Abstract
This thesis takes C.S. Lewis’s (C.S. Lewis) seven-volume series The Chronicles of Narnia as the research subject, exploring its structure, themes, and artistic achievements within fantasy literature. The series was published between 1950 and 1956 and includes 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. Through a narrative framework in which child protagonists enter an alternate world, it constructs a fantastical realm rich in mythological elements and religious allegory.
The study first points out that the structural type of The Chronicles of Narnia centers on epic fantasy adventure, integrating the “Hero’s Journey” (Hero’s Journey) and “Messianic Myth” (Messianic Myth). Protagonists often undergo a pattern of departure, trials, confrontation with evil, and return to reality, accomplishing both personal growth and mission fulfillment. In the stories, Aslan (Aslan), as a Christ symbol, carries meanings of redemption and justice, enhancing the philosophical and religious depth of the work.
Next, the series addresses multiple themes, including the opposition of good and evil, faith and redemption, free will, courage and sacrifice, fate and prophecy, and power and responsibility. Transformations such as Edmund’s journey from betrayal to repentance, and Eustace’s shift from selfishness to bravery, demonstrate the moral trials and spiritual growth of the characters. The series also uses temporal differences between Narnia and the real world to present cycles of history and a perspective on ultimate redemption.
Regarding narrative techniques, the works primarily employ third-person omniscient narration, occasionally inserting authorial commentary to add intimacy and didactic significance. Different volumes exhibit flexible variations between multi-perspective and limited omniscience, maintaining the fluency of the adventure narrative while preserving allegorical depth.
Finally, this thesis asserts that the artistic achievement of The Chronicles of Narnia lies in its integration of allegory, fairy tale, and religious symbolism, establishing an important foundation for modern fantasy literature. It has not only profoundly influenced the development of Western children’s literature and fantasy novels, but also inspired subsequent creations in film, gaming, and cultural industries. Overall, the series uses fantasy adventure to depict struggles of faith, morality, and human nature, becoming a literary classic that transcends time.
Keywords
Fantasy Literature / Fantasy Literature
Hero’s Journey / Hero’s Journey
Christian Allegory / Christian Allegory
Morality and Growth / Morality and Growth
World-Building / World-Building
I. The Series of Novels
The Chronicles of Narnia (The Chronicles of Narnia) is a seven-volume fantasy novel series created by British author C.S. Lewis (Clive Staples Lewis) between 1950 and 1956, consisting of:
II. Types of Novel Structure
The narrative structure of The Chronicles of Narnia belongs to epic fantasy adventure, carrying strong Christian allegorical and moral fable characteristics. This novel series’ structural type can be divided into the following core elements:
1. Worldview and Setting
(1) Fantasy World: “Narnia”
A fantastical realm created by the lion king Aslan (Aslan), full of magical creatures and mythological elements.
Protagonists from different eras enter Narnia and participate in adventures that alter history.
(2) Parallel World Travel
Characters come from the real world (England) and enter Narnia through magical wardrobes, rings, paintings, and other means to embark on adventures.
Core of Morality and Faith
Aslan (Aslan), as a Christ symbol, brings messages of redemption and justice.
Characters face trials, grow, and must make choices between good and evil.
2. Narrative Structure
The story structure of the seven novels of The Chronicles of Narnia mainly revolves around the Hero’s Journey (The Hero’s Journey) and the Messianic Myth (Messianic Myth), which can be divided into the following stages:
(1) Revelation and Call to Adventure (Call to Adventure)
Protagonists (usually children) unexpectedly discover a passage to Narnia.
Upon first entering Narnia, they find it is a land full of magic and conflict.
(2) Adventure and Trials (Trials and Challenges)
Protagonists must learn Narnia’s rules and gain guidance from allies and mentors (such as Aslan and Narnian inhabitants).
They confront evil forces, such as the White Witch (White Witch) or tyrants.
These experiences test the protagonists’ loyalty, courage, and wisdom.
(3) Climax and War (Climax & Conflict)
A crucial battle or confrontation represents the ultimate contest between good and evil.
Protagonists mature and accept their mission, such as becoming kings or queens, or fulfilling prophecies.
(4) Return and Transformation (Return & Transformation)
After completing their mission, protagonists return to the real world with experience and wisdom.
