Volume 1 Issue 1. December Twopence. A Literary Journal Dedicated to the Works of

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1 Volume 1 Issue 1 December 2011 Twopence A Literary Journal Dedicated to the Works of

2 2 Mission Statement T he mission of Twopence is to foster and preserve the legacy of C.S. Lewis by promoting the study of his works through a variety of literary lenses. We seek to publish a collection of works that demonstrates the significance of Lewis s works within the literary and religious cannon of our increasingly literature forgoing, secular world. We accept as true what Lewis concluded about originality in his seminal work Mere Christianity: If you simply try to tell the truth (without caring twopence how often it has been told before) you will, nine times out of ten, become original without ever having noticed it. Adhering to this belief, we are committed to working with writing that hasn't arrived at its full greatness. Together, authors and editors work together to create masterfully written work. Each piece will represent ethical and intelligent arguments. Twopence seeks to provide essays that address the concerns and interests of readers of religious literature and fantasy, literary scholars, and teachers of English.

3 3 Table of Contents Letter from the Formal Literary Analysis Editor... 4 Good v. Evil... 5 Pagan Mythology and The Chronicles of Narnia Letter from the Theory-based Editor Culture and History of The Chronicles of Narnia Feminist Analysis of The Lion, the Witch and the Wardrobe Letter from the Persuasive Research Editor Harry Potter and The Chronicles of Narnia: Comforting Tales of Good v. Evil C.S. Lewis: a Man of Change, a Man to Follow The Devil Made Me Do It: Screwtape, Temptation, and the Power to Prevail... 54

4 4 Letter from the Formal Literary Analysis Editor December 15, 2011 Dear Readers, Welcome to this inaugural issue of Twopence! My fellow editors and I have worked hard to bring you a compilation of essays which reflect our mission statement and offer fresh insights into the works of C.S. Lewis. The following two papers, we feel, exemplify both of these requirements as well as the requirements for a formal literary analysis, using only what is contained within that text to analyze it. The author s theses are refreshing, offering unique perspectives on the works of C.S. Lewis. We commend them for their diligent efforts. These papers also follow the mantra of Lewis which was cited in our journal s mission statement: If you simply try to tell the truth (without caring twopence how often it has been told before) you will, nine times out of ten, become original without ever having noticed it. My fellow editors and I hope you enjoy reading these truly original essays. Cheers, Carolyn Lott Carolyn Lott

5 5 Good v. Evil BRITTANY KYLE E ver since the fall of Adam and Eve (The Holy Bible), there has been opposition in all things- happiness and sadness, hunger and contentment, sickness and health, and good and evil. Good and evil is an everyday choice that is and will always be ever present in the world. This opposition, between good versus evil, is also prevalent in C.S. Lewis novel, The Magicians Nephew. Through the use of foreshadow, imagery, and comparison, Lewis presents to the reader a clear distinction of the choice, that characters and individuals have, between good versus evil. Foreshadow Throughout the novel, Digory is faced with several decisions; however, the two most important choices that were to be made were introduced with notes full of invitation and warning. The first choice came when Digory and Polly were walking through the great hall in Charn and found a bell and hammer situated in the middle of the room atop a table. The note on the bell said, 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, (Lewis 35). While unsure of the exact consequences at the time, Digory and Polly were faced with two choices- to ring the bell or not ring the bell. The brief foreshadowing of the danger they would endure and bide should they ring the bell scared Polly from wanting to proceed. Polly was able to see and recognize the evil that accompanied the ringing of bell, unlike Digory who was tempted more by the repulsion of and

6 6 being driven mad by an unknown outcome. Though at the time, Digory was able to overlook the heeding and give into his curiosity, he always knew that he was choosing evil. Later when asked why he chose to ring the bell, Digory explains, I wanted to know what would happen if I struck the bell... I see now I wasn t [enchanted]. I was pretending (Lewis, 80). Not only was he fully aware of the good versus the evil in the situation he faced, but he also knew that he had the right and privilege to choose as he pleased. The second note of invitation and warning appeared when Digory was sent to fetch the apple from the gated garden. The note on the gate of the garden said, Come in by the gold gates or not at all, / Take of my fruit for others or forbear, / For those who steal or those who climb my wall/ Shall find their heart s desire and find despair, (Lewis, 92). The foreshadowing presented in this note is proclaimed through the Witch and was seen immediately by Digory through her change in appearance. Though once described as beautiful, Digory described her new appearance as stronger and prouder than ever, and even in a way triumphant; but her face was deadly white, white as salt, (Lewis, 93). The foreshadow is further enhanced by Aslan s explanation of the Witch s bleak future- in which he describes the witch s eternal nature and power (her desire) accompanied by eternal remorse and guilt (her despair). The Witch chose to partake of the fruit even though she was aware of the evilness of her decision; whereas, Digory choose to obey and adhere to the good. Much like the note found on the bell, the note on the gate foreshadowed the consequences of both good and evil. Imagery

