The Visionary Woman in CS Lewis' Chronicles of Narnia

Total Page:16

File Type:pdf, Size:1020Kb

The Visionary Woman in CS Lewis' Chronicles of Narnia Volume 6 Number 4 Article 7 10-15-1979 Guardaci Ben: The Visionary Woman in C.S. Lewis’ Chronicles of Narnia and That Hideous Strength Nancy-Lou Patterson Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Patterson, Nancy-Lou (1979) "Guardaci Ben: The Visionary Woman in C.S. Lewis’ Chronicles of Narnia and That Hideous Strength," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 6 : No. 4 , Article 7. Available at: https://dc.swosu.edu/mythlore/vol6/iss4/7 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Examines the characters of visionary women—what Esther Harding calls the femme inspiratrice—in Lewis’s fiction. Part one focuses on Jane in That Hideous Strength. Part two focuses on Lucy in the Chronicles of Narnia. Additional Keywords Lewis, C.S.—Characters—Lucy Pevensie; Lewis, C.S. Chronicles of Narnia; Seers, female; Thadara Ottobris This article is available in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: https://dc.swosu.edu/mythlore/vol6/iss4/7 Guardaci Ben:The Visionary Woman InC.S. Lewis' Chronicles Of NarniaAnd That Hideous Strength Nancy-Lou Patterson Part Two Lucy Pevensie is the seeress of the Narnian Chronicles, ("She's just making up a story for fun") (Ibid.) the wardrobe as Jane Studdock is the seeress of That Hideous Strength. in terior. In The Lion, the Witch, and the Wardrobe, the first of the seven tales of Narnia, Lucy's first visit to Narnia begins Then everyone looked in and pulled the coats inside an old wardrobe, with a sensation of touch and sound: apart; and they all saw—Lucy herself saw—a per­ "she noticed that there was something crunching under her fectly ordinary wardrobe. [Ibid.) feet." 15 Then, "she felt ["with her hands"] something soft and powdery and extremely cold." And, "rubbing against Lucy's name means "light," and the light meant is her face and hands was . something hard and rough." that which is symbolised by the torches carried in the Vision begins when she is "a step or two" across the boundary Eleusinian mysteries, the light of inspiration or visionary between the worlds: "And then she saw that there was a experience. Lucy is called after a saint who made a sacri­ light ahead of her ..." (Ib id .) fice of the eyes her lover had adored, in order to dedicate herself wholly to Christ. St. Lucy's symbol is a pair of Looking back, she sees her own world: "It seemed to eyes, and her feast falls in December and is in fact associated be still daylight there." (p. 6) In the world inside the with the light symbolism of the Winter Solstice season, for wardrobe, Narnia, it is night, but there is a light there, in Sweden little girls or young women wearing a crown of a lamp-post. By its mysterious [and, we learn in The lighted candles represent the "Lucia Bride" or "Bride of Magician’s Nephew, organic) illumination, Lucy meets her Light." first Narnia, Tumnus the Faun. This masculine being functions as her guide, an animus figure, and leads her Lucy's first experience of Narnia is mediated through into the forest and to his cave, where he offers her tea, light. When Edmund, a few days later, stumbles into sardines, toast, honey and cake, and regales her with tales Narnia, he too "saw a light." (p. 21) But for him the light of Narnian life. "He had a strange, but pleasant little comes from "a pale blue sky" where the sun is "just rising, face with a short pointed beard and curly hair, and out of very red and clear." (p. 22) His eyes show him a different the hair there stuck two horns." We have already seen the being from the one encountered by Lucy: "There swept into beardedness of the animus figures for Lewis. The repast sight a sledge drawn by two reindeer." (p. 23) The image Lucy shares with Mr. Tumnus—"a wonderful tea"—in his is reiterated: "The sledge was a fine sight as it came sweeping cave, is reminiscent of the pomegranate, the fruit eaten toward Edmund." (p. 24) It bears the White Witch Jadis, by Persephone in Hades which confined her there for half a malignant anima or female guide for Edmund, and she a year in the perpetual round of Winter and Summer; it had sweeps him away on her sledge (she has a dwarf attendant), been plucked from a tree which "grew in the garden of the offering him her own sort of feast: "a jewelled cup of king of the underworld."16 This slight suggestion of the something that steamed" and "several pounds of underworld motif appears later in the series, as will be the best Turkish Delight . sweet and light to the very seen. The lamp-light in which Lucy's first encounter with centre." (Ibid) This food Lewis describes as frankly Narnia and the Narnians is bathed, is related to a symbolic addictive. Later on, Edmund meets Lucy in the wood, and system with an Eleusinian colouring—the Eleusinian mysteries after their return to England, Edmund denies his vision, celebrated the myth of Persephone. Robert A. Johnson to Lucy's great distress. w rites o f The next visit to Narnia takes all four children the light-bearing capacity of women. In the Eleusinian through the wardrobe door, and again, as Susan says, "It's mysteries, the women often carry torches, which shed getting lighter-over there." (p. 43) "All four children a peculiarly feminine kind of light. A torch softly stood blinking in the daylight of a winter day." (p. 44) lights up the immediate surroundings, shows the This time they find Tumnus' cave ransacked and a notice practical next step to be taken. (Johnson, Op. Cit., proclaiming the rule of "Jadis, Queen of Narnia." But p . 