Sometimes time flows differently between Narnia and the real world, so the characters find no time has passed upon their return.
Ultimately, Narnia enters a new era (e.g., the destruction and rebirth of Narnia in The Last Battle).
3. Classification of Each Story’s Structure
|
Title |
Story Type |
Structural Features |
|
The Magician’s Nephew |
Creation Myth, Exploration |
Origin story, explaining Narnia’s creation and the birth of magic. |
|
The Lion, the Witch and the Wardrobe |
Typical Hero’s Journey |
Characters discover another world → gain allies → confront evil → victory in war → return to reality. |
|
The Horse and His Boy |
Escape Adventure |
Orphan searches for identity, undergoes journey trials, and ultimately becomes a prince. |
|
Prince Caspian |
Coup and Restoration |
Deposed prince seeks justice, summons heroes from the past, and overthrows tyranny. |
|
The Voyage of the Dawn Treader |
Exploration and Trials |
Sea voyage adventure; characters undergo trials and learn growth. |
|
The Silver Chair |
Rescue and Labyrinth Exploration |
Rescue of a captive prince, traverse underground labyrinth, defeat evil. |
|
The Last Battle |
Apocalypse and Judgment |
Final confrontation; Narnia destroyed and reborn; characters encounter the “real Narnia.” |
Summary
The story structure of The Chronicles of Narnia integrates the Hero’s Journey, Messianic Myth, allegorical form, and fantasy adventure. Although each book has an independent storyline, together they construct the complete history and worldview of Narnia. This series is not only a classic fantasy work but also rich in symbolism and philosophical reflection.
III. Themes of Concern
The Chronicles of Narnia encompasses many profound themes, not only the surface of fantasy adventure but also allegorical and philosophical thought. The core themes of the series are as follows:
1. The Opposition of Good and Evil
Throughout the series, Narnia experiences multiple battles between good and evil, such as:
(1) Aslan (Aslan) vs. the White Witch (White Witch)
(2) Prince Caspian vs. the usurper Miraz
(3) The false prophets vs. true faith in The Last Battle
The White Witch symbolizes cruel tyranny and temptation, whereas Aslan represents truth and redemption. This binary opposition emphasizes the importance of moral choice.
2. Faith, Redemption, and Christian Allegory
(1) Aslan as a Christ Symbol:
In The Lion, the Witch and the Wardrobe, Aslan sacrifices himself to save Edmund, and then resurrects, analogous to the suffering and resurrection of Jesus Christ.
In The Last Battle, he judges all souls, echoing the world’s end and the birth of a new world in Revelation.
(2) Free Will and Choice of Faith:
Characters must choose whether to believe in Aslan (e.g., Eustace and Jill in The Silver Chair).
The worship of the White Witch or Tash represents false belief and moral misguidance.
(3) Children’s Growth and Moral Trials
Protagonists are almost always ordinary children, gaining growth through fantastical journeys.
Peter, Susan, Edmund, and Lucy mature from children into kings and queens of Narnia, demonstrating leadership and maturity.
Edmund’s repentance, from a greedy and rebellious child (manipulated by the White Witch) to a wise king, represents the struggle and redemption of human nature.
Eustace in The Voyage of the Dawn Treader transforms from a selfish boy into a brave adventurer.
(4) Fate and Prophecy
Narnia’s destiny is often determined by prophecy:
The arrival of “two Sons of Adam and two Daughters of Eve” predicts the end of the White Witch.
Caspian’s rise marks the revival of the Narnian kingdom.
The Last Battle portrays Narnia’s final judgment and apocalypse, aligning with Christian concepts of redemption.
(5) Courage, Loyalty, and Sacrifice
Characters must overcome fear and make courageous choices:
Peter bravely leads armies against the White Witch.
Lucy remains loyal to Aslan, even when others doubt his existence.
Edmund’s sacrifice and repentance become key to defeating evil.
(6) Power and Responsibility
The series repeatedly explores the justice of governance:
The rule of Peter and his siblings is called the “Golden Age,” symbolizing benevolent governance and wisdom.
Miraz and the Telmarines’ rule represents tyranny and oppression.
The rule of the false Aslan in The Last Battle corresponds to dictators manipulating faith.
