Prince Caspian
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Miscellaneous Findings in the Chronicles of Narnia a Trial to Find Correlations Between the Life and the Works of C
保健医療経営大学紀要 № 3 43 ～ 53（2011） ＜研究ノート（Research Note）＞ Miscellaneous Findings in The Chronicles of Narnia A trial to find correlations between the life and the works of C. S. Lewis 小手川巧光 * Introduction noticeable to think about his unique way of his works’ I have been trying to find the differences of the overlapping with his life. ways each author puts his/her philosophy into their Lewis wrote seven volumes of CN . I will introduce works, especially being interested in the authors in each subject along with the publishing order of The modern British literature like D. H. Lawrence, J. R. Chronicles except for The Magician’s Nephew (MN ) R. Tolkien and so forth. Though each author has because MN will be used for my next thesis as a something to do with Christianity because each of them central piece of material to correlate the miscellaneous is born and raised in Western Culture where Christian findings with each other. influence is thick enough to inevitably overshadow their lives, he/she has a unique way to develop the The Lion, The Witch and The Wardrobe (LWW) influence. When it comes to the influence on their works, it is even wonderful to see how much variety of How the Christian doctrines are woven into the story the appearance of such effects reflects. C. S. Lewis is one of the authors from modern Why did Lewis decide to weave together the British literature who had such interesting writing embedded doctrines in the story without using activities that you would like to look into how he had explicitly Christian terminology? Was it only for the been changing ways to put his thoughts into his works. -
Lesson 5 Doubt Turns to Belief Trust God for Everything
Lesson 5 Doubt Turns to Belief Trust God for Everything Lesson Overview Chronicles Summary Chapter 8 In Prince Caspian, Trumpkin was full of doubt. He truly doubted that the Horn would bring help. Although he had heard the stories of Aslan and the two sons of Adam and the two daughters of Eve, he really was not fully convinced they were real. And he certainly was not convinced any of them would come from the past to help them right now! Peter and the other children had to PROVE who they were before Trumpkin would believe. Video 24:32 – 25:17 Bible Story John 20:19-29 Thomas was also reluctant to believe Jesus had returned. He loved Jesus very much, but hadn’t he seen Him die on the cross? Hadn’t he seen them put Him in a tomb and seal it closed with a large stone? Lesson If we have faith, no matter how small, nothing is impossible. Application Trust God for everything Memory Verse “I tell you the truth, if you have faith as small as a mustard seed, you can say to this mountain, ‘Move from here to there’ and it will move. Nothing will be impossible for you.” Matthew 17:20 Teacher’s Prayer Dear Lord, Forgive me. I know I should believe, yet sometimes I need proof that You are there. Sometimes I let fear overcome me. The uncertainty of tomorrow is too overwhelming. The sadness of today is too much to bear. It is during these times I rely on the promises found in Your Word. -
Vocab for Playscript Based on 'The Lion, the Witch and the Wardrobe'
Vocab for Playscript based on ‘The Lion, The Witch and the Wardrobe’ White Witch - confident, annoyed, furious, rage, anger, interrupts, screeches, jumps up, long pause, Edmund -unsure, nervous, frightened, scared, petrified, backs up, coward, jumps back in horror, uncomfortable chuckle. Ice castle - giant throne, glistening floor, cold air, gloomy, quiet. WAGOLL Scene 17 In the Witch’s House White witch music. A gloomy hall with a great throne. On the throne, lit by a single lamp, sits the WITCH. MAUGRIM escorts EDMUND towards her, past the statue of a little Faun, which EDMUND notices. EDMUND bows to the witch. EDMUND: (Eagerly.) I’ve come, your Majesty. WITCH: (In a terrible voice.) How dare you come alone? Did I not tell you to bring the other three along with you? MAUGRIM shakes EDMUND’s arm