27) another guide discloses himself, to Lucy, first: "Lucy said, 'Look! There's a robin, with such a red breast. It's the In Lucy's return to England from Narnia, she runs first bird I've seen here.' " (p. 48) from lamp-post back to daylight, where she stands panting, "I'm here. I've come back." (Lewis, Op. Cit., p. 17) The The robin, of whom Lewis says, "You couldn't have returned visionary meets a doubting reception and is pro- found a robin with a redder breast or a brighter eye,' plays mounced "batty" by her brother Edmund and "silly" by her a role which is typical of that attributed to birds in folk­ sister Susan, (pp. 18, 19) To prove her point she shows lore. A similar figure is seen in a children's novel popular the doubters, along with her more tolerant brother Peter during Lewis' childhood. The Secret Garden, by Frances 20 Hodgson Burnett. In searching for a garden which has been appears at last, the children were speechless "when they closed for ten years, a little girl, Mary Lennox, "saw a saw him," and, abashed by his "overwhelming eyes," bird with a bright red breast sitting on the topmost branch they "couldn't look at him." Not surprisingly, then, the of one of [the trees of the garden.]"17 A few chapters later culminating vision of Aslan resurrected is expressed in the the robin shows her first the key and then the door to the same terms. garden which gives the book its name. The robins in Britain are brighter-breasted than the larger, somewhat This visionary pattern recurs in Prince Caspian: tum bled rusty-breasted robins of North America. from a railway platform into "such a woodsy place that branches were sticking into them" "They all rubbed their eyes," and Lucy's robin leads the Pevensies to their encounter Peter exclaims, "I can't see a yard in all these trees."18 with Mr. and Mrs. Beaver, and thus well into their Narnian Working out of the thicket, "Everything became much brighter," adventures. The spell o f endless winter which th e s e lf- and they are on the shores of the sea. The first chapter proclaimed Queen-witch has cast over Narnia is to be contains a series of sightings by Lucy—" 'Look!' said Lucy broken by the coming of Aslan, Narnia's true Lord. He is suddenly, 'What's that?' " and it proves to be a stream of preceded in his coming by another sledge-rider, Father fresh water. (Ibid, p . 6) Christmas, "a huge man in a bright red robe [bright as holly-berries)." (Lewis, Op. Cit., p. 86) Lewis remarks, "I say!" exclaimed Lucy, "I do believe that's "though you see people of his sort only in Narnia, you see an apple tree." pictures of them .
Recommended publications
  • The Lion, the Witch and the Wardrobe by C.S Lewis. Introduction
    The Lion, the Witch and the Wardrobe by C.S Lewis. Introduction Peter, Susan, Edmund, and Lucy Pevensie are four siblings sent to live in the country with the eccentric Professor Kirke during World War II. The children explore the house on a rainy day and Lucy, the youngest, finds an enormous wardrobe. Lucy steps inside and finds herself in a strange, snowy wood. Lucy encounters the Faun Tumnus, who is surprised to meet a human girl. Tumnus tells Lucy that she has entered Narnia, a different world. Tumnus invites Lucy to tea, and she accepts. Lucy and Tumnus have a wonderful tea, but the faun bursts into tears and confesses that he is a servant of the evil White Witch. The Witch has enchanted Narnia so that it is always winter and never Christmas. Tumnus explains that he has been enlisted to capture human beings. Lucy implores Tumnus to release her, and he agrees. Lucy exits Narnia and eagerly tells her siblings about her adventure in the wardrobe. They do not believe her, however. Lucy's siblings insist that Lucy was only gone for seconds and not for hours as she claims. When the Pevensie children look in the back of the wardrobe they see that it is an ordinary piece of furniture. Edmund teases Lucy mercilessly about her imaginary country until one day when he sees her vanishing into the wardrobe. Edmund follows Lucy and finds himself in Narnia as well. He does not see Lucy, and instead meets the White Witch that Tumnus told Lucy about. The Witch Witch introduces herself to Edmund as the Queen of Narnia.