7 7 In addition to foreshadow, Lewis also used imagery to help convey the difference between good versus evil to his readers. The most poignant example comes from the appearance of the Witch after eating the apple in the garden. The description of the apple before it was eaten by the witch was of heavenly attributes. It was described in terms of beauty, majesty, and royalty. Conversely, after the apple had been eaten the juice was darker than you would expect and had made a horrid stain round her mouth, (Lewis, 93). The imagery and connotation of a horrid stain depicts the awfulness and evilness of the choice that was made to eat the apple. Another example of imagery portrayed in the novel came in the form of sound. The rings, which contained the magic by which Digory and Polly were transported to different worlds, was a symbol of evil in the beginning of the novel. When first discovered, Polly was very attracted and drawn to the rings and when Uncle Andrew presented Polly with an opportunity to don a ring, she could not resist. However, as she approached, she experienced a persistent humming sound, like the sound of a Hoover being worked a long way off, (Lewis, 15) that grew louder and louder as she got closer. For most, the sound of a vacuum is not a pleasant sound to experience: they are loud and noisy. The sound was as if the rings were letting off a warning similar to the sound let off by the bell after Digory struck it. After the bell was struck, the room was filled with a sweet note...it went on; and as it went on it grew louder. The note continued on a sweet continuous sound, though the sweetness had something horrible about it, till all the air in the great room was throbbing with it, (Lewis, 36). Normally, both a bell and a ring symbolize goodness and happiness; however, in the novel, it is apparent that these things were evil because of the negative noise and imagery that was included in their descriptions.

8 8 In contrast, when Aslan first appears in the novel, the sound and imagery that accompany him presence were described by Uncle Andrew as, remarkable, most remarkable, (Lewis, 67). When they first arrived to Narnia, the world was not yet created. But, soon after their arrival, they were able to witness Aslan creating the world through song. Everyone- Digory, Polly, the Cabby, Uncle Andrew, and even Strawberry, the horse-except for the Witch were mesmerized and awe-struck by the majestic and royal tones exuding from the lion. Not only were the tones mesmerizing, but the experience as a whole, for when you listened to his song you heard the things he was making up: when you looked around you, you saw them, (Lewis, 65). The songs of Aslan leave the characters and readers feeling hopeful and inspired; whereas, the sound of the rings and bell left the characters and readers with fear and anxiety. The difference in the imagery between Aslan and the rings and bell serve to help Lewis show the distinct difference between good and evil. Comparison The last literary device Lewis used to render the choice between good and evil is the contrast he depicts between the two worlds- Charn and Narnia. Charn, the world from which the Witch, Jadis, came, is described as a bleak and gloomy world. The sun- often a symbol for light, goodness, and health- is red and rests on the horizon as it, nears the end of its life, weary of looking down upon that world, (Lewis, 40). Also, throughout the whole city of Charn, there was no living thing to be seen, and the river bed that used to flow with water, was now only a wide ditch of grey dust, (Lewis, 40). On the other hand, Narnia was a valley grew green with grass. It spread out...like a pool. It ran up the sides of the little hills like a wave, (Lewis, 64). Narnia was dotted with primroses, filled with fresh, hot, and vivid colors that made you feel excited, and had a sun that laughed for

9 9 joy as it came up, (Lewis, 62). Narnia as described by Fledge was very good, (Lewis, 85). It was a land of peace, hope, and chance. It radiated goodness; whereas, Charn seeped gloom, destruction, and evilness. In conclusion, through the character Aslan, Lewis describes the people and creatures of Narnia as, free subjects, (Lewis, 82), meaning they are able to choose as they please. The theme of determining and choosing right from wrong, good from evil resonates throughout Lewis entire novel, The Magician s Nephew, and is visible through literary devices such as foreshadowing, imagery, and contrast. ~Brittany Kyle REFERENCES Lewis, C. S. The Magician's Nephew. Great Britain: The Bodley House, Print.

10 10 Pagan Mythology and The Chronicles of Narnia LAUREN HADDOW C.S. Lewis was influenced by various mythologies while writing The Chronicles of Narnia series. Aside from the Christian influences that his stories are most well-known for, a reader can find traces of Roman, Greek, Celtic and Norse myths. Even by using creatures from non-christian, pagan sources, Lewis was able to create a world that still fit in with the Christian allegory. The pagan creatures found in Narnia can be seen as symbols that accentuate the Christian theme of the stories. Lewis believed that it was essential for Christians to be able to interpret and apply allegories, myths, and stories into their own lives. He once wrote that, what might be myth in one world might be fact in another; he believed that pagan myths and religions came from the same source- what he called the true myth - that is, in the Gospel of Jesus Christ (Blanch). Lewis incorporation of mythological creatures does not distract from the overall theme of the novels, which is the Christian story from the creation up until the judgment. The myths allow the reader to recognize that all myths, stories, and religions come from only one source of truth. The beauty of allegories is that they often allow many different interpretations. The Chronicles of Narnia is no different, and the reader is left to apply and interpret for themselves. One interpretation is not necessarily correct and another incorrect. Many interpretations can teach many truths. The first and most readily recognized creature from Narnia is the faun, Mr. Tumnus. In The Lion, the Witch, and the Wardrobe, Mr. Tumnus is described upon his first meeting with Lucy:

