thinking how literary works produced and gained meanings.

Intertextuality believes that “a text consists of multiple meanings and writings

which are drawn from a range of discourses, already in circulation in some form

or other” (Roger Webster, 1990: 96). Therefore the author is considered as a

“synthesizer’ instead of “originator” for drawing together and orchestrating

linguistic raw materials – in this sense literature becomes a form of repetition of

an extent. For this reason, literary textuality is seen as “discursive recycling”

although the relations are never the same, never completely repeated for there are

“sets of cross-references and allusions which, to use a traditional term, provide a

‘richer’ reading experience or – to employ theoretical terms – the signifiers in the

text evoke more complex signifiers” (Ibid, 1990: 97).

5. Misogyny in Literature

The term as man hatred of women is assumed to be influenced by the images

of women in religious texts that show women as subordinate to men (Andresen,

1997: 248).

Margaret L. Andersen furthermore explains in Thinking About Women that

religion appears to be powerful source for the subordination of women as it has

been historically powerful as the instrument of social changes (Ibid.). One way in

which religion intervenes in socio-historical field is undeniable through its

scripture, and as is stated above that religious scripture provide stereotypical

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gender roles and is politicized to legitimate women as subordinate to men in real

life. However, this is challenged as feminist movement comes to being and as

scholars, academics, and critics investigate gender roles from time to time. For

this reason, the attitude that positions women as subordinate to men or as the

second-class is becoming to be assumed as misogynist.

In the end of her book entitled The Troublesome Helpmate: A History of

Misogyny in Literature Katherine M. Rogers summarizes misogynistic values

which are mostly found in literature. These values are:

1. Women as imperfect creature, morally weak and are capable to be ruinous

influence. This is found in the Jahvist’s story of creation and is continuously

re produced from one work of literature to the others.

2. Women as seductive. This value is inspired from the story of the Fall, and as

Rogers stated, had been being reproduced by patristic writers from the first

century to the sixth.

3. Women as unfaithful lovers. This had become a constant theme in classical

Roman writing.

4. Women as having uncontrolled passions. Women are described to be having

weaknesses for flattery, greed, extravagant dress, pride, and duplicity.

5. Women as more passive than men, the reason women are depicted to be their

husbands’ property.

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6. Women as being less rational than men in every respect. Women were

encouraged to be weak and dependent and acceptable during the Restoration

and eighteenth century

C. Biographical Background

The biographical background is concerned mainly with the careers of C. S Lewis as a scholar as well as a writer.

Lewis won a scholarship to University College of Oxford in 1916 and had a break from the study since he joined the British Army in 1917. He came back to the college and concentrated on his studies after being injured in World War I. He received a

First in Honor Moderations (Greek and Latin Literature) in 1920, a First in Greats

(Philosophy and Ancient History) in 1922, and a First in English in 1923.

He taught as a Fellow Professor at Magdalen College, Oxford, for almost thirty years (from 1925 to 1954). Later on he became the first Professor of Medieval and

Renaissance Literature at the University of Cambridge, and a fellow at Magdalene

College Cambridge. Most of his scholarly works focused on the later Middle Ages, its use of allegory in particular. He was befriended by J. R. R. Tolkien, the writer of

The Lord of the Rings, at Oxford. Tolkien was in fact one of those in Lewis’s circle of literary friends in a literary discussion group known as the “Inklings”.

Despite the scholarly works he produced, Lewis also wrote numbers of literary works, the seven books of The Chronicles of Narnia are among others. His other well-known fictions are: Out of the Silent Planet, Parelandra, That Hideous Strength,

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and Till We Have Faces. He also wrote books on Christianity, as he is known as a

Christian apologist, such as: The Screwtape Letters, The Pilgrim’s Regress, Mere

Christianity, The Four Loves, The Abolition of Man, and his autobiography Surprised by Joy which tells of his conversion to Christianity.

Finding out the fact of Lewis’s broad knowledge of literary works, the writer sees the influences of literary works Lewis consumed being brought to his works. Lewis is in fact, consciously or unconsciously, has underwent influences from previous writers

D. Theoretical Framework

The analysis accusation of misogyny revealed through the female characters and their characterization will be based upon the concept of intertextuality. The discussion will be focused on the literary resonances in the way female characters in

The Chronicles are characterized.

As “the representation in fiction or drama of human character or personality”, the theory of character is used in order to reveal how misogyny is portrayed through female characters in the novels. The writer assumes that the misogyny revealed through the female characters is a Text assembled by C. S Lewis as the author of the novels through the process of many readings.

When exploring the claim that Lewis’s novels express the misogyny that developed within him out of the context of his life, the writer sees that the theory of reader response is the best angle from which to scrutinize the source of this accusation. In terms of what was said before that readers interpret readings based on

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their experiences, the writer thinks the statement that Lewis was a ‘women hater’ needs to be re-analysed since the writer finds the criticism is not convincing enough.

The theory of Text by Barthes will unite the three aspects from which the writer assesses the matter of misogyny as a literary discourse. Barthes’ theory of Text which embraces the issue of text originality in terms of plural meanings will address the matter of textual resonance, references to the authors’ socio-historical milieu, and the process of reading by readers will support the analysis of reader response.

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CHAPTER III

METHODOLOGY

A. Object of the Study

The objects of the study of this analysis are the seven books of The Chronicles of

Narnia. Critics and scholars interested in the books divide them into two different ways of reading: by publication order and by chronological order. The difference between the two is shown in the following:

Publication order vs. Chronological order

Publication order Chronological order 1. The Lion, the Witch and the 1. The Magician's Nephew Wardrobe 2. The Lion, the Witch and the 2. Prince Caspian Wardrobe 3. The Voyage of the Dawn Treader 3. The Horse and His Boy 4. The Silver Chair 4. Prince Caspian 5. The Horse and His Boy 5. The Voyage of the Dawn Treader 6. The Magician's Nephew 6. The Silver Chair 7. The Last Battle 7. The Last Battle

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Lewis expressed his agreement with this chronological order in a letter written in 1957 to an American boy named Lawrence as he wrote

(http://www.aslan.demon.co.uk/narnia.htmal):

‘I think I agree with your order (i. e chronological) for reading the books than with your mother’s. The series was not planned beforehand as she thinks. When I wrote The Lion I did not know I was going to write anymore. Then I wrote P. Caspian as a sequel and still didn’t think there would be anymore, and when I had done The Voyage I felt quite sure it would be the last. But I found as I was wrong. So perhaps it does not matter very much in which order anyone read them. I’m not even sure that all the others were written in the same order in which they were published.’

And therefore this study is based on the chronological order of the story, namely The

Magician’s Nephew, The Lion, The Witch, and The Wardrobe, The Horse and His

Boy, Prince Caspian, The Voyage of the Dawn Treader, The Silver Chair, and The

Last Battle. All the copies used are imprints of Harper Collins Publishers.

Furthermore, the chronological order is chosen to focus on the appearance of female characters in the books chronologically.

The Magician’s Nephew, a 171-page book published in 1955, is built on the story of two children, Digory and Polly, who went on an adventure to the magical land of

Narnia through the rings produced by their wicked uncle Andrew in his experiment.

The two children must undertake the duty of finding an apple from a far land to be used to protect Narnia from the evil Queen Jadis. This book also provides the story of the first time Narnia came into being when it was created by its God, Aslan.

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The Lion, The Witch and The Wardrobe consists of 171 pages telling of the adventure of the other four children from the real world in the magical land. The

Pevensies (Peter, Susan, Edmund, and Lucy) are chosen for and entrusted with the task to free Narnia from the White Witch. This second book was published in 1950.

It was first adapted for television in 1967. The ten episodes, each thirty minutes long, were directed by Helen Standage. The screenplay was written by Trevor Preston. In

1979 The Lion, the Witch and the Wardrobe was again adapted for television, this time as an animated special co-produced by Bill Melendez and the Children's

Television Workshop (Sesame Street and The Electric Company). The screenplay was by David D. Connell. It won the Emmy Award for Outstanding Animated

Program that year. A film version of The Lion, the Witch and the Wardrobe, titled

The Chronicles of Narnia: The Lion, the Witch and the Wardrobe, produced by

Walden Media and distributed by Walt Disney Pictures was released in December

2005. It was directed by Andrew Adamson. The screenplay was written by Ann

Peacock. Principal photography for the film took place in Poland, The Czech

Republic and New Zealand. The movie achieved critical and box office success.

Disney will produce a sequel The Chronicles of Narnia: Prince Caspian with a will expectedly be released date on May 16, 2008.

The Horse and his Boy published in 1954 and consisting of 175 pages provides the readers with the story of a boy named Shasta who journeys to Narnia accompanied by a horse, Bree, and who was enslaved by a Calormen. The journey

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Shasta and Bree experience brings them to true knowledge of Aslan. Prince Caspian was published in 1951 and consists of 190 pages. It tells of the hard efforts of the old

Narnians to restore the throne to Prince Caspian, the real heir of the former King whose throne was forcibly seized by the usurping King Miraz. The four children from the real world who first appeared in The Lion, The Witch, and The Wardrobe: Peter,

Susan, Edmund, and Lucy) are called again by Aslan to help the Prince to get his thrown back.