    [Show full text]
  • Following Narnia® Volume 1: the Lion's Song
    Following Narnia® Volume 1: The Lion’s Song Writing Lessons in Structure and Style Student Book by Laura Bettis Third Edition, January 2016 Institute for Excellence in Writing, L.L.C. Narnia, The World of Narnia, The Lion, the Witch and the Wardrobe, and Narnia.com are trademarks of C.S. Lewis Pte. Ltd. The Chronicles of NarniaSample is a U.S. Registered Trademark of C.S. Lewis Pte. Ltd. These are Sample Pages for preview only. Copyrighted Material. Also by Laura Bettis Following Narnia® Volume 1: Writing Lessons in Structure and Style Teacher’s Manual The purchase of this book entitles its owner to a free downloadable copy of The Student Resource Notebook and the Following Narnia Volume 1: The Lion’s Song Reproducible Checklists e-book. (See the blue page for complete download instructions.) Copyright Policy Following Narnia® Volume 1: The Lion’s Song Writing Lessons in Structure and Style Third Edition, January 2016 Copyright © 2012, 2016 Laura Bettis. All rights reserved. ISBN: 978-1-62341-238-8 Our duplicating/copying policy for this Student Book: All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the author, except as provided by USA copyright law and the specific policy below: Home use: The purchaser may copy this Student Book for use by multiple children within his or her immediate family. Small group or co-op classes: Each participating student or family is required to purchase a Student Book.
    [Show full text]
  • The Great War and Narnia: C.S. Lewis As Soldier and Creator
    Volume 30 Number 1 Article 8 10-15-2011 The Great War and Narnia: C.S. Lewis as Soldier and Creator Brian Melton Liberty University in Lynchburg, VA Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Melton, Brian (2011) "The Great War and Narnia: C.S. Lewis as Soldier and Creator," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 30 : No. 1 , Article 8. Available at: https://dc.swosu.edu/mythlore/vol30/iss1/8 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Looks at influence of orldW War I in Lewis’s autobiography and on war in Narnia, correcting mistaken search by some critics for deep-seated war trauma in Lewis’s life. Reinforces that Lewis and Tolkien were not psychological twins, had differing personalities going into the war, and came out of it with different approaches to dealing with war in their fiction.
    [Show full text]
  • The Horse and His Boy
    Quick Card: The horse and his boy The Horse and His Boy, by C. S. Lewis. Reference ISBN: 9780007588541 Shasta, a Northerner enslaved to a Calormene fisherman, dreams of escape to the free North of Archenland. With the help of a talking horse named Bree, Shasta flees, meeting another pair of fugitives along the way: Plot Aravis and her talking horse Hwin. As they journey northwards, the four uncover a plot by Rabadash, the prince of Calormene, to conquer Archenland and threaten the peace of the northern lands. They race to warn the Archenlanders and rally the Narnians to their aid. This story is set during the Golden reign of the Pevensie children: Peter, Susan, Edmund, and Lucy. Calormene- A land South of Narnia, it is home to cruel, pagan slave lords: the Tarquins. Setting Narnia- Home of the four kings and queens of legend and kingdom of the lion Aslan, the Son of the King Beyond the Sea. Archenland- Borderland between Calormene and Narnia, populated by free people whose loyalty is to Narnia and Aslan. Shasta- The protagonist of the piece is a young boy, uneducated and neglected. Though he is immature, he has an inbred longing for freedom and justice and an indomitable hope to escape to the free North. Bree recognizes at once that he must be “of true Northern stock.” Bree- Pompous and self-important, the Narnian horse brags about his knowledge of the North and plays the courageous war-horse though he is really a coward at heart. Despite his boorish tone, he is a loyal friend.