11 11 He was only a little taller than Lucy herself and he carried over his head an umbrella, white with snow. From the waist upward he was like a man, but his legs were shaped like a goat s (the hair on them was glossy black) and instead of feet he had goat s hooves (Lewis 78). Mr. Tumnus is a seemingly kind and friendly creature. He invites Lucy to his home for tea and toast and tells her stories of Narnia and its inhabitants. He then plays a flute for her and attempts to lure her to sleep in order to take her to the White Witch. His conscious gets the better of him however, and he helps Lucy to escape back through the wardrobe at the cost of his own freedom. This change in Mr. Tumnus is a portrayal of the duality of the creature that he is, a faun. Fauns have been portrayed in many different mythologies. In Roman times, fauns were considered to be creatures that inhabited the forests and woods. Fauns had half-human, half-goat bodies which represented the communion of man with nature and also man s bestiality (Harper). Mr. Tumnus at first uses deception in order to bring Lucy to the White Witch and save himself from punishment. This represents what might be called the natural man in Mr. Tumnus. He does however have a change of heart after he learns more about Lucy, and he decides to save her at great personal risk. This change can represent the conversion that every Christian must have. At first he is in his natural and carnal state, but eventually he does the right thing. By knowing of Mr. Tumnus struggle with himself, the reader recognizes that they might have more in common with the faun than they expect. Mr. Tumnus struggle is an incredibly human one; he struggles with doing the right thing even at great cost to himself. This is only one way that Lewis used mythological creatures to teach true Christian principles.

12 12 Norse mythology also influenced the characters Lewis used in The Chronicles of Narnia. Norse mythology, also known as Germanic mythology, is a collection of mythologies from the Scandinavian countries, mainly, Norway, Sweden, Denmark, and Iceland. Norse mythology is most closely associated with the Vikings, a group of Dark Age sailors who raided and plundered throughout Northern Europe. One creature Lewis takes out of Norse Mythology is the dwarf. Germanic mythologies portray dwarves as beings who dwell in the mountains or under the earth that are known for their wisdom. One of these characters is described in the opening chapters of Prince Caspian, after Peter, Susan, Edmund, and Lucy save him from sure death: Like most Dwarfs he was very stocky and deep-chested. He would have been about three feet high if he had been standing up, and an immense beard and whickers of coarse red hair left little of his face to be seen except a beak-like nose and twinkling black eyes (Lewis 225). The dwarves depicted in The Chronicles of Narnia are not that different from humans. The obvious difference is their height, being about half the size of a full-grown man. The dwarf mentioned above, whose name is Trumpkin, is described as a most capable person; Indeed, the narrator also says, Though one meets bad Dwarfs, I never heard of a Dwarf who was a fool (226). By these descriptions the reader realizes that dwarves are indeed very similar to man, even described as person(s). Even in The Lion, the Witch, and the Wardrobe, the White Witch, upon meeting Edmund for the first time asks, Are you a great overgrown dwarf that has cut off its beard? (85) Dwarves share so many similarities to humans precisely because they are in reality humans themselves. In fact, dwarves are not mythological creatures at

13 13 all; there are still dwarves in modern times, although they are commonly (and somewhat offensively) referred to as midgets. While we will never know what exact comparison Lewis meant to draw between dwarves and humans, we can take a good guess. While most popular depictions of dwarves show them as sly, cunning creatures, Lewis portrayed two types of dwarves in The Chronicles of Narnia. We have Trumpkin, who we discussed earlier, who is an example of a good dwarf, among many others. Lewis also used bad dwarves in his stories. For example, the White Witch has an evil dwarf for a servant in The Lion, the Witch, and the Wardrobe. In the major battles in most of the books in the series, dwarves fight for both the good and bad sides. Dwarves, like the fauns, represent a duality in man. When paired with their opposites, giants, the duality is more obvious. Giants, in mythology, are known for their tremendous size and strength. Dwarves, on the other hand, are clever, cunning, and wise. Perhaps through the portrayal of these two beings, Lewis wanted to draw attention to the balance humans must achieve between the two. It doesn t matter how strong a man is if he can t use his brain, and it doesn t matter how wise a man is if he is weak. Man was meant to develop both capabilities and not rely too heavily on one or the other. By portraying good and evil creatures of the same kind, like dwarves, Lewis was perhaps suggesting the choice that each man has. A man must decide to be good or evil. Men, and creatures, are not born inherently good or evil, they make choices that determine what type of people they are and will become. This is obviously relevant to a Christian who believes the doctrine of agency.

14 14 While Lewis did not intend this story to be a Christian parable or allegory, it certainly turned out that way. His Christian world-view definitely influenced the plot and setting in The Chronicles of Narnia. Some may argue that Lewis created a world that deceives Christian readers by portraying false myths as Gospel truth. Proponents of Lewis work argue that the work is not meant to be literally applied to the Gospel, only to give the reader a special insight into Gospel truth. Whether or not Lewis intended the story to be Christian or not is irrelevant. The text will inevitably be interpreted by readers in the best way they see fit. If the reader sees Aslan as a symbol for Jesus Christ, or as a false idol is entirely up to the reader. The beauty of these stories is that they can be applied in any life, at any time, and for any reason. ~Lauren Haddow REFERENCES Blanch, Anna. "A Hermeneutical Understanding of The Chronicles of Narnia." C.S. Lewis Today. Web. 6 Oct < 2006/a-hermeneutical-understanding-of-the-chronicles-of-narnia>. Harper, Douglas. "Faun." Online Etymology Dictionary. Web. 6 Oct < Lewis, C. S., and Pauline Baynes. The Complete Chronicles of Narnia. New York: Harper Collins, Print.