Different to the four Pevensies who became heroes and heroines while spending time in the magical land, Eustace Scrubb, a cousin of the four, would never forget his experience of turning into a dragon, an experience which later changed him into a really nice boy in the series entitled The Voyage of the Dawn Treader. The edition the writer used was published by Collins Publisher in 1995 with 189 pages.

One day out of their school grounds, out of the real world into the enchanted land, Narnia, began the most exciting moment in Jill Pole’s life. Since she was given the task of finding the long lost Prince Rillian with her school mate Eustace Scrubb, who had experienced coming to Narnia before. This plot is provided in The Silver

Chair, a 191 page novel published in 1953.

The final book of the chronicles, The Last Battle, completes the events happening in the land. Jill Pole and Eustace Scrubb worked hand in hand to end the scandal of a false Aslan. The only hope for the Narnians is that Jill and Eustace will be able to find the true Aslan and restore peace to the land. Aslan finally take all the adventurers from the real world into Narnia as the Lion creates the New Narnia. This final book

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won the Carnegie Medal for 1956. The printed volume used for the analysis is the imprint of HarperCollins printed in 1956.

B. Approach of the Study

The study conducted will use an intertextual approach. Encyclopedia of

Postmodernism states that it is a method of reading one text in against to another that

“illuminates shared textual and ideological resonances” (2001: 229). In Studying

Literary Theory Roger Webster cited one point from Barthes’ essay ‘Theory of the

Text, which says

Any text is a new tissue of past citations. Bits of codes, formulae, rhythmic models, fragments of social languages, etc. pass into the text and are redistributed within it, for there is always language before and around text (1990: 97).

Further on Webster explains that “literary textuality then can be seen as a kind of discursive recycling, although the new relations which come to exist between the discourses appropriated and incorporated into a text ensure that literary writing is never the same, never completely repeated” (1990:97).

By applying an intertextual approach, the writer will look for literary allusions revealed in The Chronicles that deal with misogyny. The writer sees that Webster’s note on literary textuality as “discursive recycling” is a gate to analyze how misogyny is recycled in Lewis’ chronicles.

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The writer chose an intertextual approach because it enables her to examine the matter of misogyny from various points of view. The matter can be explored from historical, biographical, textual and reader response aspects. Readers are considered to have an important role in giving meanings to works of literature in intertextuality as Derrida, one of the theorists, argues that “not only are texts intertextual but also how the act of reading itself is an intertextual experience”.

C. Method of the Study

To be able to answer the problems constructed by offering appropriate answers, the writer employed a library research method using data available in Sanata Dharma library and also the writer’s personal collection on Lewis and his works to assemble all supporting information related to the study. To access information that books may not provide, the writer browsed Internet sites also.

A secondary source the writer consulted at the same time as reading the novels is

The Magical Worlds of Narnia (2005) written by David Colbert which is translated into Indonesian by Gramedia Pustaka Utama (2006).

The study aims to answer the problem formulations based on the theory and review of related studies.

Textual analysis on the depiction of female antagonists is done by applying the theory of character and characterization, which is stressed on the characters’ dialogues and actions that reveal their temperament, desires, and emotional qualities.

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Depiction on men antagonists is also provided to balance the depiction on both female and male characters. The balance depiction of characters from both genders, i. e that antagonist characters are not only female but are also male, is supporting to examine whether or not the novels are misogynistic. Reader response criticism is helpful for the writer to investigate the source of the opponent criticisms leveled at the novels. By considering the backgrounds of the critics from whom the misogynistic assumption of the novels come from, supports the need of it to be re- examined since their understandings on the works are influenced by their competence and attitude in reading them. Reader response also helps the writer to acquire literary recycling she finds being recycled in Narnian female antagonists, and this is due to her literary competence as a reader of literary works. The writer applies Barthes’ theory on text in an attempt to examine the aspect of misogyny as a discursive product. The analysis ends in conclusion chapter, chapter V, which is done by assessing the result of the analysis and relates it to the accusation directed at the novels.

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CHAPTER IV

ANALYSIS

A. Female Antagonists in The Chronicles of Narnia and the Depiction of Male

Antagonists in Re-examining the Assumption that the Novels are Misogynistic

The female antagonists chosen as the subjects of the analysis are the six major ones namely: Queen Jadis, Lilith, Mrs. Le Fay, Susan Pevensie, Queen Prunaprismia, and The Lady of the Green Kirtle. This chapter will provide portrayals of those female characters in C. S Lewis’s The Chronicles of Narnia and the intertextual references from other works of literature which they might recycle. This analysis will show that considering there are also negative portrayals of male characters in the books, the assumption that the novels contain misogynistic elements needs to be re- examined. The references of literary allusions from which the female characters are probably recycled support the suggestion of the assumption that misogyny be re- examined. It is still questionable whether female portrayals in the novels are drawn for the purpose of intention.

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1. Depictions of Female Antagonists in The Chronicles of Narnia

Quoting Abrams in A Glossary of Literary Terms, “characters are the persons presented in a dramatic or narrative work, who are interpreted by the reader as being endowed with moral, dispositional, and emotional qualities that are expressed in what they say- the dialogue -and by what they do- the action”, it can be seen that the descriptions of female characters below are based on what they or other characters in the books say and also on what they do throughout the plot.

a. The White Witch, Queen Jadis

The First antagonist in the chronicles is Queen Jadis. She appears firstly in

The Magician’s Nephew, chronologically the first book of the chronicles. She is physically described as a beautiful and very tall woman. She is richly dressed and with a look of fierceness and pride. Being a Queen at Charn, Jadis thinks she can do whatever she wants to do to her people (turning them into stone with her magical powers for instance) and she also urges her people to do her will, “I was the Queen.

They were all my people. What else were they here for but to do my will?” (1955:

61). Digory says, “She is wonderfully brave and strong. She is what I call Queen”

(1955: 55), and she later on tells Digory proudly about her plan to conquer London,

“Do you think that I, with my beauty and magic, will not have your whole world at my feet before a year has passed?” (1955: 63). Andrew, Digory’s uncle, also thinks

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that she is physically beautiful as he keeps saying to himself, “A dem fine woman, sir, and a dem fine woman. A superb creature”, when he saw her accidentally appear in the real world, London.

Jadis is characterized as someone who is fuelled by great anger. Her magical powers make her anger worse and she uses those powers to hurt people. “This is a terrible woman”, said Polly, “She is strong enough to break my arm with one twist”.

(1955: 55), and she indeed hurts Polly by “turning in rage upon Polly and seizing her hair, at the very top of her head where it hurts most” ((1955: 63-64). Her arrival in

London puts people in great threat because of her devilish temper. She is so angry with Digory’s Aunt, Aunty Letty, for not respecting her as a queen (Jadis thinks she is still a queen in London) that she “caught Aunt Letty round her neck and the knees, raised her high above her head as if she had been no heavier than a doll, and threw her across the room” (1955: 77). She threatens Uncle Andrew not to betray her saying

“My eyes can see through walls and into the minds of men. They will be on you wherever you go. At the first sign of disobedience I will lay such spells on you that anything you sit down on will feel like red hot iron and whenever you lie in a bed there will be invisible blocks of ice at your feet” (1955: 70). And she does not make trouble around Digory’s house only for she goes out on to the street of London and later on rides a hansom on the top of it after robbing a shop. The owner of one of the shops said, “Do your duty, Constable. Hundreds and thousands of pounds’ worth she’s taken out of my shop. Look at that rope of pearls round her neck. That’s mine.

And she’s given me a black eye too, what’s more.” (1995:85)

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The story goes in relating that Jadis does not like Aslan, the Creator of Narnia, and therefore the creation of Narnia is a terrible experience for her. Everybody enjoys the songs by Aslan as he creates Narnia but Jadis and also later Uncle Andrew

“But the Witch looked as if, in a way, she understood the music better than any of them. Her mouth was shut, her lips were pressed together, and her fists were clenched. Ever since the song began she had felt that this whole world was filled with Magic different from hers and stronger. She hated it. She would have smashed that whole world, or all worlds, to pieces, if it would only stop singing” (1955: 95).

She hates Aslan so much that she throws an iron bar straight at his head as soon as she sees him. But it does not kill him, and for this reason “the Witch shrieked and ran: in a few moments she was out of sight among the trees” (1955: 100).