(7) Exploration and the Unknown World
The voyage in The Voyage of the Dawn Treader symbolizes life exploration.
The underground adventure in The Silver Chair represents fear of the unknown and conquering darkness.
The concept of the “real Narnia” in The Last Battle hints at the pursuit of ultimate truth and the final world.
(8) Time, Cycles, and Conclusion
Time flows differently between Narnia and the real world, symbolizing historical cycles and change:
The Pevensie siblings, after ruling Narnia for many years, return to the real world to find almost no time has passed.
In The Last Battle, Narnia is destroyed, but the characters discover the “real Narnia,” implying the soul’s immortality and the birth of a new world.
Conclusion
The Chronicles of Narnia is not only a fantasy novel but also a deeply allegorical work exploring faith, morality, growth, and historical change. Through fantasy adventures, it encourages readers to reflect on justice, faith, and the complexity of human nature, establishing itself as a classic literary work.
4. Narrative Person and Perspective
The seven-volume The Chronicles of Narnia mainly employs a third-person omniscient perspective, but the use of perspective varies across different books. At times, it leans toward a limited perspective or a narrative style with authorial commentary. The following is an analysis of narrative person and perspective in the seven volumes:
1. The Lion, the Witch and the Wardrobe
(1) Narrative person: Third-person omniscient
(2) Perspective characteristics:
The story unfolds from the perspective of the four Pevensie siblings (Peter, Susan, Edmund, Lucy), with particular attention to Lucy and Edmund’s experiences.
The narrator occasionally addresses the reader directly, providing commentary, for example: “If you have ever eaten Turkish Delight, you will understand why Edmund is so fascinated.”
Aslan’s perspective is relatively limited, which enhances his mysterious aura.
2. Prince Caspian
(1) Narrative person: Third-person omniscient
(2) Perspective characteristics:
The first half follows the Pevensie siblings’ adventures in Narnia, mainly through the perspectives of Peter and Lucy.
Through flashbacks and story transitions, the perspective shifts to Caspian, showing his struggles and military conflicts.
The narrator still interjects commentary, such as: “You may think such an adventure is too incredible to be true.”
3. The Voyage of the Dawn Treader
(1) Narrative person: Third-person omniscient
(2) Perspective characteristics:
The story mainly unfolds from Eustace’s and Edmund’s perspectives, with Eustace’s transformation being one of the core elements of the book.
Lucy’s inner world is also explored, especially in the scene with the magic book, where her jealousy and desire are intricately described.
When Aslan appears, the narrative becomes more veiled, maintaining his sense of mystery.
4. The Silver Chair
(1) Narrative person: Third-person omniscient (leaning toward limited perspective)
(2) Perspective characteristics:
The narrative is primarily from the perspectives of Eustace and Jill, showing their fears, struggles, and growth.
The narrator occasionally inserts commentary, such as sarcastic remarks about schools (“Modern schools have become so disorderly, the teachers are hardly teachers at all.”).
Scenes involving the Lady of the Green (the “Queen”) contain intense psychological description, bringing the reader closer to the characters’ inner states.
5. The Horse and His Boy
(1) Narrative person: Third-person omniscient (multi-perspective)
(2) Perspective characteristics:
Unlike other works, the protagonist of this book is an outsider (Shasta), and the story revolves around his journey.
In addition to Shasta, the narrative also involves Aravis and the talking horses (Bree and Hwin), and even occasionally depicts Aslan’s perspective (such as how he guides the characters).
Aslan’s appearances carry a strong allegorical tone, and the narrator occasionally emphasizes that this is a story “bigger than what you see.”
6. The Magician’s Nephew
(1) Narrative person: Third-person omniscient
(2) Perspective characteristics:
The focus is mainly on Digory and Polly, whose thoughts and decisions drive the story forward.
The narrator occasionally speaks directly to the reader, such as: “You may think Digory is foolish, but if you were in his position, you would understand his choices.”
When Aslan creates Narnia, the narration shifts to a more grand, expansive perspective, emphasizing a sense of divinity and grandeur.
7. The Last Battle
(1) Narrative person: Third-person omniscient (occasionally limited perspective)
(2) Perspective characteristics:
The first half follows Shift (the ape), Puzzle (the donkey), and King Tirian, describing their reactions to the “False Aslan.”