15 15 Letter from the Theory-based Editor December 15, 2011 Dear Readers, Here at Twopence we were so excited for the opportunity to read and analyze the papers of those who wished to report on C.S Lewis. Each paper submitted was unique and interesting and showed the hard work and dedication of each author to not only their paper, but to our journal. We greatly appreciate each submission and regret that we couldn t publish more of them. Once again we thank each individual that submitted to our journal and we hope to see more from you in the future! Sincerely, Natalie Hill Natalie Hill

16 16 Culture and History of The Chronicles of Narnia RACHEL ELLARS C.S. Lewis s story The Lion, the Witch, and the Wardrobe is influenced by the history and culture of Lewis s lifetime. The lens New Historicism looks at the culture, and history of the authors life to find the meaning of the text (Bressler 215). Lewis interaction with children influences the theme of forgiveness and good versus evil. Most importantly his conversion to Christianity is seen in Aslan as a symbol of Christ and the allusion to his atonement for us. Living during World War I and II helped to establish the opening scene in chapter one of The Lion, the Witch, and the Wardrobe. Right before World War II, many children were evacuated to the English countryside from London to escape the attacks by Nazi Germany. On September 2, 1939, Margaret, Mary, and Katherine three schoolgirls came to live at Lewis s home three miles east of Oxford (Ford 106). Lewis used this same experience in his book, The Lion, the Witch, and the Wardrobe, to show how it would be as a child during this time. Lewis discussed that the experience with the girls gave him a new appreciation of children (Edwards 129). This new appreciation of children is what influenced Lewis to write the children s series The Chronicles of Narnia. These children in the story allow the audience to peer into this appreciation that Lewis had. Once there were four children whose names were Peter, Susan, Edmund, and Lucy (Lewis, The Lion, The Witch, and The Wardrobe 111). The opening line shows that these children are important. Their importance is also noted with the ancient Narnia prophecy. Down at Cair Paravel there are four thrones and it s saying in Narnia time out of mind that when two Sons of Adam and two

17 17 Daughters of Eve sit on those four thrones, then it will be the end not only of the White Witch s reign but of her life (Lewis, The Lion, The Witch, and The Wardrobe 148). These children are the key to saving Narnia and as they sit on these thrones will become Kings and Queens of Narnia (Lewis, The Lion, The Witch, and The Wardrobe 170). All four of these children were necessary to make this prophesy come to pass and it is because of these bonds that it occurs. These children also show that bonds can be found between family members. Throughout this story the ties that this sibling have to each other shows and symbolizes the importance of family and the benefits of sticking together. Good evening, good evening, said the Faun. Excuse me-i don t want to be inquisitive but should I be right in thinking that you are a daughter of Eve? (Lewis, The Lion, The Witch, and The Wardrobe 115). When Mr. Tumnus meets Lucy he realizes that Lucy s humanness is part of a family relationship that extends back to Biblical times of Adam and Eve. This family relationship is shown again when Edmund is eating of the Turkish delight and his meeting with the White Witch. She seemed especially interested in the fact that there were four of them, and kept coming back to it. You are sure there are just four of you? she asked. Two Sons of Adam and two Daughters of Eve, neither more nor less? (Lewis, The Lion, The Witch, and The Wardrobe 125). This realization that the children two girls and two boys and their historical genealogy being descendants of Adam and Eve make them the perfect candidates to fulfill the Narnia prophesy of the destruction of the White Witch. The importance of family and their genealogy referring to biblical time shows how biblical history had an effect on Lewis. Biblical references are found often during this book but wouldn t have been possible if Lewis hadn t converted to the Christian faith.

18 18 Looking at Lewis s decision to become an atheist helps to understand his conversion to Christianity. Lewis was raised in a family that attended the Church of Ireland, but at the age of fifteen he became an atheist. Later he described himself as being very angry with God for not existing (Lewis, Surprised by Joy 115). Lewis s strongest argument to become an atheist stemmed from his reading of Lucretius s De rerum natura Nequaquam nobis divinitus esse paratam Naturam rerum; tanta stat praedita culpa "Had God designed the world, it would not be A world so frail and faulty as we see." ( ). This passage is what led Lewis to live for eighteen years as an atheist. It wasn t until Lewis was teaching at Oxford that his colleague J.R.R. Tolkien helped to influence him with specific arguments against his atheist beliefs. Lewis fought up to the minute of his conversion, mentioning that he was brought into Christianity like a prodigal, kicking, struggling, resentful, and darting his eyes in every direction for a chance to escape (Surprised by Joy 229). This long battle with questions about the Christian belief is what directed Lewis to be so strong in his faith. Once Lewis was converted to Christianity, he never turned back. The themes found throughout the story are influenced by Lewis s conversion to Christianity. Lewis was one of the intellectual giants of the 20th century and arguably the most influential Christian writer of his day (About C.S. Lewis). So it isn t surprising to read about Christian themes in his writings, especially in The Lion the Witch and the Wardrobe. One major theme found is the theme of forgiveness.