Jadis is also portrayed as seductive, not only physically attractive but also strongly persuasive to make others do things they do not want to do. In The

Magician’s Nephew, she appears to Digory and Polly in the garden with its peculiar and powerful fruits, in much the same way as the serpent appeared to Eve and Adam in the biblical Garden of Eden. As the serpent intended to tempt Adam and Eve to disobey God’s command, Jadis tries to tempt Digory to disobey Aslan’s order to take one of the fruits. She tempts him to take the fruit for himself (to cure his mother who has been ill for many years) instead of giving it to Aslan

“It is the apple of youth, the apple of life. I know, for I have tasted it; and I feel already such changes in myself that I know I shall never grow old or die. One bite of that apple would heal her. You have it in your pocket. We are here by ourselves and The Lion is far away. Use your magic and go back to your own world. A minute later you can be at your Mother’s bedside, giving her the fruit. Five minutes later you will see the colour coming back to her face. She will tell you the pain is gone. Soon she will tell you she feels stronger.

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Then she will fall asleep—think of that; hours of sweet natural sleep, without pain, without drugs. Next day everyone will be saying how wonderfully she has recovered. Soon she will be quite well again. All will be well again. Your home will be happy again. You will be like other boys” (1995: 150).

In the second book, The Lion, The Witch, and The Wardrobe, when Jadis appears to Edmund Pevensie she is “covered in white fur up to her throat and held a long straight golden wand in her right hand and wore a golden crown on her head.

She is described having ‘cold character’. Quoting Longman Dictionary of

Contemporary English of cold person as someone who does not have sympathy, pity, or humour, Queen Jadis is presented as having no sympathy, pity, or humour, and does not care about others but herself. Her face was white-not merely pale, but white like snow or paper or icing-sugar, except for her very red mouth. It was a beautiful face in other respects, but proud and cold and stern” and Edmund thinks she is “a great lady, taller than any woman that he had ever seen” (1950: 33). She is also characterized as an impatient woman, “Answer me, once and for all, or I shall lose my patience” (1950: 35). Mr. Tumnus tells Lucy that Jadis has crowned herself as the

Queen of Narnia and has cast a spell so the land will be “always winter and never

Christmas” (1950: 23). Lucy describes Jadis to her siblings “She is a perfectly terrible person”, said Lucy. “She calls herself the Queen of Narnia though she has no right to be queen at all, and all the Fauns and Dryads and Naiads and Dwarfs and animals-at least the good ones-simply hate her. And she can turn people into stone and do all kinds of horrible things. And she made magic so that it is always winter in Narnia- always winter, but it never gets to Christmas. And she drives about on a sledge,

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drawn by a reindeer, with her wand in her hand and a crown on her head” (1950: 41-

42). Edmund was persuaded to believe that Jadis is a “rightful Queen”, though “deep down inside him he really knew that the White Witch was bad and cruel”. Later on

Edmund sees the Witch turns Narnian creatures into stone and orders wolves to chase his siblings and kill them, and this changes his view on Jadis. He no longer thinks she is a nice person but someone who is terrible as his sister once described. In The Lion,

The Witch and the Wardrobe, Jadis later on expects Aslan’s life in exchange for

Edmund’s, and has a battle with Aslan, which is ended by the Witch’s death.

b. Mrs. Lefay

Mrs. Lefay is mentioned only in The Magician’s Nephew. She is Uncle

Andrew’s godmother who gives him the box that contains the materials later used to form the magical rings, which later drive Digory and Polly to Narnia

Uncle Andrew sat down and said,” Well, I’ll tell you all about it. Have you ever heard of old Mrs. Lefay?” ”Wasn’t she a great-aunt or something?” said Digory. “Not exactly,” said Uncle Andrew. “She was my god-mother. That’s her, there, on the wall.” (1955:21).

Uncle Andrew thinks that she is a “remarkable” woman who in fact was “one of the last mortals in the county who has fairy blood in her” (1955: 24).

The book says that Mrs. Lefay “got very queer in later life” and “did very unwise things” for which reason she was put in an asylum. As the story goes readers will find out that these “very unwise things” Mrs. Lefay did were acts of magic. The

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box she later gave to Uncle Andrew is in fact the remnant of the magic she learnt. For this reason, Mrs. Lefay is assumed to be the source of the evil that comes into Narnia, as she handed the box to Uncle Andrew, even though she asked him “to burn the box soon, unopened, with certain ceremonies”. Mrs. Lefay is suspected of being the gate by which evil came into Narnia because the rings would never have been made if she had never handed the box to Uncle Andrew

“All in good time, my boy,” said Uncle Andrew. “They let old Mrs. Lefay out before she died and I was one of the very few people whom she would allow to see her in her last illness. She had got to dislike ordinary, ignorant people, you understand. I do myself. But she and I were interested in the same sort of things. It was only a few days before her death that she told me to go to an old bureau in her house and open a secret drawer and bring her a little box that I would find there. The moment I picked up that box I could tell by the pricking in my fingers that I held some great secret in my hands. She gave it me and made me promise that as soon as she was dead I would burn it, unopened, with certain ceremonies. That promise I did not keep” (1955:23).

c. Lilith

Lilith appears in The Lion, the Witch and The Wardrobe. Though readers do not encounter any direct actions she does throughout the book, she is depicted as having an important role in the existence of evil in Narnia. Narnian inhabitants believe that she is the source of evil coming into Narnia even long before Jadis brings it. Jadis is believed to be Lilith’s offspring, whereas Adam is respected by Narnians

(the reason why children from England; Peter, Susan, Lucy, and Edmund, are highly respected in the magical land and are even crowned as Kings and Queens there). This

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is the reason that Jadis is half giant and half Jinn since Lilith is said to be from the

Jinn race

“That’s what I don’t understand, Mr. Beaver,” said Peter,” I mean isn’t the Witch herself human?” “She’d like us to believe it,” said Mr. Beaver,” and it’s on that that she bases her claim to be Queen. But she’s no Daughter of Eve. She comes of your father Adam’s” (here Mr. Beaver bowed) “your father Adam’s first wife, her they called Lilith. And she was one of the Jinn. That’s what she comes from on one side. And on the other she comes of the giants. No, no, there isn’t a drop of real human blood in the Witch.” (1950:76).

The fact that Jadis resembles Lilith’s race is said to be one of the causes of her devilish characteristics

“That’s why she’s bad all through, Mr. Beaver,” said Mrs. Beaver. “True enough, Mrs. Beaver,” replied he,” there may be two views about humans (meaning no offence to the present company). But there’s no two views about things that look like humans and aren’t” (1950:77). d. Queen Prunaprismia

Appearing only in the chronologically fourth book entitled Prince Caspian,

Queen Prunaprismia is physically described to have red hair

“Prince Caspian lived in the centre of Narnia with his uncle, Miraz, the King of Narnia, and his aunt, who had red hair and was called Queen Prunaprismia” (1951:42).

She is presented as the cause of evil times for Prince Caspian and therefore later for

Nanians for giving birth to the son that the Queen and her husband (King Miraz) have been longing to have. As soon as the Queen gives birth to a son, King Miraz immediately plans a way to get rid of the Prince to avoid him having the crown

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“He has changed his mind about you because of something that happened only two hours ago. The Queen has had a son,” says Doctor Cornelius to Prince Caspian. “I don’t see what that’s got to do with it,” said Caspian. “Don’t see!” exclaimed the Doctor. “Have all my lesson in History and Politics taught you no more than that? Listen. As long as he had no children of his own, he was willing enough that you should be King after he died. He may not have cared much about you, but he would rather you should have the throne than a stranger. Now that he has a son of his own he will want his own son to be the next King. You are in the way. He’ll clear you out of the way” (1951:57).

It was not only King Miraz alone who has hatred toward Caspian, but also the Queen.

The plan to rid of the young prince does not come from a single hand

“He also learned a great deal by using his own eyes and ears. As a little boy he had often wondered why he disliked his aunt, Queen Prunaprismia; he now saw that it was because she disliked him” (1951:54).

The writer assumes that by delivering a son, the Queen is regarded as the gateway of evil for Prince Caspian and other Narnians. e. Susan Pevensie

Susan Pevensie is the most discussed among all characters in the chronicles.

She appears as a friend of Narnia in the beginning of the stories then turns out to be no longer a friend of Narnia as she grows older, for this reason she is included as one of the antagonists of the books.

The story says that Susan Pevensie is the second of the four Pevensie children who adventured to Narnia, and she is the elder sister. She appears as a child in The

Lion, The Witch and The Wardrobe and in Prince Caspian, and as an adult in The

Horse and His Boy.

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She is described as a protagonist as a child, who is someone with excellent skill in archery. In The Lion, The Witch and The Wardrobe, she is gifted with a bow and arrows by Father Christmas and also with a magical horn to bring aid in the difficult times to come in the magical land

“Susan, Eve’s daughter,” said Father Christmas. “These are for you,” and he handed her a bow and a quiver full of arrows and a little ivory horn. “You must use the bow only in great need,” he said, “for I do not mean you to fight in the battle. It does not easily miss. And when you put this horn to your lips and blow it, then, wherever you are, I think help of some kind will come to you” (1950:100).