roughly. MAUGRIM: Answer the great Queen. EDMUND: Please, your majesty, I’ve done the best I can. They’re in Mr and Mrs. Beaver’s house. WITCH: (Smiling a slow, cruel smile.) Is this all your news, son of Adam? EDMUND: No, your Majesty. The Beaver says… (pausing for a few seconds) Aslan is on the move. WITCH: (Standing.) Aslan! EDMUND: They’re going to meet him at the Stone Table. WITCH: Aslan? Aslan! Is this true? If I find you have lied to me – EDMUND: No – that’s what the Beaver said. WITCH: We must make ready for a journey. MAUGRIM: Everything is prepared, your majesty. EDMUND: Please… your majesty, I didn’t have much lunch. Could I have some Turkish Delight? WITCH: Silence, fool! Challenge yourself: Answer the following questions: What kind of woman is the witch, use a word from the script in your answer. -
Fantastical Worlds and the Act of Reading in Peter and Wendy, the Chronicles of Narnia, and Harry Potter
Bucknell University Bucknell Digital Commons Master’s Theses Student Theses Spring 2021 Fantastical Worlds and the Act of Reading in Peter and Wendy, The Chronicles of Narnia, and Harry Potter Grace Monroe Bucknell University, [email protected] Follow this and additional works at: https://digitalcommons.bucknell.edu/masters_theses Part of the Children's and Young Adult Literature Commons, and the Literature in English, British Isles Commons Recommended Citation Monroe, Grace, "Fantastical Worlds and the Act of Reading in Peter and Wendy, The Chronicles of Narnia, and Harry Potter" (2021). Master’s Theses. 247. https://digitalcommons.bucknell.edu/masters_theses/247 This Masters Thesis is brought to you for free and open access by the Student Theses at Bucknell Digital Commons. It has been accepted for inclusion in Master’s Theses by an authorized administrator of Bucknell Digital Commons. For more information, please contact [email protected]. I, Grace Monroe, do grant permission for my thesis to be copied. FANTASTICAL WORLDS AND THE ACT OF READING IN PETER AND WENDY, THE CHRONICLES OF NARNIA, AND HARRY POTTER by Grace Rebecca Monroe (A Thesis) Presented to the Faculty of Bucknell University In Partial Fulfillments of the Requirements for the Degree of Master of Arts in English : Virginia Zimmerman : Anthony Stewart _____May 2021____________ (Date: month and Year) Next moment he was standing erect on the rock again, with that smile on his face and a drum beating within him. It was saying, “To die would be an awfully big adventure.” J.M. Barrie, Peter and Wendy Acknowledgements I would like to thank the many people who have been instrumental in my completion of this project. -
Edmund Pevensie As an Example of Lewis's 'New Kind of Man'
Inklings Forever: Published Colloquium Proceedings 1997-2016 Volume 6 A Collection of Essays Presented at the Sixth Frances White Ewbank Colloquium on Article 12 C.S. Lewis & Friends 5-29-2008 A Redeemed Life: Edmund Pevensie as an Example of Lewis's 'new kind of man' Pamela L. Jordan Taylor University Follow this and additional works at: https://pillars.taylor.edu/inklings_forever Part of the English Language and Literature Commons, History Commons, Philosophy Commons, and the Religion Commons Recommended Citation Jordan, Pamela L. (2008) "A Redeemed Life: Edmund Pevensie as an Example of Lewis's 'new kind of man'," Inklings Forever: Published Colloquium Proceedings 1997-2016: Vol. 6 , Article 12. Available at: https://pillars.taylor.edu/inklings_forever/vol6/iss1/12 This Essay is brought to you for free and open access by the Center for the Study of C.S. Lewis & Friends at Pillars at Taylor University. It has been accepted for inclusion in Inklings Forever: Published Colloquium Proceedings 1997-2016 by an authorized editor of Pillars at Taylor University. For more information, please contact [email protected]. A Redeemed Life: Edmund Pevensie as an Example of Lewis's 'new kind of man' Pamela L. Jordan A recurring theme in The Chronicles of excitement and eagerness to explore, likening their Narnia is that Narnia changes those who enter. The new adventure to being shipwrecked (he had read all narrator repeatedly notes the restorative power of the right books). Just as the debate about eating the Narnia and calls the reader's attention to the sandwiches brings tempers to a boil, Edmund is able difference in the children (and adults in The to diffuse the situation with his adventuresome spirit. -