After the return of Peter, Lucy, Eustace, and other characters, the narrative perspective broadens to multiple viewpoints.
At the conclusion, the narration shifts to an ultimate perspective, with apocalyptic prophecy and spiritual overtones, e.g., “This world has vanished, but the real Narnia is just beginning.”
Overall Analysis
The series primarily uses a third-person omniscient perspective, but the narrative focus varies by book:
Conclusion
The narrative techniques in the seven Narnia books are flexible, selecting appropriate perspectives according to story themes and characters. Overall, the series balances the fluidity of adventure storytelling with allegorical depth, using the omniscient narrator to skillfully guide readers and deliver a rich fantasy experience.
5. Story Plot Analysis
(a) The Lion, the Witch and the Wardrobe
1. Story Summary
This book is the first of C.S. Lewis’s The Chronicles of Narnia series, depicting four children—Peter, Susan, Edmund, and Lucy—being sent to the countryside for safety during World War II. They inadvertently enter the magical land of Narnia through a wardrobe. They discover that Narnia is ruled by the White Witch and perpetually trapped in winter. With their arrival, hope is rekindled, and the legendary lion Aslan appears to lead them in overthrowing the White Witch, restoring peace. The siblings eventually become kings and queens in Narnia.
2. Story Structure
(1) Introduction
During World War II, Peter, Susan, Edmund, and Lucy are sent to Professor Kirke’s country house for safety.
Lucy accidentally enters Narnia through the wardrobe, where she meets the kind faun Mr. Tumnus and learns that the White Witch has trapped Narnia in eternal winter.
Lucy returns to the real world and tells her siblings, but they do not believe her.
(2) Development
Edmund, by chance, also enters Narnia and meets the White Witch, who tempts him with Turkish Delight and promises to make him a prince of Narnia.
Edmund returns to the real world but hides the existence of the White Witch from his siblings and begins to grow cold and selfish.
Lucy enters Narnia again, this time with her siblings, and meets the kindly Mr. and Mrs. Beaver, learning that Aslan will soon return.
Meanwhile, Edmund secretly goes to the White Witch’s castle to gain power but is imprisoned.
(3) Turning Point
Peter, Susan, and Lucy flee with the Beavers’ help and join Aslan’s army.
Edmund is used by the White Witch as leverage against Aslan, since ancient magic dictates that all traitors belong to her.
Aslan sacrifices himself to save Edmund, being killed on the Stone Table by the White Witch.
(4) Conflict
The White Witch believes she has defeated Aslan and leads her army against Narnia’s forces under Peter.
Peter leads Narnia in battle, but they face disadvantages.
Lucy and Susan discover that Aslan’s body has vanished.
(5) Climax
Aslan is resurrected by “Deeper Magic” and leads reinforcements into battle.
Aslan kills the White Witch, and Narnia’s army turns the tide, ultimately defeating the enemy.
Peter, Susan, Edmund, and Lucy are crowned at Cair Paravel, beginning the Golden Age.
(6) Resolution + Twist
They rule Narnia for many years, becoming legendary kings and queens.
One day, they find a passage back to the real world in the forest and return to Professor Kirke’s house, finding that almost no time has passed.
Professor Kirke hints that they may return to Narnia in the future, leaving a narrative foreshadowing.
The Lion, the Witch and the Wardrobe is not only fantastical but also rich in meaning, encompassing themes of faith, sacrifice, redemption, and the triumph of justice over evil.
(6) The Magician’s Nephew
1. Story Overview
The Magician’s Nephew is the sixth book of The Chronicles of Narnia in publication order; however, in terms of the internal chronology, it serves as the origin story of the entire series, recounting how the world of Narnia was created.
The protagonists are Digory and Polly, who are accidentally drawn into the magical experiments conducted by Digory’s uncle, Uncle Andrew. Through these experiments, they enter multiple mysterious worlds and ultimately witness Aslan creating Narnia.
Their journey also inadvertently brings the evil witch Jadis into the newly formed world, planting the seeds of future crises for Narnia.
The story involves themes of destiny, choices between good and evil, responsibility, and the sacred nature of creation.