Susan is known for her beauty and also her archery skills as an adult. She grows into a tall and gracious woman whose black hair almost falls to her feet, and later many suitors asked her for marriage. Her beauty causes Narnia to go to war with the Calormenes as she refuses to marry Prince Rabadash, the Calormenes’ Prince.

Shasta, in The Horse and His Boy, described her as the most beautiful woman he has ever seen

“…but he had no time to think of that before the most beautiful lady he had ever seen rose from her place and threw her arms round him and kissed him” (1954:54).

In the same book, Prince Corin describes her as “an ordinary grown-up lady” who does not ride and join in the wars though she is an excellent archer (1954:144).

In Prince Caspian, Aslan says that Susan and her elder brother, Peter, have grown too old once they succeed in helping Prince Caspian X to gain his throne.

Susan does not appear in The Voyage of the Dawn Treader as the story says that she, a teenager by that time, is away accompanying her parents on a trip to America. This

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is because she is the pretty one of the family and she does not do well at schoolwork, thus, she is the best one to be taken on the trip

Grown-ups thought her the pretty one of the family and she was no good at schoolwork (though otherwise very old for her age) and Mother said she “would get far more out of a trip to America than the youngsters” (1955:8).

In the chronologically final book The Last Battle, Susan is not taken to the

New-Created Narnia, “the Real Narnia”, as the other adventurers are, since she is no longer considered to be a friend of Narnia. It is said that this is because she no longer believes in matters in the magical land since they are only memories of a game from childhood for her

“My sister Susan,” answered Peter shortly and gravely,” is no longer a friend of Narnia. “Yes,” said Eustace, “and whenever you’ve tried to get her to come and talk about Narnia or do anything about Narnia, she says,” What wonderful memories you have! Fancy you’re still thinking about all those funny games we used to play when we were children” (1956:127-128).

And this is said because she has less and less interest in the magical world as she grows older and puts more interest in grown-ups matters such as “nylons and lipstick and invitations”

“Oh Susan!” said Jill. “She’s interested in nothing nowadays except nylons and lipstick and invitations. She always was a jolly sight too keen on being grown-up”. “Grown-up, indeed,” said Lady Polly. “I wish she would grow up. She wasted all her school time wanting to be the age she is now, and she’ll waste all the rest of her life trying to stay at that age. Her whole idea is to race on to the silliest time of one’s life as quick as she can and then stop there as long as she can” (1956:128).

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f. The Lady of the Green Kirtle, also known as Emerald Witch

The Lady of the Green Kirtle is the Queen of the Underland who is present in the chronologically sixth book of the chronicles, The Silver Chair. She enslaves

Prince Rillian and also kills his mother when she is in the form of a serpent. She means to take over Narnia by enslaving Rillian the crowned Prince who is becoming

Narnia’s King.

Prince Rillian describes her as the most beautiful creature ever made. The

Prince takes Lord Drinian, Captain of the Dawn Treader, one afternoon to meet her and Drinian says she is “the most beautiful lady he had ever seen”, she is “tall and great, shining, and wrapped in a thin garment as green as poisons”, and it shocks him later as he understands that she is an evil being (1953:51-52).

The lady appears as a lovely person to Eustace, Jill, and Puddleglum when they meet her on their way to the ruined city of giants. Her voice is “as sweet as the sweetest bird’s song” and “trilling her R’s delightfully” she calls out the greeting

“Good day, t-r-r-avellers” to the three travelers (1953:72). Her laugh is the richest, most musical laugh you can imagine” (1953:73). In one part of the story she advises the three travelers to go to the House of Harfang to ask help on their journey by mentioning her name to the inhabitants (the giants). This action is actually intended to send them to the giants to be their meal at the Autumn Festival. Later on, finding

Eustace, Jill, and Puddleglum in her castle trying to save Prince Rillian, she lights a fire in the fireplace that produces a sweet and drowsy smell and she begins to play a mandolin with a “steady and monotonous thrumming” that can “get into your brain

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and your blood” (1953:138). She weaves a spell over them to make their minds fixed on her so that all of them will forget about Narnia and about everything but her, which of course fails to succeed. She later transforms herself into a great green serpent, the one that killed Rillian’s mother. The green serpent is killed by Rillian with help from the children and Puddleglum, and Narnia is not taken over by the evil power.

There are two similar characteristics that the antagonists mentioned above possess: 1. They have physical beauty, i. e considered physically beautiful women, and 2. They have magical powers and are considered as witches.

2 Portrayals of Male Antagonists in The Chronicles of Narnia in Re Examining the Chronicles as Misogynistic

a. Digory Kirke

In the eleventh chapter of The Magician’s Nephew a question is addressed to

Digory by Aslan on the presence of the evil Witch, Jadis, in Narnia

“Son of Adam,” said the Lion. “There is an evil Witch abroad in my new land of Narnia. Tell these good Beasts how she came here.” A dozen different things that he might say flashed through Digory’s mind, but he had the sense to say nothing except the exact truth. “I brought her, Aslan,” he answered in a low voice (1955: 125).

In fact it was Digory who woke Jadis from her deep sleep by ringing the bell at

Charn. He was so curious to see what would happen if someone rang the bell he and

Polly saw at Charn as they read the poem written on the pillar

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Make your choice, adventurous Stranger; Strike the bell and bide the danger, Or wonder, till it drives you mad, What would have followed if you had (1955: 50).

The writer assumes that Jadis might never have woken up and thus evil might never have come into Narnia if Digory had not struck the bell. If Jadis is depicted as the evil

Witch in the book, Digory is depicted as the one who releases the evil Witch into

Narnia.

b. Uncle Andrew

Uncle Andrew as the maker of the rings through his experiment also plays an important role in bringing evil into the magical land. Just as Digory is so curious to what might happen if someone rings the bell, Uncle Andrew is also so curious about the things inside the box that Mrs. Le Fay handed to him before her death. So curious is he that he ignores Mrs. Le Fay’s words to burn the box as soon as he takes it from the secret drawer of a bureau. Furthermore Uncle Andrew declares to Digory that he, like his Aunt has an interest in magic and magical things

“She had got to dislike ordinary, ignorant people, you understand. I do myself. But she and I were interested in the same sort of things” (1955: 22).

Thus the text shows us that the character of Uncle Andrew is no better than Mrs. Le

Fay. She learnt magic and later collects the magical materials in the box, and later on

Uncle Andrew continues this magic by his experiment with the rings that bring

Digory and Polly to the Narnian world.

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c. Edmund Pevensie

One male who plays an antagonist role in The Lion, The Witch and the

Wardrobe is Edmund Pevensie, one of the Pevensies who later rule as Kings and

Queens in Narnia. He is willing to betray his siblings for Turkish Delight at his first encounter with the White Witch

After offering a drink to Edmund, “It is dull, Son of Adam, to drink without eating,” said the Queen presently. “What would you like best to eat?” “Turkish Delight, please, your Majesty,” said Edmund. While he was eating the Queen kept asking him questions. At first Edmund tried to remember that it is rude to speak with one’s mouth full, but soon he forgot about this and thought only of trying to shovel down as much Turkish Delight as he could, and the more he ate the more he wanted to eat, and he never asked himself why the Queen should be so inquisitive (1950: 36-37).

The Queen later exploits Edmund’s uncontrolled desire for Turkish Delight by promising that he will get more later after he brings the other three Pevensies to her palace and she says she will even make him Prince of Narnia.

From the very beginning of the chronologically second book, Edmund is already depicted as not liking his siblings. He hates Susan for playing ‘mother’ and telling him to do things. He lies to Peter and Susan to bully Lucy telling them that he was pretending to enter Narnia through the wardrobe with Lucy while in fact he was really there. The writer thinks that Edmund’s heart is already corrupted from the beginning of the story so that the White Witch sees that as a chance to exploit him in order to deny the prophesy of Sons of Adam and Daughters of Eve sitting on the thrones at Cair Paravel as rulers of Narnia. Readers later on know from the story that

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Aslan has to sacrifice his life to save Edmund from the Witch, and he is saved indeed which changes him into a better person.

d. Rabadash and Tisroc

Rabadash is the Prince of the Calormenes whose hand in marriage is refused by Queen Susan in The Horse and His Boy. So full of pride is he that he cannot take

Susan’s refusal and he prepares a war against Narnia. As a Son and a Prince,

Rabadash requests permission and suggestions from Tisroc as his Father and the King of Calormenes on to his plan to attack Narnia. The devilish characteristics of both appear from their conversation one to the other

“I desire and propose, O my father,” said Rabadash, “that you immediately call out your invincible armies and invade the thrice-accursed land of Narnia and waste it with fire and sword and add it to your illimitable empire, killing their High King and all of his blood except the queen Susan. For I must have her as my wife, though she shall learn a sharp lesson first.”

