Volume 10 Number 4 Article 3 1984 Narnia and the Seven Deadly Sins Don King Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation King, Don (1984) "Narnia and the Seven Deadly Sins," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 10 : No. 4 , Article 3. Available at: https://dc.swosu.edu/mythlore/vol10/iss4/3 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 Gives a brief history of the “seven deadly sins” in Christianity, and of Lewis’s knowledge of them as indicated in his non-Narnian works. Argues that each book in the Chronicles of Narnia “seems to portray one deadly sin above all others.” Additional Keywords Lewis, C.S. Chronicles of Narnia; Seven deadly sins in the Chronicles of Narnia 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/vol10/iss4/3 Page 14 MYTHLORE 38: Spring 1984 Narnia and the Seven Deadly Sins D on K ing Several years ago while teaching a fantasy (pride), avaritia (greed), luxuria (luxury, later literature course, I discovered an interesting lust), invidia (envy), gula (gluttony), ira (anger), relationship between the seven deadly sins and C.S. and acedia (sloth).1 As well as their appearance in Lewis' Chronicles of Na rn ia . As I was giving an church writings, the frequent reference to these sins overview of the seven Narnian tales, it struck me that in secular literature testifies to their importance. Lewis, a medieval scholar, had an intimate knowledge of the medieval ecclesiastical and literary tradition For instance, William Langland's Piers Plowman, of seven deadly sins. I remember suggesting that Dante's Divine Comedia, Chaucer's The Canterbury Tales someone ought to study the relationship between the ("The Parson's Tale") and Spenser's The Faerie Queen tales and the sins, intending of course that one of my all devote serious attention to these sins. It is students do so. I did not realize then that most not surprising then, that Lewis knew them so well as were ill-equipped to tackle such a task. Thus, it has is clear in his The Allegory of Love. Throughout fallen to me in this paper to explore the nature of this study of allegory, Lewis refers to the seven thisrelationship. deadly sins. There, for example, while commenting on Langland, Lewis says that Langland's "excellent Let me begin by briefly summarizing the history of satiric comedy, as displayed in the behavior of the the seven deadly sins in the church and then go on to seven Deadly Sins belongs to a tradition as old as the illustrate Lewis' knowledge of them by referring to Ancren R iw le ." 2 In addition, in other works he refers several non-Narnian works. The development of a list to specific sins on the list. For instance, in Mere of seven especially damning sins is shadowy. Early Christianity he saves an entire chapter for pride church fathers (Hermas, Tertullian, Augustine), while ("the great sin"), in Screwtape Letters he devotes never actually listing specific "deadly" sins, did letters to lust (IX, XVII), gluttony (XVII), and pride suggest that some sins were worse than others, (XXIV); and in The Great Divorce he pictures sinners perhaps, with I John 5:16-17 in mind. unable to choose heaven because of greed, sloth and envy; and finally, in Poems he focuses an entire poem, If anyone sees his brother committing a sin "Deadly Sins," on each one of the seven deadly sins. not leading to death, he shall ask and God will for him give life to those who commit Since Lewis so readily refers to the seven deadly sin not leading to death. There is a sin sins in many of his other works, it is my contention leading to death; I do not say that he should that he may either consciously or subconsciously have make request for this. All unrighteousness emphasized one of the seven deadly sins in each one of is sin, and there is a sin not leading to the seven Namian books. Let me add here that it is death. certain Lewis dealt with multiple sins in Narnia; in fact, each book reflects this. Nonetheless, each book What eventually resulted, therefore, were numerous does seem to portray one particular deadly sin above lists of especially harmful sins. However, the list all others. What follows is a careful study of each that came to be most influential in the church was the book and its deadly sin. one developed by Gregory the Great (540-605) characterized by its Latin acronym, saligia: superbia In The Lion, the Witch, and the Wardrobe, the M YTH LO RE 38: Spring 1984 Page 15 character, Edmund Pevensie, personifies gluttony, the In this tale, Prince Caspian's uncle, King Miraz, sin of excessively using things in themselves is clearly guilty of profiteering in his desire to legitimate, normally associated with the appetite, gain power, wealth, and position. After Caspian's and, in effect, making one's belly the god he serves father had died, Miraz initially ruled as "Lord (Philippians 3:19). Jadis, the White Witch, exploits Protector" for Caspian. However, after Caspian's Edmund's weakness when she meets him in a snowy woods, mother died and after Miraz carefully "weeded" out any offering him a warm drink and Turkish Delight, his lords loyal to Caspian's father, he allowed himself to favorite candy. From the first bite, he is hooked, be proclaimed King by planted flatterers among the for each "piece was sweet and light to the very centre people. Dr. Cornelius, Caspian's dwarf tutor, neatly and Edmund had never tasted anything more delicious."3 describes the process of Miraz's lusty grab for power: As she pumps him for information regarding his brother and sisters, he readily replies, driven by an And then, one by one, all the great lords who insatiable hunger for more and more Turkish Delight: had known your father, died or disappeared. Not by accident, either. Miraz weeded them At first Edmund tried to remember that it is out. Belisar and Uvilas were shot with rude to speak with one's mouth full, but soon arrows on a hunting party: by chance, it was he forgot about this and thought only of pretended. All the great houses of the trying to shovel down as much Turkish Delight Passarids he sent to fight giants on the as he could, and the more he ate, the more he Northern frontier till one by one they fell. wanted to eat, and he never asked himself why Arlian and Eriman and a dozen more he the Queen should be so inquisitive (p. 32). executed for treason on a false charge. The two brothers of Beaversdam he shut up as This scene recalls Eve's gluttonous indulgence in madmen. And finally he persuaded the seven Milton's Paradise Lost where she first eats the apple: noble lords, who alone among all the Telmarines did not fear the sea, to sail away ...for Eve and look for new lands beyond the Eastern Intent now wholly on her taste, naught else Ocean, and, as he intended, they never came Regarded, such delight t i l l then, as seem'd back.6 In fruit she never tasted, whether true Or fancied so, through expectation high Later the truth of Miraz' lust for power becomes Of knowledge, nor was God-head from her thought. crystallized for Caspian as he learns that Miraz had Greedily she ingorged without restrain t, in fact murdered Caspian's father; furthermore, And knew not eating Death (IX, 785-792). Caspian learns that to establish himself permanently as the rightful ruler and guarantee his line, Miraz Like Eve's, Edmund's gluttonous desire has deadly plans to kill him on the night the queen gives birth ramifications, for later in the tale, after he has to a son. betrayed his brother and sisters in order to obtain more and more Turkish Delight (which, ironically, he I think Lewis intends to demonstrate through Miraz does not receive), Jadis demands his life by invoking the effect luxuria, when embodied in its rulers, can Deep Magic: an ancient Narnian law that entitles her have on a society. While Miraz rules, truth is to the blood of any traitor. And while Edmund is suppressed; talking Narnian creatures are outlawed as saved by the intervention and intercession of Aslan, well as tales about such creatures. There is little the cost is deadly to the latter. Lewis' point in trust between the members of society and even Narnian emphasizing Edmund's gluttony is to illustrate vividly creatures are affected. For instance, at one point a the effects of sins in general and this sin in leader of the Black Dwarves is willing to call up the particular; over indulgence blinds us to the truth, spirit of Jadis to fight Miraz: "'I'll believe in turning us inward, making us slaves to our own anyone or anything,' said Nikabrik, 'that'll batter insatiable desires.