19 19 In the beginning of the story when Lucy has tea with Mr. Tumnus and then they walk back to the light post, they have the following conversation: FAUN. Then be off home as quick as you can, and c-can you ever forgive me for what I meant to do? LUCY. Why of course I can, shaking him heartily by the hand. And I do hope you won t get into dreadful trouble on my account. (Lewis, The Lion, The Witch, and The Wardrobe 119). Lucy is really quick to forgive those who are truly sorry. Lucy is an example of forgiveness and is a theme found throughout this story. Her example demonstrates the innocence often found in a child and a child s willingness to forgive. Peter turned at once to Lucy. I apologize for not believing you, he said, I m sorry. Will you shake hands? Of course, said Lucy and did (Lewis 134). There are some people who are quick to forgive and others who need more time. Lucy in both instances is a great example of someone who is quick to forgive those who have done something wrong. The funny thing about the interaction with Mr. Tumnus is that he is asking forgiveness for something he hadn t even completed. This shows that Lucy is extremely forgiving because she is willing to forgive someone before a sin is even committed. Forgiveness is a Christian theme and allows readers to see the difference between good versus evil. Good and evil is a clearly distinguishable theme that is seen many times during this book. Edmund find that evil along with good is introduced early in the story. But Edmund secretly thought that it would not be as good fun for him as for her. He would have to admit that Lucy had been right, before all the others, and he felt sure the others would all be on the side of the

20 20 Fauns and the animals; but he was already more than half on the side of the Witch (Lewis, The Lion, The Witch, and The Wardrobe 128). Edmund notices that in Narnia there are two different sides, a good side and an evil side. Edmund notices these two sides but still chooses the evil side to begin with. Edmund later in the story asks, If it comes to that, which is the right side? How do we know that the fauns are in the right and the Queen (yes, I know we ve been told she s a witch) is in the wrong? We don t really know anything about either (Lewis, The Lion, The Witch, and The Wardrobe 138). Edmund asks a question that many people probably ask at some point in their life. How do you know if someone is good or evil? The good and evil comparisons continue throughout the whole book, but good is more powerful and prevails. There are additional allusions that can be found in this story referencing to Biblical times. First when Edmund goes into the wardrobe and it confronted by the White Witch he eats of the Turkish delight. Edmund only thought of trying to shovel down as much Turkish Delight as he could, and the more he ate the more he wanted to eat (Lewis, The Lion, The Witch, and The Wardrobe 125). Edmunds consumption of the Turkish Delight alludes to when Adam and Eve desired to eat of the fruit from the Tree of Knowledge of Good and Evil (King James Bible, Genesis 2:17). After Adam and Eve partook of the fruit they changed, seeing things differently than they had before. Adam and Eve partook of the fruit to gain knowledge and so they could bear children but Edmund partook of the Turkish delight for the purpose of pleasure in a gluttonous manner. The two reasons for partaking are different, but at the same time they are similar. Both partook of the fruit or Turkish delight because they desired something.

21 21 Another allusion is found when Lucy and Susan are speaking with Aslan. "It means," Said Aslan, "that though the Witch knew the Deep Magic, there is a magic deeper still which she did not know. Her knowledge goes back only to the dawn of Time. But if she could have looked a little further back, into the stillness and the darkness before Time dawned, she would have read there a different incantation. She would have known that when a willing victim who had committed no treachery was killed in a traitor's stead, the Table would crack and Death itself would start working backwards (Lewis, The Lion, The Witch, and The Wardrobe 185). Aslan knew something that no one else knew, that his great sacrifice could atone for Edmunds wrong choice. This example alludes to Christ as he atoned for the sins of the World that allows each individual to be saved if they repent and come unto Christ. The symbols in Christian religion are seen through Lewis s study of Christianity. When the children were talking with the beavers Lucy asks, Is is he a man? Aslan a man! said Mr. Beaver sternly. Certainly not. I tell you he is the King of the wood and the son of the great Emperor-beyond-the-Sea. Don t you know who is the King of Beasts? Aslan is a lion the Lion, the great Lion. (Lewis, The Lion, The Witch, and The Wardrobe 146). This shows that Aslan the great lion is a symbol of Jesus Christ; it is seen as Aslan gives his life to save Edmund. The Emperor-beyond-the-Sea is a symbol of our Heavenly Father, the father of Jesus Christ. It is through the symbol Jesus Christ that forgiveness and redemption are possible in this story. Aslan will sacrifice his life in order to free Edmund. "Please Aslan," said Lucy, "can anything be done to save Edmund? All shall be done," said Aslan. "But it may be harder than you think." And then he was silent again for some time. Up to that moment Lucy had been thinking how royal and strong and peaceful his face looked; now it suddenly came into her head that he