“Understand, O my son,” said the Tisroc, “that no words you can speak will move to me to open war against Narnia.” “If you are not my father, O ever-living Tisroc,” said the Prince, grinding his teeth, “I should say that was the word of coward.” “And if you were not my son, O most inflammable Rabadash,” replied his father, “your life would be short and your hath slow when you had said it.” (1954: 90-91).

After long discussion of the plan Tisroc finally allows Rabadash to attack Narnia pretending that he cares about Rabadash’s pride. He cares for nothing but the glory and the strength of his own throne. The writer sees that as a father Tisroc manipulates

Rabadash and uses him the way Jadis uses people for her own sake

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“That is why you will never think even in your secret heart that I am the hardest hearted of fathers who thus send my first-born son on an errand so likely to be his death.” “I also love none of these things in comparison with the glory and strength of my throne. If the Prince succeeded we have Archenland, and perhaps hereafter Narnia. If he fails – I have eighteen other sons.” (1954: 97-98).

As a Prince Rabadash treats those from a lower position wickedly which is clear the way he responses to Vizier’s suggestion at his insistence on having Susan as his bride

“But I want her,” cried the Prince. “I must have her. I shall die if I do not get her – false, proud, black-hearted daughter of a dog that she is! I cannot sleep and my food has no favour and my eyes are darkened because of her beauty. I must have the barbarian queen.”

“How well it was said by a gifted poet,” observed the Vizier, raising his face (in a somewhat dusty condition) from the carpet, “that deep draughts from the fountain of reason are desirable in order to extinguish the fire of youthful love.”

This seemed to exasperate the Prince. “Dog,” he shouted, directing a series of well-aimed kicks at the hindquarters of the Vizier, “do not dare to quote poets to me. I have had maxims and verses flung at me all day and I can endure them no more.” (1954: 89-90).

e. King Miraz

King Miraz appears in Prince Caspian as someone with hunger for power, wealth, and position. He raises Caspian as a Lord Protector after his father’s death.

Caspian later learn that Miraz in fact killed his father so that he could have the throne.

He also designs a scene to get rid of the lords who are loyal to the late King so that no one will hinder him from ruling the country

And then, one by one, all the great lords who had known your father, died or disappeared. Not by accident, either. Miraz weeded them out. Belisar and

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Uvilas were shot with arrows on a hunting party: by chance, it was pretended. All the great houses of the Passarids he sent to fight giants on the Nothern frontier till one by one they fell. Arlian and Eriman and a dozen more he executed for treason on a false charge. The two brothers of Beaversdam he shut up as madmen. And finally he persuaded the seven noble lords, who alone among all the Telmarines did not fear the sea, to sail away and look for new lands beyond the Eastern Ocean, and, as he intended, they never came back (1951: 56-57).

It is clear then that Miraz and his Queen Prunaprismia support one another in planning to kill Caspian once their son is born since neither is willing to pass the throne to Caspian later on.

f. Eustace Scrubb

Eustace, in The Voyage of the Dawn Treader, undergoes similar experiences to as Edmund in The Lion, The Witch and The Wardrobe in that he is depicted as an antagonist before becoming a protagonist and later helps to find the long missing

Narnian Prince Rillian. He is a selfish and egocentric boy at the beginning of the story and he likes to bully his two cousins, Edmund and Lucy, who spend time at his house as their parents are away in America. He later experiences being a dragon after greedily desiring the treasures in the cave of a dragon which was killed by Caspian.

As soon as the dragon dies, Eustace discovers a hoard in its cave and greedily loads his pockets with diamonds and puts a large diamond bracelet on his elbow.

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g. Shift the Ape

The Last Battle as the final of the chronicles and the climax of the Narnian stories tells of the wicked male ape, Shift, who so desires position and possession that he designs a plan to create a false Aslan. He discovers a lion skin in the river and immediately designs the plan and persuades his “dim-witted” donkey friend, Puzzle to follow it. He successively persuades Puzzle convincing the donkey that he cannot think as sharply as he does, and this plot of imitating Aslan brings doom to Narnia and its inhabitants.

Narnian creatures are convinced that Puzzle who is covered with the lion’s skin is the real Aslan so that they obey all the words of Shift, playing as Aslan’s spokes person, and to provide him with the things he wants. Worst of all is that the

Narnian creatures do not react when Shift tells them that Aslan requires them to work for the Calormenes. Shift’s corrupted agenda really brings Narnia to its end before Jill and her friends discover Puzzle as the fake Aslan and the real Aslan finally shows up.

By finding that there are also male characters portrayed negatively in the stories, it is clear that the antagonist characters in the Narnian chronicles are not only females. Thus, it is questionable whether the novels are misogynistic with regard to the textual balance of the novels as they have both male and female antagonists.

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B. Re-examining the Assumption that The Chronicles of Narnia are Misogynistic by Looking at the Female Antagonists as the Products of Literary Recycling

1. Literary allusions recycled in The Chronicles’ female antagonists

In The Magical Worlds of Narnia, David Colbert states that one of the writers whose works mostly inspired Lewis was Edith Nesbit, and the writer thinks this statement is reliable since Lewis also told his readers in his biographical novels

Surprised by Joy, “Of the books that I read this time very few have quite faded memory...much better than either of these was E. Nesbit’s trilogy, Five Children and

It, The Phoenix and the Wishing Carpet, and The Amulet (Lewis, C. S, 1955: 14). The writer finds references to Nesbit’s The Aunt and Amabel reproduced in Lewis’s

Narnia. In The Magical Worlds of Narnia, David Colbert states that one of the writers whose works mostly inspired Lewis was Edith Nesbit.

There was a girl named Amabel in Nesbit’s The Aunt and Amabel. She was looking for something to read and “a book with a velvet cover” was the only thing she could find. It was a schedule for trains. As she opened its pages she read on one of them a place called “Whenever-you-want-to-go” by a train at

“BigWardrobeInEmptyRoom” station

Amabel opened a door of a wardrobe and later found amazing crystal caves in the shape of a train station in it. It was bright inside with the shining stars on its sky, and of course it was not a common scene in a ticket ordering office, and there was a full moon on the top of the clock (2005:29) (Translation Mine).

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In The Lion, The Witch and The Wardrobe, Lucy Pevensie also stepped into the magical wardrobe on an unusual evening and was attracted by the light of the lamp post where she later experienced her first encounter with Mr. Tumnus. Nesbit’s

Amabel in The Aunt and Amabel is not the only aspect recycled in Lewis’s The

Chronicles of Narnia since other characters also elude resemblances to aspects of other works of literature.

a. Jadis

Lewis is said to cite the word “Jadis” from a French medieval poem by Francois

Villon entitled “Ballades des Dames du Temps Jadis” (translated by Dante Gabriel

Rosetti as Ballad of Dead Ladies). Female figures with extraordinary beauties are also mentioned at the first stanza

Tell me now in what hidden way is Lady Flora the lovely Roman? Where’s Hipparchia, and where is Thais, Neither of them the fairer woman? Where is Echo, behold of no man, Only heard on river and mere,- She whose beauty was more than human?… But where are the snows of yester-year? (http://www.brindin.com/pfvildi3.htm)

And a White Queen, who is like Jadis in The Chronicles of Narnia, appear in three other stanzas of the poem

Where’s Heloise, the learned nun, For whose sake Abeillard, I ween, Lost manhood and put priesthood on?

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(From Love he won such dule and teen!) And where, I pray you, is the Queen Who willed that Burden should steer Sewed in a sack’s mouth down the Seine?… But where are the snows of yester-year?

White Queen Blanche, like a queen of lilies, With a voice like any mermaid, - Bertha Broad foot, Beatrice, Alice, And Ermengarde the lady of Maine, - And that good Joan whom Englishmen At Rouen doomed and burned her there, - Mother of God, where are they then? ... But where are the snows of yester-year?

Nay, never ask this week, fair lord, Where they are gone, nor yet this year, Save with this much for an overword, - But where are the snows of yester-year?

Jadis’s encounter with Edmund in the The Lion, The Witch and The Wardrobe echoes Hans Christian Andersen's The Snow Queen. Andersen’s Snow Queen tempted Kay to obey her and then took him to an empty and cold place, in the same way that Lewis’s Jadis did to Edmund Pevensie

In the square some of the more adventuresome boys would tie their little sleds on behind the farmer's carts, to be pulled along for quite a distance. It was wonderful sport. While the fun was at its height, a big sleigh drove up. It was painted entirely white, and the driver wore a white, shaggy fur cloak and a white, shaggy cap.

All of a sudden the curtain of snow parted, and the big sleigh stopped and the driver stood up. The fur coat and the cap were made of snow, and it was a woman, tall and slender and blinding white-she was the Snow Queen herself (http://www.andersen.sdu.dk/vaerk/hersholt/TheSnowQueen_e.html)

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The story later on tells that the boy, Kay, magically prey to the Queen’s tempting words followed her in the same way Edmund responded to Jadis

"We have made good time," she said. "Is it possible that you tremble from cold? Crawl under my bear coat." She took him up in the sleigh beside her, and as she wrapped the fur about him he felt as if he were sinking into a snowdrift.