    [Show full text]
  • The Shifting Perils of the Strange and the Familiar’: Representations of the Orient in Children's Fantasy Literature
    ‘The shifting perils of the strange and the familiar’: representations of the Orient in children's fantasy literature by Farah Ismail Submitted in fulfilment of the requirements for the degree of Magister Artium (English) In the Faculty of Humanities University of Pretoria Pretoria 2010 Supervisor: Ms. Molly Brown © University of Pretoria Acknowledgments I would like to thank: Ms. Molly Brown, for her guidance and support My parents, Suliman and Faaiqa Ismail, for their support and encouragement Mrs Idette Noomé, for her help with the Afrikaans translation of the summary Yvette Samson, whose boundless enthusiasm has been an immense inspiration © University of Pretoria Summary This thesis investigates the function of representations of the Orient in fantasy literature for children with a focus on The Chronicles of Narnia as exemplifying its most problematic manifestation. According to Edward Said (2003:1-2), the Orient is one of Europe’s ‘deepest and most recurring images of the Other… [which]…has helped to define Europe (or the West) as its contrasting image, idea, personality, experience.’ However, values are grouped around otherness1 in fantasy literature as in no other genre, facilitating what J.R.R. Tolkien (2001:58) identifies as Recovery, the ‘regaining of a clear view… [in order that] the things seen clearly may be freed from the drab blur of triteness or familiarity.’ In Chapter One, it is argued that this gives the way the genre deals with spaces and identities characterized as Oriental, which in Western stories are themselves vested with qualities of strangeness, a peculiar significance. Specifically, new ways of perceiving the function of representations of the Other are explored in the genre of fantasy.
    [Show full text]
  • CS Lewis and JW Dunne
    Volume 37 Number 2 Article 5 Spring 4-17-2019 The Last Serialist: C.S. Lewis and J.W. Dunne Guy W B Inchbald Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Inchbald, Guy W B (2019) "The Last Serialist: C.S. Lewis and J.W. Dunne," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 37 : No. 2 , Article 5. Available at: https://dc.swosu.edu/mythlore/vol37/iss2/5 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract C.S. Lewis was influenced yb Serialism, a theory of time, dreams and immortality proposed by J.W. Dunne. The closing chapters of the final Chronicle of Narnia, The Last Battle, are examined here. Relevant aspects of Dunne’s theory are drawn out and his known influence on the works of Lewis er visited.
    [Show full text]
  • Doctor Cornelius Knows It's Important That Caspian Know His Own History
    octor Cornelius knows it’s important that Caspian know his own history and the Dhistory of Narnia. Use the facts below to answer the questions on the activity page. NARNIA FACT FILE O When C.S. Lewis started writing his O In choosing the name, ‘Pevensie’, but the author of The Hobbit and The first story about Narnia, he began with C.S. Lewis may have been thinking of Lord of the Rings didn’t like the story the words: “This book is about four the village of Pevensey on the Sussex and Lewis almost didn’t write any children whose names were Ann, coast, which was the historic site of more. Martin, Rose, and Peter. But it is most an early Roman fort built to protect O It was C.S. Lewis’ good friend, about Peter who was the youngest.” England from invasion. It is also the writer Roger Lancelyn Green, who Peter was the only one of C S Lewis’ where Duke William the Bastard of encouraged the author to complete original names for the children to be Normandy came ashore for his the first book about Narnia and, later, used in the books and he was the invasion which culminated in the suggested giving the seven books the eldest not the youngest. Battle of Hastings. overall title, ‘The Chronicles of Narnia’. O C.S. Lewis probably chose the name O C.S. Lewis’ dedicated The Lion, O Although J.R.R. Tolkien didn’t really ‘Peter’ because it had been the name the Witch and the Wardrobe to his like C.S.
    [Show full text]
  • The Lion, the Witch & the Wardrobe
    THE LION, show time THE WITCH for & THE WARDROBE Teachers based on the novel by c.s.lewis Welcome to Show Time, a performance resource guide published for the CSB/SJU Fine Arts Education Series. This edition of Show Time is designed to be used before or after a perform- ance of The Lion,The Witch & The Wardrobe. Suggested activities in this issue include social studies and language arts connections designed to be adapted to your time and needs. Check out Show Time for Students, a one-page, student-ready 6+1 Trait writ- ing activity for independent or group learners. Please feel free to make copies of pages in this guide for student use. How May We Help You ? Story Synopsis 1 Meet the Characters 2 Social Studies 3 Turkish Delight 4 Language Arts 5 Show Time for Students 6 Bibliography 7 Presented by TheatreWorks/USA Theater Etiquette 8 1 1 STORY SYNOPSIS This musical production is based on the novel The Lion, the Witch, and the Wardrobe written by C.S. Lewis and published in 1950. Setting: England in World War II The Lion, the Witch, and the Wardrobe is a musical about four siblings; Peter, Susan, Edmund, and Lucy Pevensie who are sent to live musical-a play that tells in the country with their Uncle Digory its story using dialog during the bombing of London. and songs. Lucy discovers a magic ward- robe in her uncle’s home and upon wardrobe-a large cup- board style closet used stepping inside she finds herself in a to store clothing.