A Study of Trumpkin, Trufflehunter, and Nikabrik
Inklings Forever: Published Colloquium Proceedings 1997-2016 Volume 10 A Collection of Essays Presented at the Tenth Frances White Ewbank Colloquium on Article 74 C.S. Lewis & Friends 6-5-2016 When Friendship Sours: A Study of Trumpkin, Trufflehunter, and Nikabrik Victoria Holtz Wodzak Viterbo University Follow this and additional works at: https://pillars.taylor.edu/inklings_forever Part of the English Language and Literature Commons, History Commons, Philosophy Commons, and the Religion Commons Recommended Citation Holtz Wodzak, Victoria (2016) "When Friendship Sours: A Study of Trumpkin, Trufflehunter, and Nikabrik," Inklings Forever: Published Colloquium Proceedings 1997-2016: Vol. 10 , Article 74. Available at: https://pillars.taylor.edu/inklings_forever/vol10/iss1/74 This Essay is brought to you for free and open access by the Center for the Study of C.S. Lewis & Friends at Pillars at Taylor University. It has been accepted for inclusion in Inklings Forever: Published Colloquium Proceedings 1997-2016 by an authorized editor of Pillars at Taylor University. For more information, please contact [email protected]. When Friendship Sours: A Study of Trumpkin, Trufflehunter, and Nikabrik by Victoria Holtz Wodzak Vickie Holtz Wodzak earned her doctorate in medieval and eighteenth century British literature from the University of Missouri-Columbia in 1996. She now teaches writing and literature courses at Viterbo University, a Franciscan liberal arts institution. Her most recent scholarship has considered the influence of World War I on the work of Tolkien. She has presented at a variety of international, national, and regional conferences, and published her work in Tolkien Studies and Mythlore. In Lewis’s chapter on friendship in The Four Loves, he says that when individuals “share their vision—it is then that friendship is born” (92). -
“Appearance and Reality in the Silver Chair” 『東京成徳短期大学紀要』第 24 号 （1991）119 124．
野呂有子 “Appearance and Reality in The Silver Chair” 『東京成徳短期大学紀要』第 24 号 （1991）119 124． ⁻ On the Children in The Chronicles of Narnia, Part Ⅳ ―Appearance and Reality in The Silver Chair: (2)― Yuko Kanakubo Noro VII When the story began, Jill was a self-centered, proud girl. But she has now grown up spiritually through the many experiences she had since she came to Narnia. First of all, she saw Aslan. This was her greatest experience in Narnia. The girl with self-centered point of view met the Omnipotent being with multi-faceted point of view. This fact itself was an enormous influence upon her. She had been holding a certain concept of creatures with the shape of a lion, the creatures which appear to be lions. But Aslan, though His outward appearance was a lion, utterly destroyed her concept: He talked to her, He ordered her to find the lost prince, He taught her the four signs, He saved Eustace, and He blew her to the land of Narnia. He did all the things that “ordinary” lions never did. He uprooted her self-centered preoccupation to begin with: “I was wondering ― I mean ― could there be some mistake? Because nobody called me and Scrubb, you know. It was we who asked to come here. Scrubb said we were to call ― to Somebody ― It was a name I wouldn’t know ― and perhaps the Somebody would let us in ….” “You would not have called to me unless I had been calling to you,” said the lion. [25]6 Jill thought that it was she (and Eustace) that called to Aslan, but was told that the truth was quite to the contrary. -
Visions/Versions of the Medieval in C.S. Lewis's the Chronicles of Narnia