"Are you still cold?" she asked, and kissed him on the forehead. Brer-r-r. That kiss was colder than ice. He felt it right down to his heart, half of which was already an icy lump. He felt as if he were dying, but only for a moment. Then he felt quite comfortable, and no longer noticed the cold.

"My sled! Don't forget my sled!" It was the only thing he thought of. They tied it to one of the white hens, which flew along after them with the sled on its back. The Snow Queen kissed Kay once more, and then he forgot little Gerda, and Grandmother, and all the others at home.

"You won't get any more kisses now," she said, "or else I should kiss you to death." Kay looked at her. She was so beautiful! A cleverer and prettier face he could not imagine. She no longer seemed to be made of ice, as she had seemed when she sat outside his window and beckoned to him. In his eyes she was perfect, and he was not at all afraid.

Jadis also resembles another female figure from Andersen’s other story that is the Ice

Maiden

It is a wondrous palace of crystal, and in its dwells the Ice Maiden, queen of the glaciers. She, the slayer, the crusher, is half the mighty ruler of the rivers, half a child of the air.

….she sails on a light pine twig over the foaming river below, and leaps lightly from one rock to another, with her long, snow-white hair fluttering about her, and her blue-green robe glistening like the water in the deep Swiss lakes (http://www.andersen.sdu.dk/vaerk/hersholt/TheIceMaiden_e.html)

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Colbert states in his book that Lewis once explained that Jadis is the Witch,

Circe, in Homer’s Odyssey (2005:34). “Circe, daughter of the sun, was a sorceress best known for her ability to turn men into animals with her magic wand. The daughter of Perse and Helios, and whose daughter is Aega (goddess of the sun) she is remembered for her encounter with Odysseus and his men and renowned for her knowledge of magic and poisonous herbs”. Jadis recycles Circe in the sense that both are depicted to have magical powers and both turn men into animals (by Circe) or stone (by Jadis).

Jadis’s appearance in London, in The Magician’s Nephew, echoes Nesbit’s

Queen Babylonian in The Story of the Amulet.

Queen Babylonia surprisingly appeared in London to meet the characters from the books she had read. This produced chaos as she tried to speak to people she met on the street although none of them understood her strange language 'Good gracious!' cried Anthea, 'what's that?' The loud hum of many voices came through the open window. Words could be distinguished. ''Ere's a guy!' This ain't November. That ain't a guy. It's a ballet lady, that's what it is.' Not it--it's a bloomin' looney, I tell you.' Then came a clear voice that they knew. 'Retire, slaves!' it said. 'What's she a saying of?' cried a dozen voices. 'Some blamed foreign lingo,' one voice replied. The children rushed to the door. A crowd was on the road and pavement. In the middle of the crowd, plainly to be seen from the top of the steps, were the beautiful face and bright veil of the Babylonian Queen. 'Jimminy!' cried Robert, and ran down the steps, 'here she is!'

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And this scene is echoed in The Magician’s Nephew when Digory saw from the window of his house crow was coming to his house

“Hullo! What’s that?” thought Digory. “Fire-engine? I wonder what house is on fire. Great Scott, it’s coming here. Why, it’s Her.” First the hansom. There was no one in the driver’s seat. On the roof-not sitting, but standing on the roof—swaying with superb balance as it came at full speed round the corner with one wheel in the air-was Jadis the Queen of Queens and the Terror of Charn (1955:82).

Moreover, both Jadis and Queen Babylonia stole a quantity of jewellery, Nesbit’s

Queen Babylonia from museums, claiming that they belonged to her-thousands years ago, and Lewis’s Jadis from shops, claiming that she deserved them being a Queen.

b. Lilith

Mr. Beaver in The Lion, The Witch and The Wardrobe told the Pevensie children that Lilith, from whom Jadis was descended, is “your father’s first wife”(1950:76). Lilith comes from ancient Mesopotamia mythology and is said to be a devil that tempts people and kidnaps children. This story passes on to Judaism and

Christianity and is echoed for many years throughout literature. Dante described in one of his poems, For Lilith

Of Adam's first wife, Lilith, it is told ... (The witch he loved before the gift of Eve,) ... That, ere the snake's, her sweet tongue could deceive, And her enchanted hair was the first gold. And still she sits, young while the earth is old, ... And, subtly of herself contemplative, ... Draws men to watch the bright net she can weave, Till heart and body and life are in its hold.

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The rose and poppy are her flowers; for where ... Is he not found, O Lilith, whom shed scent And soft-shed kisses and soft sleep shall snare? ... Lo! as that youth's eyes burned at thine, so went ... Thy spell through him, and left his straight neck bent, And round his heart one strangling golden hair.

Lewis was aware of the numbers of works of literature telling stories of the relationships between Lilith and Adam thus absorbed it into one of his own stories.

However, throughout centuries and in all the stories that existed, Lilith is described as a cruel, female creature disobedient either to Adam or God, and also evil. Colbert cited Robert Graves’s Raphael Patai, “God created Lilith, the first woman, the same way He created Adam, but by dirt instead of pure dust He used to create Adam”.

Another way to describe Lilith is to speak of her not having human blood as Mr.

Beaver said, ”She was one of the Jinn. There isn’t a drop of real human blood in the

Witch”.

c. Mrs. Le Fay

Numbers of criticisms on Lewis and his works show that Lewis used

Arthurian symbols in his space trilogy; Parelandra, Out of this Silent Planet, and

That Hideous Strength. Critics believe this as the legendary Arthurian sorcerer Merlin comes into the stories. In a book entitled The Discarded Image, his collection of lecturing materials given at Cambridge, Lewis explain images of medieval and renaissance figures and their influence on one another in English literature (1964).

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One of the works that retell the Arthurian legend is A Connecticut Yankee in King

Arthur’s Court by Mark Twain whose works were consumed by Lewis during his early age (!955: 13). This convinces the writer to believe that Lewis had good knowledge of the legendary King Arthur, from which story Mrs. Le Fay in The

Magician’s Nephew is recycled.

Colbert explains in The Magical World of Narnia the name “fay” is a symbol of magical power as it refers to “fairy” (2001:78). Morgan le Fay is presented as

Arthur’s half sister, the daughter of Arthur’s mother from the Duke of Cornwall in

Malory's Morte d'Arthur, she is often shown to be his enemy. This is a reason that

Uncle Andrew’s aunt, Mrs. Le Fay is assumed to be called after the legendary

Morgan Le Fay. Moreover, both are described as women with magical powers; Mrs.

Le Fay who learnt magic and later created the box, and Morgan Le Fay who uses magic to fight against her half sister, and even tries to kill Arthur by sending him a cloak on which she has cast a spell to burn him as he puts it on (2001:78-79). In recalling the Arthurian Morgan Le Fay through his Mrs. Le Fay means furthermore that Lewis also pointed to the Greek Medea since Medea is also said to have magical powers which she uses on a cloak which will burn anyone who puts it on (Ibid.).

d.. Queen Prunaprismia

The writer, as a reader of the Bible, discovers resemblances that Queen

Prunaprismia recycles from several female characters in It. There is a story from the book of Samuel in the Bible, New King James Version, about a woman who was

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‘threatened’ by her rival, her husband’s second wife, for being assumed to be unable to bear a child. This woman is the biblical Hannah and the rival is Penninah

Now there was a certain man of Ramathaim Zophim, of the mountains of Ephraim, and his name was Elkanah the son of Tohu, the son of Zuph, an Ephraimite. And he had two wives: the name of one was Hannah, and the name of the other Penninah. Penninah had children, but Hannah had no children (1982:147).

The story continues saying that once Elkanah found Hannah weeping and refusing to eat her food, and the reason is because her rival, Penninah, provoked her for having no children

Then Elkanah her husband said to her, “Hannah, why do you weep? Why do you not eat? And what is your heart grieved? Am I not better to you than ten sons? (Ibid.)

Based on the scene from the Bible, it is seen that the portrayals of Penninah’s pregnancy are retold through Queen Prunaprismia’s pregnancy. Another story from the Bible which has the same illustration of a pregnancy that turns to be a threat or seems to be a threat can be found in the book of Genesis when it tells of Sarai’s grief over her maid’s Hagar, whose pregnancy provoked her

And now Sarai, Abram’s wife, had borne him no children. And she had an Egyptian maid servant whose name was Hagar. Then Sarai took Hagar, her maid, and gave her to Abram that she would bear child for him. And so Abram went in to Hagar, and she conceived. And when she saw that she had conceived, her mistress became despised in her eyes (Ibid.)