22 22 looked sad as well. (Lewis, The Lion, The Witch, and The Wardrobe 169). Aslan realizes the sacrifice he will make, even though it may be harder than you think (Lewis, The Lion, The Witch, and The Wardrobe 169). After Aslan saves Edmund he has a long and memorable talk with Aslan. There is no need to tell you (and no one ever heard) what Aslan was saying, but it was a conversation which Edmund never forgot. Here is your brother, he said, and - there is no need to talk to him about what is past. (Lewis, The Lion, The Witch, and The Wardrobe 174). It is at this point that Edmund has a change of heart and is a changed character from the beginning of the story. This can be referenced to someone who is truly converted. Lewis was one who was truly converted and wanted to share what it is like to have a change of heart. The Lion, the Witch, and the Wardrobe is a story full of literary devices that help bring the story alive. If Lewis hadn t been influenced by three schoolgirls during World War II, this wonderful story wouldn t be here today. The themes of forgiveness, good versus evil, along with the many Christian symbols and allusions shows that the history and culture of the time of Lewis s life can have an impact those living during it. Lewis s analysis and understanding of Christianity is shown through his writing and helps the readers to gain a greater understanding of Christianity and the allusions found in The Lion, the Witch, and the Wardrobe. ~Rachel Ellars REFERENCES About C.S. Lewis. C.S. Lewis. Harper Collins Publishing Web. 28 October 2011 <

23 23 Edwards, Owen Dudley. British Children's Fiction in the Second World War. Edinburgh, Owen Dudley Edwards, Print. Ford, Paul F. Companion to Narnia. Rev. Ed. New York City, Harper One, Print. Lewis, C.S. The Chronicles of Narnia. The Lion, The Witch, and The Wardrobe. New York, Harper Collins Publishing, Print Surprised by Joy: The Shape of My Early Life. Orlando, Harcourt Inc, Print.

24 24 Feminist Analysis of The Lion, the Witch and the Wardrobe KELLY HEATH A lexander Pope declared that Most women have no character at all (Bressler 169). There are times in literature when it seems this way- the male characters are extremely intelligent, charming, interesting characters, while the females are only pretty, brainless, and only there to see to the needs of the males. However, we see the opposite in C.S. Lewis beloved novel, The Lion, the Witch and the Wardrobe. While upon first interpretation it may seem as if Lewis is rather misogynistic, since he creates strong male characters such as Aslan, Peter and Edmund who play key roles in the story, the protagonist and antagonists of this novel are females: Lucy and the White Witch. Although exact opposites, it is impossible to say that these two women have no character. Virginia Woolf declared that women must reject the social construct if femaleness and establish and define for themselves their own identity (Bressler 172), and this is exactly what Lewis characters do. Throughout this novel, Lucy and the White Witch prove their independence as women in very different ways. Be they good or evil, Lewis females reject the social norms and establish their own identity. When we first learn about the White Witch, or Queen of Narnia, we hear about how terrible she is. While most Queens have a King that rules them, this Queen does not. She needs no man to tell her what to do- she coolly takes control of every situation and does exactly what she desires. She is the one who has got all Narnia under her thumb. It s she who makes it always winter. Always winter and never Christmas; think of that! as Mr. Tumnus explains to Lucy (Lewis 22). Immediately we think badly of her, since no one likes the one who prevents Christmas. Mr. Tumnus goes on, explaining the terrible things she is capable of: And

25 25 she ll have my tail cut off, and my horns sawn off, and my beard plucked out, and she ll waver her wand over my beautiful cloven hoofs and turn them into horrid solid hoofs like a wretched horse s. And if she s extra and especially angry she ll turn me into a stone and I shall only be a statue of a faun... (Lewis 24). This is a woman who clearly wants to be in control. She will do anything to maintain her power and does not want, nor need, to be ruled by a man. She believes, as does the French writer Simone de Beauvoir, that women must break the bonds of their patriarchal society and define themselves if they wish to become a significant human being in their own right (Bressler 173). Although her actions are evil, she shows that she will not be ruled by a patriarchal society and that she can rule by herself. The Witch is not someone that one would want to cross. The first time we meet her she is described as having a beautiful face... but proud and cold and stern (Lewis 34). She cruelly tricks Edmund into joining her side by giving him enchanted Turkish Delight and getting him to tell her all about his brother and sisters. She tells him that she has no children, but that I would like a nice boy whom I could bring up as a Prince and who would be King of Narnia when I am gone and you are much the cleverest and handsomest young man I ve ever met. I think I would like to make you the Prince- some day, when you bring the others to visit me (Lewis 40-41). She is not at all the docile woman she pretends to be. She, like most feminists, clearly rejects his image of women and instead proves her independence. Once Edmund comes back to Narnia and goes to her house to inform her that his siblings are also in Narnia, she does not receive him joyously as he expected. Edmund assumed that she was serious about adopting him as her Prince, since society had taught him that women were motherly figures. Instead of being kind and

26 26 loving upon seeing him, she is terribly angry at him: How dare you come alone? said the Witch in a terrible voice. Did I not tell you to bring the others with you? (Lewis 99). She treats Edmund like scum, calling him fool and human creature (Lewis 110), strikes him for having mercy on woodland creatures, (Lewis 115) forces him to walk with his hands tied behind his back (Lewis 118), and tries to kill him (Lewis ). With a change in her plans, she does not feel the need consult with others concerning what to do about the four human children, but instead makes her own decisions to head to the Stone Table and meet Aslan and the four children there. Lewis balances out the wickedness of the White Witch with good characters too. In the beginning of the novel, we learn a lot about the children as they start to explore their new surroundings in the Professor s house. Describing the setting, Peter says, You might find anything in a place like this. Did you see those mountains as we came along? And the woods? There might be eagles. There might be stags. There ll be hawks. Badgers! said Lucy. Foxes! said Edmund. Rabbits! said Susan. (Lewis 9). The animals the children first think of describe their personality to an extent; Peter names very noble animals: eagles, stags, hawks. Lucy names the badger which is generally a friendly, hardworking creature. Edmund names the fox which is a sly, untrustworthy animal. And Susan names the rabbit, which is a shy, sweet animal. Both the Pevensie girls are darling, brave and strong characters, as characterized by the animals they named. It is Lucy who first enters Narnia, and who leads her siblings into their adventures, eventually saving this whole country. Lucy is the exact opposite of the White Witch, but she is still a very strong female, despite her young age. Throughout the novel we see examples of the bravery of Lucy, as well as her sister, Susan. It is Lucy who talks her siblings into rescuing