2. Story Plot Structure
(1) Introduction
In Victorian-era London, Digory befriends the neighboring girl Polly, and while exploring the attic, they discover that Digory’s uncle Andrew is an amateur magician.
Andrew deceives Polly into touching a magical ring, sending her to another world, and Digory is forced to follow her in order to rescue her.
(2) Development
They arrive at the “Woods Between the Worlds,” discovering that it is an intermediate realm connecting multiple worlds.
Driven by curiosity, they enter a lifeless world—Charn—where they find a row of sleeping statues and a mysterious bell inside a ruined palace.
Despite Polly’s objections, Digory strikes the bell, awakening the evil witch Jadis.
(3) Turning Point
Jadis claims to be the last queen of Charn and reveals that she once used the “Deplorable Word” to destroy the entire world in order to ensure her own survival.
She follows Digory and Polly back to Earth and wreaks havoc in London, displaying immense magical power, forcing Digory and Polly to find a way to send her back to another world.
They manage to use the magical rings to bring Jadis, Uncle Andrew, a cab driver, and a horse into the Woods Between the Worlds, and then into a newly created world.
(4) Conflict
They arrive in a dark, empty void and witness the lion Aslan singing the world of Narnia into existence, as mountains, rivers, plants, animals, and landscapes gradually emerge.
Aslan grants some animals the ability to speak and establishes order in Narnia, while Jadis continues to threaten the newborn world in secret.
Digory is filled with inner conflict: he longs to ask Aslan to heal his mother’s illness, yet feels guilty for having brought Jadis into Narnia.
(5) Climax + Suspense
Aslan commands Digory to journey to a distant land to retrieve a magical apple to protect Narnia from Jadis’s harm.
During the journey, Digory encounters Jadis, who attempts to deceive him into stealing and eating the apple, promising that it will save his mother.
After a painful struggle, Digory resists temptation and returns the apple to Narnia, planting it as a tree that becomes a protective barrier against Jadis.
(6) Resolution + Twist
Aslan rewards Digory by allowing him to take an apple back to the real world, which heals his mother.
The horse is granted wings by Aslan, becoming the first flying horse of Narnia, and carries Digory and Polly back to Earth.
They bury the magical rings and vow never to use them again.
Later, the apple tree grows into an ordinary tree, which is eventually cut down and made into a wardrobe—this becomes the magical wardrobe that leads to Narnia in The Lion, the Witch and the Wardrobe, forming a closed time loop within the series.
(7) The Last Battle
1. Story Overview
The Last Battle is the final installment of The Chronicles of Narnia, depicting the end of Narnia.
The story centers on a cunning ape named Shift and a kind but simple-minded donkey named Puzzle. Shift disguises Puzzle in a lion’s skin to impersonate “Aslan,” deceiving the inhabitants of Narnia into submitting to the false Aslan and colluding with the neighboring nation of Calormen in an attempt to seize control of Narnia.
King Tirian discovers the deception and struggles to resist, but Narnia has already fallen into chaos.
Eventually, the true Aslan appears, ushering in the end of the world. The faithful souls enter the “real Narnia,” while traitors and enemies are cast out.
Aslan reveals that the former world was merely a shadow, and the true Narnia is the eternal paradise.
The story concludes with the destruction of Narnia and the protagonists’ entrance into a more beautiful world.
2. Story Plot Structure
(1) Introduction
The scheming ape Shift finds a lion’s skin by the river and forces his friend, the innocent donkey Puzzle, to wear it and pretend to be Aslan.
Shift uses the false Aslan’s authority to deceive the people of Narnia, compelling them to obey him while cooperating with the Calormenes to control the entire kingdom.
Tirian, the last king of Narnia, uncovers the scheme but is captured while attempting to resist.
(2) Development
While imprisoned, Tirian prays to Aslan for help.
Eustace and Jill from Earth are summoned to Narnia, rescue Tirian, and persuade him to organize resistance.
They discover that the people of Narnia trust the false Aslan due to having not seen the real Aslan for a long time, and that even some of the Dwarfs have lost their faith.
Shift continues manipulating events, enslaving the Narnians to the Calormenes and even declaring that Tash (the evil god of Calormen) and Aslan are the same deity.