A similar depiction is found also in the book of Exodus when Moses’s mother gave birth to him, and later Moses led his people went out of Egypt which was a threat for the Egyptians. Regardless of the issue of “right” or “wrong” in the story, somehow the fact that Moses’ mother, the daughter of Levi, was pregnant was considered

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threatening or evil by the Egyptians. Earlier scene of threatening pregnancy can also be found in the story of the mother of Greek’s legendary Hercules. She was a mortal wedded to the high God, Zeus whose pregnancy threatened Hera, Zeus’ first wife.

The idea of the female body as a gate of ‘evil’ or ‘threats’ is recycled in

Lewis’s Prince Caspian as can be seen from the points explained above, and the writer believes that this is as a result of Lewis’ knowledge of the Biblical stories as a

Christian writer.

e. Susan Pevensie

The Horse and His Boy presents a scene when Narnia has to go to war to fight against the Calormenes because Queen Susan, Susan Pevensie as an adult, rejects the hand of Prince Rabadash in marriage. This story reminds the writer of Helen of Troy who caused a war between Troy and Sparta for hideously running away from her husband, the King of Sparta, and running away with her beloved, Paris the Prince of

Troy. Both Susan and Helen are described as having extraordinary beauty which makes every man want to have them.

In The Magician’s Nephew, Mrs. Lefay handed a box to Uncle Andrew which he latter refused to burn. Critics see this scene as mostly related to the Greek myth of

Pandora. According to the myth of Pandora, the first created woman was so inquisitive that one day, hardly able to control her curiosity she opened the box the gods had entrusted to her to hand over to Prometheus. She releases sorrow, hatred, jealousy, cruelty, sickness, and death from the box. Pandora, as Colbert narrates in

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The Magical Worlds of Narnia, despairingly looked into the box and found hope was still there and she let it out also so that people on earth may have hope amidst the sufferings she had caused (2001: 78-80). The writer sees that the hope from

Pandora’s box is recycled through Susan Pevensie.

That Susan was not one of those taken to the New-Created Narnia is meant to give Hope to the world’s inhabitants, represented by the people in England, since she also had experiences in Narnia. Does not Aslan say to the children that He is present also in England but in different forms with different names? And Susan is chosen since she is an adult woman (she is 21 by the time of the accident that takes her siblings back to Narnia) to depict regeneration – here meaning the regeneration of understanding about Narnia.

f. The Lady of the Green Kirtle

In a poem entitled Vitrea Circe, one of his collections, Lewis narrates

The name of Circe Is wrongly branded

(Though Homer’s verses Portrayed her right)

By heavy-handed And moral persons Misunderstanding Her danger bright (1964:25)

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Circe was a Greek enchantress whose enchanting powers are retold in literature.

Homer in Odessey says

…….Presently they reached the gates of the goddess's house, and as they stood there they could hear Circe within, singing most beautifully as she worked at her loom, making a web so fine, so soft, and of such dazzling colours as no one but a goddess could weave. On this Polites, whom I valued and trusted more than any other of my men, said, 'There is some one inside working at a loom and singing most beautifully; the whole place resounds with it, let us call her and see whether she is woman or goddess.'

The Greek’s Circe is undoubtedly familiar to Lewis as a Professor of Renaissance and

Medieval literature, though in his Vitrea he retells her differently to Homer, in that she failed to put Odessey on her silver chair and cast a spell on him (stanzas6 and 7)

Then flashed above her (Poor kneeling Circe, Her snares discovered) The hero’s blade. She lay at mercy, His slave, his lover, Forgot her curses, Bushed like a maid.

She’d none to warn her. He hacked and twisted Her hedge so thorny; It let him pass. Her awful distance, Her vestal scornings, Were bright as crystals, They broke like glass. (Ibid.)

In his Odessey Homer tells the readers that later Circe invited Odessey to come into her house and she asked him to sit on a beautifully decorated silver chair, and mixed

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something in the glass she later handed to him after casting a spell on it. Odessey later took a sip of it and the spell worked over him. This scene is recycled exactly in the scene of the Lady of the Green Kirtle in Lewis’s The Silver Chair who did enslave Prince Rillian with magic by putting him regularly on her silver chair that he might forget everything about himself and his past. Circe and the Lady of the Green

Kirtle are both depicted as beautiful female creatures who have magical powers.

Lewis’s Green Kirtle is illustrated as a serpent disguised in the form of a woman. During the effort to free Prince Rillian from the Emerald Witch’s spell, Jill,

Eustace and Puddleglum later witnessed her changing into her original form, a green serpent

The long green train of her skirt thickened and grew solid, and seemed to be all one piece with the writhing green pillar was curving and swaying as if it had no joints, or else were all joints. Her head was thrown far back and while her nose grew longer and longer, every other part of her face seemed to disappear, except her eyes. Huge flaming eyes they were now, without bows or lashes. All this takes time to write down; it happened so quickly that there was only just time to see it. Long before there was time to do anything, the change was complete, and the great serpent which the Witch had become, green as poison, thick as Jill’s waist, had flung two or three coils of its loathsome body round the Prince’s legs (1`953:1`46).

Presenting the Witch, the Lady of the Green Kirtle, in her other form, a serpent, recalls the Biblical scene of the serpent in Eden and also echoes other female literary figures who are closely related to the creature, Medusa for instance.

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2. Images of Women as Literary Recycling in Re-examining the Assumption that

The Chronicles of Narnia are Misogynistic

As a Professor of Renaissance and Medieval literature and also as a writer, it is clear that Lewis is influenced by images of women from ancient to pre Christian era. And these are reproduced in his works, including his seven books of the chronicles. Thus to view antagonists female characters in the chronicles as deliberately misogynist is unreliable since those antagonists are possibly the results of the literary recycling that Lewis consciously and unconsciously brought into his books.

One source that undoubtedly influenced his Narnian books, and many other works of literature, is the Bible. The many books on Christian theology that Lewis wrote, Mere Christianity one among the well known ones, convinces the writer that

Lewis has knowledge on the Bible The numbers of biblical symbols the writer finds in the chronicles convinces her that the images of women in the books are also influenced by the Bible.

a. Eve and Lilith on the Image of Women

The first Book of the Bible, the book of Genesis (its opening chapters particularly) narrates the story of the creation of man. It says that God created man in

His own image and was given authority over all other living creatures. The created man was given task to fulfil the earth with his descendants, and therefore a woman was created for him by taking one of his ribs since no other creatures was considered

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equal to him. The story continues to the scene where this woman turned out to be rebellious and disobedient to God’s command, following the serpent who tempted her to eat the forbidden fruit which later caused her and her husband, Adam, to be banished from the garden of Eden.

This image of Eve as an obedient woman has been represented continuously in art, including works of literature. As the story of creation has been passed from generation to generation, it plays an influential role in constructing the so-called

“gender ideology” and the attitude toward women. Many researches have discovered that this story has given men in general the “authority” to control and restrict women’s involvement in various grounds such as the economical, political, religious, social, and also including the sexual. The image of Eve as the source of all sufferings, as she was tempted by the serpent, is defined as the image of women in Western civilization and governs depiction on antagonist females in general.

The writer finds that an explanation of Lady Natura, a personified literary image from Renaissance and Medieval Literature, written by Lewis in his The

Discarded Image supports the promulgation of the idea of women as subordinate to men. Lewis states that Lady Natura is believed to originally come from the mythological Mother Earth. The earth is personified as Mother whereas the sky is personified as Father

The marriage relation between Father Sky (and Dyaus) and Mother Earth forces itself on the imagination. He is on top, she lies under him. He does things to her (shines and, more important, rains upon her, into her): out of her, in response, come forth the crops-just as calves come out of cows or babies out of wives (1964:37).

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Contradictory to the Biblical Eve as the first wife of Adam, a woman named

Lilith is said to be Adam’s first wife according to Midrashic literature. Once Lilith rebelled against God and abandoned him then God created Eve to replace her. This is found in an important 13th century Kabbalah text known as ‘The Book of Splendour’ which was written by the Spaniard Moses de Leon (c. 1240-1305)

At the same time Jehovah created Adam, he created a woman, Lilith, who like Adam was taken from the earth. She was given to Adam as his wife. But there was a dispute between them about a matter that when it came before the judges had to be discussed behind closed doors. She spoke the unspeakable name of Jehovah and vanished (http://www.witcombe.sbc.edu/eve_women/7evelilith.html).

Lilith was present as an obedient woman like Eve, and is represented as a powerfully sexual woman. It is said that her primary role is “a strangler of children” and a

“seducer of men”. Liilith’s demonic character was later increased in the Kabbalah by making her partner of “Samael” (i. e Satan) and also the Queen of evil forces.

Eve and Lilith are represented as the personification of female rebellious will in general and its sexuality in particular.

b. Serpent and the Image of Women

The serpent is one of the oldest symbols of female power since woman and serpent were considered holy in preclassic Aegean civilization

(http://www.reptilianagenda.com/research/r0731016.shtm). This is for the reason that

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both seemed to “embody” the power of life. Serpents are able to renew themselves by shedding old skins while women convey life by giving birth to children.