    [Show full text]
  • An Introduction to Narnia - Part II: the Geography of the Chronicles
    Volume 2 Number 3 Article 5 Winter 1-15-1971 An Introduction to Narnia - Part II: The Geography of the Chronicles J. R. Christopher Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Christopher, J. R. (1971) "An Introduction to Narnia - Part II: The Geography of the Chronicles," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 2 : No. 3 , Article 5. Available at: https://dc.swosu.edu/mythlore/vol2/iss3/5 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Part two is an overview of the geography of Narnia based on textual clues and maps. Speculates on the meaning of the geography in theological and metaphysical terms. Additional Keywords Lewis, C.S. Chronicles of Narnia—Geography This article is available in Mythlore: A Journal of J.R.R.
    [Show full text]
  • Trncfjanti NG THT I MAG I NATION
    trNCFJANTING THT IMAG I NATION ln TheLion, TheWitch and the Wardrobe,the first book writerJ.R.R.Tolkien; the two men began Lewiswrote aboutNarnia, four British children aresent a writing-and-discussiongroup called to live with an old professorduring the bombings the Inklings. Tolkien and other Inklings of London in World War II. Each of the children is a played alargerole in helpingLewis came little like all of us: Lucy has a childlike trust and the face-to-facewith the claimsof the Gospel wonder of innocence,Edmund carriesthe resentment ofJesusChrist. As a Christianapologist, and one-upmanshipof ordinary selfishness,Susan Lewis wrote some of the 20th century's representsthe skepticismof the almost-grown,and Peter most important books on faith (The showsthe impartialityand valor to which eachof us Screw tape Letter s, MereChristianity, longs to be called. SutyrisedbyJoy, The Great Divorce) as c.s. tEwls ATHts DESK StorySummary THE LEWISFAMILY WARDROBE well as the sevenNarnia Chronicles. While exploringthe house,Lucy the youngest,climbs through a magicwardrobe Why Did Lewis Write the Chronicles? into Narnia,a land of talking animalsand m;,thicalcreatures who areunder the Lewis himselfstated that the taleswere not allegoriesand thereforeshould not evil White Witch'sspell of endlesswinter. When Lucy returns,her brothersand be "decoded."He preferredto think of them as "supposals,"as he explainedin 'supposing sisterdont believeher tale.Edmund entersNarnia a few dayslater and meetsthe this letter to a young woman namedAnne: "I askedmyself, that White Witch, who feedshim TurkishDelight and promisesto makehim a prince therereally was a world like Narnia and supposingit had (like our world) gone of Narnia if he will bring his siblingsto her.
    [Show full text]
  • Few Return to the Sunlit Lands': Lewis's Classical Underworld in the Is Lver Chair Benita Huffman Muth Macon State College
    Inklings Forever Volume 8 A Collection of Essays Presented at the Joint Meeting of The Eighth Frances White Ewbank Article 17 Colloquium on C.S. Lewis & Friends and The C.S. Lewis & The Inklings Society Conference 5-31-2012 'Few Return to the Sunlit Lands': Lewis's Classical Underworld in The iS lver Chair Benita Huffman Muth Macon State College 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 Muth, Benita Huffman (2012) "'Few Return to the Sunlit Lands': Lewis's Classical Underworld in The iS lver Chair," Inklings Forever: Vol. 8 , Article 17. Available at: https://pillars.taylor.edu/inklings_forever/vol8/iss1/17 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 by an authorized editor of Pillars at Taylor University. For more information, please contact [email protected]. INKLINGS FOREVER, Volume VIII A Collection of Essays Presented at the Joint Meeting of The Eighth FRANCES WHITE EWBANK COLLOQUIUM ON C.S. LEWIS & FRIENDS and THE C.S. LEWIS AND THE INKLINGS SOCIETY CONFERENCE Taylor University 2012 Upland, Indiana Few Return to the Sunlit Lands: Lewis’s Classical Underworld in The Silver Chair Benita Huffman Muth Macon State College Muth, Benita Huffman. “Few Return to the Sunlit Lands: Lewis’s Classical Underworld in The Silver Chair.” Inklings Forever 8 (2012) www.taylor.edu/cslewis 1 Few Return to the Sunlit Lands: Lewis’s Classical Underworld in The Silver Chair Benita Huffman Muth Macon State College In re-reading the Narnia books as asserts his commitment to individual free an adult, classical studies professor Emily will.
    [Show full text]
  • 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.
    [Show full text]