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Boise State University - ScholarWorks VISIONS/VERSIONS OF THE MEDIEVAL IN C.S. LEWIS’S THE CHRONICLES OF NARNIA by Heather Herrick Jennings A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in English, Literature Boise State University Summer 2009 © 2009 Heather Herrick Jennings ALL RIGHTS RESERVED v TABLE OF CONTENTS LIST OF ABBREVIATIONS .................................................................................... vii CHAPTER ONE: INTRODUCTION ........................................................................ 1 Lewis and the Middle Ages ............................................................................ 6 The Discarded Image ...................................................................................... 8 A Medieval Atmosphere ................................................................................. 10 CHAPTER TWO: THE HEAVENS OF NARNIA .................................................... 13 The Stars above Narnia ................................................................................... 15 The Narnian Planets ........................................................................................ 18 The Influence of the Planets ........................................................................... 19 The Moon and Fortune in Narnia ................................................................... 22 An Inside-Out Universe ................................................................................. -
1 the Chronicles of Narnia: Prince Caspian
1 THE CHRONICLES OF NARNIA: PRINCE CASPIAN 2 THE CHRONICLES OF NARNIA: PRINCE CASPIAN TABLE OF CONTENTS STORY CONTROLS PC XBOX 360 FAQ ACHIEVEMENTS WALKTHROUGH CAIR PARAVEL DEFEND CAIR PARAVEL FIND SUSAN’S HORN DESTROY THE TELMARINES’ WAR MACHINES SINK THE TELMARINES’ FLEET PROTECT THE BATTLEMENTS ESCAPE FROM CAIR PARAVEL RUINS OF CAIR PARAVEL SCALE THE CLIFFS FIND A GRAPPLING HOOK SCALE THE CLIFFS EXPLORE THE RUINS FIND PEVENSIES’ GIFTS FIND PETER'S SWORD AND SHIELD FIND LUCY'S CORDIAL FIND SUSAN'S BOW EXPLORE THE RUINS RESCUE TRUMPKIN FIND A SAFE PATH THROUGH THE WOODS MIRAZ'S CASTLE INFILTRATION DEFEAT THE SENTRIES DEFEAT THE SENTRIES ON THE TURRETS DEFEAT THE SENTRIES ON THE WALLS FIND A WAY INTO THE CASTLE BREAK INTO MIRAZ'S CHAMBERS RESCUE CORNELIUS FROM THE DUNGEONS RESCUE EDMUND AND TRUMPKIN BREAK INTO MIRAZ'S CHAMBERS MIRAZ'S CASTLE ASSAULT BREAK OPEN THE CASTLE'S ENTRANCE LOWER THE DRAWBRIDGE RISE THE PORTCULLIS ASSAULT MIRAZ'S CASTLE PURSUE MIRAZ RESCUE CORNELIUS FROM THE STABLE ASLAN'S HOW REACH ASLAN'S HOW EXPLORE ASLAN'S HOW PREVENT WHITE WITCH'S RETURN HELP LUCY FIND ASLAN EXPLORE ASLAN'S HOW DEFEAT MIRAZ BATTLEFIELD OF BERUNA DEFEAT GREGOIRE FIND A WAY TO THE CISTERN DESTROY THE PILLARS RESCUE CASPIAN AND GLENSTORM DEFEAT GLOZELLE DEFEAT THE TELMARINES COPYRIGHTS 3 THE CHRONICLES OF NARNIA: PRINCE CASPIAN STORY It’s been one year since the Pevensie children returned to the world but in Narnia it’s been 1300 yrs. The game picks up when The Pevensie got magically whipped to a beach with a ruined castle, they soon find out it’s Cair Paravel , where they once ruled as Kings and Queens. -
Hampstead Stage Company Presents a Study Guide
Hampstead Stage Company Presents A Study Guide Based on Hampstead Stage Company’s adaptation of Prince Caspian by C.S. Lewis Grades K-8 © 2018 Hampstead Stage Company About Hampstead Stage Company This year marks our 36th season! We are a nationally touring children’s theatre that brings high quality, professional theatre to schools, libraries, and communities all over the 48 contiguous states (everywhere but Hawaii and Alaska!). The Hampstead Stage Company’s goal is to bring great books to life through live theatre, sparking an interest in reading and creating a new way to use your imagination! The Hampstead Stage Company got its name from our founders, who came to America from the Hampstead area of London, England to pursue their dreams. Since its inception, our company has grown into one of the largest educational touring companies in the nation. Performing over 2,000 shows a year, we have performed for over twenty million audience members! Our interactive educational tours run year-round and are performed by two professional actors, each playing multiple roles. Our scripts are original adaptations, based directly on literary classics, and include children and