27 27 poor Mr. Tumnus from the White Witch, despite the dangers of this task. She shows her compassion and morality in this desire, saying: It is on my account that the poor Faun has got into this trouble. He hid me from the Witch and showed me the way back. That s what it means by comforting the Queen s enemies and fraternizing with Humans. We simply must rescue him (Lewis 62). While the Witch shows no compassion for others, and only desires to dominate, Lucy desires to help others and bravely does what it takes to achieve justice. While the Witch seeks to kill and destroy, Lucy seeks to defend and heal. When given a gift by Father Christmas, she receives a little bottle of what looked like glass (but people said afterwards that it was made of diamond) and a small dagger. In this bottle, [Father Christmas] said, there is a cordial made of the juice of one of the fire-flowers that grow in the mountains of the sun. If you or any of your friends is hurt, a few drops of this will restore them. And the dagger is to defend yourself at great need. (Lewis 108). Lucy s gift of compassion is exemplified by this gift- a gift that will heal others. This compassion is also shown by Susan and Lucy as they follow Aslan to the Stone Table to meet the Witch. They comfort him as he approaches his sacrifice, and love him as he feels sad and lonely (Lewis 147). They are properly horrified at what the evil Witch does to Aslan, and sob as they bravely witness the whole scene. They demonstrate their goodwill as they try to make Aslan s dead body appear normal by removing the muzzle and helping the mice unbind the cords. While the Witch seeks to prove her power and strength by killing Aslan, the girls choose a different course. They need not destroy to show their strength as women, but rather they seek to assist and save lives to help the right cause. They are wonderful girls and seek to assist Aslan in any way possible in the fight against evil. Along with Aslan they go

28 28 to the Witch s home and free the stone prisoners there, thus enabling more to assist in the fight against the White Witch. With their help, the battle against the Witch is ended quickly, and the Witch was defeated. Lucy uses her gift from Father Christmas to heal her brother Edmund, and then seeks to help others. And for the next halfhour they were busy- she attending to the wounded while [Aslan] restored those who had been turned into stone (Lewis 177). She had learned something that the Witch never had: that you do not need to prove your strength by domination. The Witch took over Narnia and crowned herself as Queen, and although she proved her independence and established her own, strong female identity, she failed to maintain this power. Lucy, on the other hand, although meek and humble, was able to show her strength and courage in a different way that helped save Narnia. She proved that she had character, and was able to gain the respect of all Narnians. She gained power, although unsought, and became one of the Queens of Narnia, and ruled alongside her three siblings until her return to the world outside the Wardrobe. Her approach, though less extreme than the Witch s, proved to have better, more influential results, and equally feministic. Some critics claim that C.S. Lewis wrote rather misogynistic novels, but as we can clearly see in The Lion, the Witch and the Wardrobe, he also created very expressive female characters. Although very different in their actions, these are not women who need to be told what to do by men. The Witch s approach is very different from Lucy s, and their results are polar opposite as well, but they both prove the same point. These women prove that femininity is not sitting around looking pretty, but rather getting out there and show men what they are capable of. ~Kelly Heath REFERENCES

29 29 Bressler, Charles E. Literary Criticism: An Introduction to Theory and Practice, Fourth Edition. Pearson Education, Inc., Lewis, C.S. The Lion, the Witch and the Wardrobe. New York: HarperCollins Publishers, 2005.

30 30 Letter from the Persuasive Research Editor December 15, 2011 Dear Reader, Through the editing process, I have read many exciting papers and though some of them didn t make it in Twopence we appreciate all of the hard work that went into writing these papers. C.S. Lewis is an interesting author and his books fun, outstanding reads. As the Persuasive Research Editor, I found how hard it is to be the writer and to reach audience in way that they will connect to what you are writing. C.S. Lewis interestingly enough, has many critics and the papers that were selected for this section of the journal, knew how to show how possible defined his writings and how there is meaning behind the words of his books. Hopefully you connect and are amazed on the information that is found about C.S. Lewis and his writings. I hope that you find this section of Twopence intriguing and enjoyable. So I would like to thank all of the authors who made this journal possible and put some much creativity and knowledge into their papers. Sincerely, Heidi Rogers Heidi Rogers