In the Book of Genesis the serpent is presented as evil as is said for a simple reason. It is the Knowledge which is powerful to bring oneself to an understanding, and is even more powerful as knowledge of oneself

(http://www.scribd.com/doc/80515/serpent_code). It was when the Lady of the Green

Kirtle in The Silver Chair changed into a serpent that Prince Rillian was awakened from the spell and realizes that he was the Prince of Narnia once under the spell of the

Lady of the Green Kirtle and that she was the same being who murdered his mother.

c. Witchcraft and the Image of Women

The Bible as a so-called source of civilization provides scenes of witchcraft.

Deuteronomy 18: 10-12 says

There shall not be found among you any one that ... uses divination, or an observer of times, or an enchanter, or a witch, or a charmer, or a consulter with familiar spirits, or a wizard, or a necromancer, for all that do these things are an abomination unto the Lord.

The Book of Samuel (I Samuel 28) describes a vivid practice of witchcraft that is of the woman who divined using the Ob. It narrates how

Saul fought against the Philistines, but firstly conducted a visit to the woman in Ein Dor. She raised up the prophet Samuel from death. There are scholars,

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though, who claim that the woman merely deceived Saul to believe having conversation with Samuel, yet this does not change the approach in understanding the story: “witchcraft in ancient times, and the role of women in it” (http://faculty.biu.ac.il/~barilm/witches.html).

Another woman in the Bible who is told to have an act of witchcraft is

Jezebel, the daughter of the King of Sidon. II Kings 9:22 says

Now it happened, when Joram saw Jehu, that he said “Is it peace, Jehu?” So he answered, “What peace, as long as the harlotries of your mother Jezebel and her witchcraft are so many?” (1982:204).

A prohibition against the existence of witches on the one hand, and a prohibition against practicing witchcraft on the other are also found in the

Torah. Not only is the punishment to result in death, but it also states an emphasis on the woman who is the witch, the Hebrew term used being

“mekasefa”, the female form ((http://faculty.biu.ac.il/~barilm/witches.html).

The connection of women to witchcraft, as depicted in the Bible and the Torah) is continuously re-reproduced through multiple works of art that women are closely related to witchcraft, thus women are witches, in countless numbers of works of literature.

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The images of women as a seducer, a witch, and as a source of evil have been recycled throughout years including in the literary world and have had undeniable influences. These images were also present to C. S Lewis as the producer of the chronicles as he was a consumer of previous texts from which he probably experienced the encounter with them. These recycled images of women in the female antagonists in The Chronicles of Narnia in the way they are depicted as explained above supports that text is nor only readable but also writerly.

It is undeniable that a writer’s ideology or perspective is directly and indirectly reflected through the works s(he) produces. However it is hard to present objective proof of an author’s ideology since readers’ competence plays an important role in interpreting the literary works; hence interpretation is often inevitably subjective. Referring to Susan Pevensie, the most debated female character in the chronicles, and whose description eventually used as the departure to address the accusation that either Lewis or his chronicles provide ‘hatred toward women’, the writer assumes that Susan is not expelled from Narnia as she grows up and is less interested in the magical world. Aslan, the Creator of Narnia, said, “Once a King or

Queen in Narnia will always be the King or Queen f Narnia”. The writer suggests that

Susan was not taken to the New Created Narnia in the final book, The Last Battle in order to involve readers in enhancing interpretation of her description. However, the lines from the text highlight that Susan was still involved in the events dealt with

Narnia; somehow her story is not finished yet.

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CHAPTER V

CONCLUSION

Quoting one of Merriam Webster’s Encyclopaedia of Literature on definition of Text that it is “something written or spoken considered as an object to be examined or deconstructed”, the writer of this thesis views that attitude towards women in literature is one of Texts that has been discussed unceasingly. Novels are one of the media from which people absorb ideas, including images of women, and children books particularly shape readers’ minds in a very early stage. However, the Text on attitude toward women in literature has been influenced by one writer to another as it is recycled from time to time. Moreover, it is not the writers themselves who have roles in the reproducing of a Text since the readers are also involved in doing so.

The fact that both readers as well as influences on the authors participate in investigating any claims credited to any authors of literary works helps the writer to re examine the accusation that C. S Lewis’s The Chronicles of Narnia are misogynistic. It is undeniable that Lewis’s ideology or perspective, as the writer of the novels, is directly and indirectly brought into his works However it is hard to trace original and objective proof of his ideology, on the issue of misogyny in particular, since readers’ competence plays an important role in enhancing the meaning of the works, hence interpretation is often inevitably subjective. A textual study narrows

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subjective interpretation with regard to its ability to provide textual similarities or influences. Intertextual study, which is done in this thesis, has shown intertextual influences in his chronicles.

The research done so far has managed to show that it is worth re evaluating the accusation that mysogny is displayed throughout Lewis’s The Chronicles of

Narnia as the novels depict antagonist male characters also, and because it has highlighted the allusions to female figures in other works of literature. The result of the study shows that numbers of characteristics from literary female figures produced before The Chronicles of Narnia are present in those very novels. The resonances come from literary works Lewis knew well, as he was a reader before becoming a writer. His competence in literary works is also supported by his profession as a lecturer at Cambridge University in Renaissance and Medieval literature. His knowledge of mythology and of ancient and medieval literatures is recycled in the way female figures in his chronicles are depicted, this includes his competence of the

Bible.

The analysis has shown that the texts display a balanced depiction of female and male antagonist. The fact that there are female protagonists in the novels who contribute essential roles in setting wrong to good in Narnia strengthens the point that the assumption that the novels are misogynistic needs to be re evaluated.

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Lewis was purposely drawing on classical, medieval and renaissance ideas.

He believed in the wisdom of the pre-modern world, and Narnia was his attempt to commend the values of a lost age. Although it is fair to say that The Chronicles of

Narnia tend to trade in old-fashioned stereotypes about males being stronger and braver, it is an exaggeration to say that Narnia is ‘monumentally disparaging of girls’ as critics announced. Some have strong roles – Lucy and Jill Pole, for example, are two of the most heroic characters in the series. Regarding Lewis as a consumer of previous literary works, it is significant to note the possibility that he absorbed ideas on depiction of women from those works, and it is important to remember that Lewis is a man of his time. Born into a conservative Anglican family in Ulster in 1898, and being formed his entire working life in the masculine, reactionary environments of

Oxford and Cambridge Universities, it is almost justifiable that he would reflect this to some extent. All of us are products of our age, and every writer – including his critical opponents – brings something of the values, attitudes and concerns of the day to his or her work. So, while it is fair to draw attention to aspects of the Narnia stories which, to some critics, seem old-fashioned and to reflect subjective prejudices, misogyny in particular, it is unfair to condemn Lewis for not sharing our 21st century sensibilities. His chronologically final book, The Last Battle, where majority of male characters are antagonists (in terms of the chaos, sufferings, and battles they resulted) was in fact awarded the Carniege Medal. This, again, re evaluates the accusation that the novels are “disparaging of women” since being the most respected book of the chronicles, The Last Battle provide the male antagonist that brought Narnia to its

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destruction. However, interpretations of Lewis’s works will undoubtedly undergo continuous changes as they are absorbed by different readers from different eras.

Drawing single interpretation on the way females are characterized in The

Chronicles of Narnia will enable the novels to communicate to their consumers. The writer believes that any works of art will communicate to their consumers in association to their personal needs, and so do the Narnia chronicles. Therefore, to give a single closed meaning to a work of literature is possible to hinder the artistic function of it. Referring to the argument on the appropriateness of the novels to use in classes, the writer of this thesis sees no inappropriateness that obstacles the books as classes’ materials. In fact the novels are effective in communicating and investigating gender role among students.

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Bressler, Charles. E. Literary Criticism, an Introduction to Theory and Practice. New Jersey: Prentice-Hall, Inc, 1999.

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Fowler, Roger. ed. Modern Critical Terms. London and New York: Routledge and Keagan Paul, 1987.

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Lewis, C. S. Prince Caspian. London: HarperCollins, 1951.

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______. The Last Battle. London: HarperCollins, 1956.

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______. The Discarded Image. London: Cambridge University Press, 1964.

______. Surprised by Joy. New York: Harcourt, Brace & World, Inc, 1955.

Longman. Dictionary of Contemporary English. Essex: Pearson Education Limited, 2001.

Nelson, Thomas. ed. The New King James Version Bible. Tennessee: Thomas Nelson Inc, 1982.

Rice, Philip and Patricia Waugh. ed. Modern Literary Theory. Bristol: JW Arrowsmith Ltd, 1996.

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“Dante Gabriel Rosetti’s Online Poems”. (27March 2007).

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“Eden Bower”. (27 March 2007).

“Experiment House”. (24 January 2007).

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