adults from the audience. The plays last one hour, with a question and answer session following the performance. We travel to your space, and bring our own realistic sets and costumes; designed using extensive historical research. Our productions are flexible enough to fit into any assembly/performance space. Theatre performance helps us learn things about ourselves and the world around us. But more than that, by using our imagination we can be proud of who we are, create goals for ourselves, and even help the way we think in school and at home! Sometimes not every school gets to see live theatre —it’s thanks to your teachers and parents for bringing cool shows like this to your school! So, make sure to say thank you to them the way we do at the theatre – give them a round of applause!! The Hampstead Stage Company is a 501(c)(3) nonprofit organization. -
The Chronicles of Narnia"
~~~--,-~-~"="~~~=-·~----"-~-~=~,·-~=--~~,~~-~~-~~-,-~~~-=~~==~=-·=1 I I CALIFORNIA STATE UNIVERSITY, NORTHRIDGE I C. S. LEWIS' "THE CHRONICLES OF NARNIA": TOWARDS A DEFINITION OF THE GENRE OF THE CHRISTIAN APOCALYPSE A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in English by Peter Wilhelmsson August 23, 1976 The thesis of Peter Wilhelmsson is approved: David M. Andersen Mahlon Gaumer III 1 Stephen ~eid California State University, Northridge l l~~~--~-·-·"~-·-~-~ ...~~~-~·--·~-~~~ .. -·~·~---~~~~--~~~~~·~-~· ~~-·~----~~~ -~---=~-~ ~---~·~ ACKNOWLEDGMENTS I give special thanks to Dr. David Andersen who patiently worked with me to see this work completed and to !all my friends who have been to Narnia: Lars, Don, Hal, Ricki, and Niqi. I L_~ ~·«---·-~~~=~-~-"--·,.---~ ~--~~-~~~ ·=~-----~ ·-,.~--~--~"~-~-~--~ ii TABLE OF CONTENTS Page ACKNOWLEDGMENT . ii ABSTRACT . iv CHAPTER I Myth and Allegory 1 I I CHAPTER II The Utopian Tradition: The City Of Man ..... 19 ICHAPTER III The Apocalyptic Tradition: The City Of God ..... 44 i l CHAPTER IV The Christian Apocalyptic Vision I 75 ' In "The Chronicles of Narnia" APPENDICES 1-7 . 126 BIBLIOGRAPHY . 144 iii ABSTRACT C. S. LEWIS 1 "THE CHRONICLES OF NARNIA": TOWARDS A DEFINITION OF THE GENRE OF THE CHRISTIAN APOCALYPTIC VISION BY Peter Wilhelmsson Master of Arts in English Most of us are familiar with the central theme of utopia in such works as The Republic, Utopia, Looking Backward, and Walden Two; but because the Christian apoca- lyptic tradition has not been defined previously, it is more difficult for the modern reader to see a common thread of prophecy and hope weaving together works such as the Old Testament, the New Testament, Paradise Lost, Pilgrim's Progress and the writings of C.S. -
Dedicated to Mary Clare Havard
Dedicated to Mary Clare Havard The second in the series, written in late 1949 Published in 1951 Like the others, illustrated by Pauline Baynes The initial setting is England in 1941, fourteen months after they first went to Narnia. In Narnia, it is 1,300 years after The Lion, the Witch and the Wardrobe , year 2303 in Narnian time. The topic according to Lewis: “restoration of the true religion after a corruption” When the children travel from England to Narnia, they almost never leave from their home. By never depicting the children at home, Lewis is able to evoke a longing for home, for a true home. See “The Weight of Glory,” where Lewis claims that we all have a desire for “our own far off country.” The four children are drawn by Susan’s horn (which had been left behind) into Narnia, as the story begins in medias res (the plot does not advance until chapter 8). They discover a ruined Cair Paravel, although they do not realize it at the time. They rescue the dwarf Trumpkin, who tells of Miraz, the Telmarines, and the Narnians driven underground. Caspian, nephew; an heir is born to Miraz; at the urging of his tutor Doctor Cornelius Caspian rides away on his horse Destrier and begins to gather an army around him. The four children make a long and arduous journey with Trumpkin to Aslan’s How. On the way Lucy sees Aslan, but the others don’t believe her. Sub-plot: Lucy’s faith vs. Trumpkin’s skepticism. “But she [Lucy] forgot them [i.e.