(3) Turning Point
The rebels expose the deception of the false Aslan, but most Narnians have already begun to doubt their faith.
Shift attempts to consolidate his power further but is ultimately seized and devoured by Tash amid the chaos, receiving his rightful punishment.
The Calormene army launches a full-scale invasion of Narnia, forcing Tirian and his allies into a final confrontation.
(4) Conflict
Tirian, Eustace, and others fight a decisive battle against the Calormene forces, suffering devastating losses as the Narnian army is nearly wiped out.
A mysterious door appears on the battlefield, and some characters pass through it while the outside world of Narnia begins to collapse.
Many Dwarfs, trapped by excessive skepticism, refuse to believe in Aslan’s salvation; even after passing through the door, they remain imprisoned in self-deception and darkness.
(5) Climax + Suspense
The true Aslan appears, proclaims the end of Narnia, and summons all souls for final judgment.
The good and faithful are welcomed into the “real Narnia,” while the wicked are cast away, with Tash carrying off the most corrupted souls.
The sun of Narnia is extinguished, the land collapses, and the entire world comes to an end.
(6) Resolution + Twist
Those who pass through the door discover that they have entered the “real Narnia,” a greater and more authentic world where all past goodness continues eternally.
Peter, Lucy, Eustace, and other former heroes of Narnia reunite there, learning that their earthly selves have died in a train accident and that their souls have returned home.
Aslan reveals that the former world was only a shadow and that the real Narnia is their ultimate destination.
The ending symbolizes faith, ultimate redemption, and eternal life, bringing The Chronicles of Narnia to a close in a heaven-like eternal realm.
VI. Film and Television Adaptations
The Chronicles of Narnia series by C.S. Lewis has been adapted multiple times into films, television series, and animated works since its publication. The major adaptations include the following:
1. Film Adaptations (2005–2010)
The Walden Media film trilogy
Distributed jointly by Disney (first two films) and 20th Century Fox (third film)
|
Film Title |
Release Year |
Director |
Production Companies |
Box Office |
|
The Chronicles of Narnia: The Lion, the Witch and the Wardrobe |
2005 |
Andrew Adamson |
Walden Media, Disney |
$745 million |
|
The Chronicles of Narnia: Prince Caspian |
2008 |
Andrew Adamson |
Walden Media, Disney |
$419 million |
|
The Chronicles of Narnia: The Voyage of the Dawn Treader |
2010 |
Michael Apted |
Walden Media, 20th Century Fox |
$415 million |
Features and Evaluation
The first film achieved major commercial success and was hailed as a fantasy classic.
The second film received positive reviews but underperformed compared to the first.
The third film suffered from budget cuts and a change of distributor, failing to meet expectations and leading to the suspension of further film projects.
2. Planned Netflix Reboot (2018–Present)
October 2018: Netflix announced it had acquired the adaptation rights to the entire series, planning both films and television series.
June 2019: Netflix confirmed collaboration with writer/producer Matthew Aldrich (screenwriter of Coco) to build a new cinematic universe.
Current status: No confirmed filming schedule or release dates; the new adaptation is expected to differ stylistically from the Walden Media version.
3. Early Adaptations (1967–1990)
(1) BBC television series (1988–1990): Three seasons adapting four novels, combining live action and puppetry with simple effects but strong fidelity to the originals.
(2) 1979 animated film The Lion, the Witch and the Wardrobe, produced by Rankin/Bass for CBS, using traditional hand-drawn animation.
(3) 1967 BBC black-and-white television series adapting only The Lion, the Witch and the Wardrobe.
VII. Artistic Achievements and Influence on Modern Western Fantasy
The Chronicles of Narnia by C.S. Lewis is one of the twentieth century’s fantasy classics, achieving remarkable artistic success in narrative, symbolism, and world-building, and profoundly influencing later Western fantasy literature, as well as film, gaming, and cultural industries.
(1) Artistic Achievements
(2) Influence on Contemporary Fantasy
Conclusion
The Chronicles of Narnia established the foundations of modern fantasy literature through narrative innovation, world-building, character development, and allegorical expression, exerting lasting influence on novels, films, and games alike. It stands as both a children’s literature classic and a pillar of fantasy literature.