31 31 Harry Potter and The Chronicles of Narnia: Comforting Tales of Good v. Evil KALI DAHLE M any stories seem to be the same. Every movie watched or novel read have many of the same elements. The big-picture plot is generally the same. There are many of the same symbols. It is generally apparent who the good guy is and why. This is because human nature identifies with these themes and archetypes. People want to know that good will triumph over evil. Throughout the centuries, the same stories have been told in different cultures with only minor detail changes, such as characters and settings. But the essence of the story has leaped across oceans and continents and survived the course of time. Because, as human beings, these symbols have a deep, psychological meaning, and are comforting to the reader who lives in a reality where the good guy does not always win. Joseph Campbell said regarding the human response to symbols, You ve got the same body, the same organs and energies You have the same experiences, and so you respond to the same images (Campbell 45). Because these images have been portrayed through so many tales, the reader understands what the teller of the story is trying to illustrate. When a dark symbol emerges in the tale, it is understood that it is of an evil origin. Likewise, a symbol of light represents goodness and purity. Campbell adds, All over the earth people recognize these images. Whether I m reading Polynesian or Iroquois or Egyptian myths, the images are the same, and they are talking about the same problems (45).

32 32 While the myths Campbell is talking about are centuries old, the prevalence of archetypes in today s stories suggests that they are still applicable to us today. The symbols that were used long ago are still being used, still have meaning, and are therefore still important. In the two series, Harry Potter and The Chronicles of Narnia, these archetypes are strewn throughout the books. This fact, coupled with both series overwhelming popularity, demonstrates that human nature still desires the comfort that archetypes represent. This security is why society still reads them today. Kieran Egan, a professor at Simon Fraser University said that mythical archetypes are a kind of explanation and justification for current social institutions, their establishment of psychological security among changing social conditions, their use of narrative and its techniques for engaging affective responses from readers and hearers, and their establishing meaning in the relationship between past and present. In the year 1950 C.S. Lewis wrote The Lion, the Witch, and the Wardrobe, the first book in a series that would expand to the seven books known as The Chronicles of Narnia. C.S. Lewis wrote in an essay titled Sometimes Fairy Stories May Say Best What s to Be Said concerning The Chronicles of Narnia that Some people seem to think that I began by asking myself how I could say something about Christianity to children; then fixed on the fairy tale as an instrument; then collected the information about child-psychology and decided what age group I d write for; then drew up a list of basic Christian truths and hammered out allegories to embody them. This is all pure moonshine (Lewis 46). Rather, Lewis set out to tell a story, and tell it in an amusing way. At first there wasn t even anything Christian about them; that element pushed itself in of its own accord. It was part of the bubbling (Lewis 46). According to Campbell s theory, Lewis used religious symbols, not necessarily through planning, but because he has been influenced by the archetypes

33 33 and symbols he has come across in his religious study. They have become a part of his understanding, and therefore come through in his writing. Like Lewis, Rowling just began writing Harry Potter with no concrete idea of where it would go. According to Marc Shapiro, the author of J.K. Rowling: The Wizard Behind Harry Potter, Rowling came up with the idea for her novel while on a commute to work. She did not have paper or pen so had to sit quietly and think up the plot and characters. This was a dark time in her life and she felt that Harry was the only bright spot (Shapiro 47). The humor that pervades the novel is what Joanne found funny (Chippendale 42). However, she understood that she needed to include a serious, dark side in the book the pure evil of the wizard Voldemort, who threatens Harry and Hogwarts (42). Rowling understood the importance of having the archetypal quest, and that symbolism of darkness and light should be included in order to have a powerful and meaningful story. Northrop Frye said that, An archetype should not be only a unifying category of criticism, but itself a part of the total form, and it leads us at once to the question of what sort of total criticism can be seen in literature. Similarly, Carl Jung wrote that myths are symbolic expressions of the inner, unconscious drama of the psyche (Bressler 151). By adhering to this criticism it is possible to analyze these two series and find similarities that illustrate the power of symbolism and archetypes in life. These two authors, Lewis and Rowling, either consciously or through their exposure to mythical archetypes, have created books that display the major symbols that are found in literature: the Savior figure and the evil villain, the ultimate representation of the battle of good and evil.

34 34 The savior figure has appeared in almost every culture that we have record of. Through Joseph Campbell s extensive research into myths and folklore he verifies this: The death and resurrection of a savior figure is a common motif Somebody has to die in order for life to emerge (42). C.S. Lewis actually has a theory about this theme in mythic stories found in his book Mere Christianity. He (meaning Christ) sent the human race what I call good dreams: I mean those queer stories scattered though the heathen religions about a god who dies and comes to life again and, by his death, has somehow given life to men (50). This archetype, whether you have a belief in Christ or not, has, according to Jung and Frye, seeped into our stories making it a very important part of our consciousness. In The Chronicles of Narnia, Aslan the Lion is a savior figure. He understands and uses the deep magic to save Edmund from the witch. Aslan submits himself to the Witch and her minions, though, had the Lion chosen, one of those paws could have been the death of them all (166). He endures shaving, muzzling, and the general torment of spit, and kicks, and pokes by the evil crowd. He is killed. But that is not the end. Aren t you dead? Lucy asks of him. Not now, said Aslan (178). Connie Neal points out that his resurrection was not the only miracle: He goes on to restore life to all the creatures that the witch has turned to stone. Aslan s resurrection power also infuses the nature with new life: the spirits of the trees, the river god and others in the natural and spiritual realms are awakened (189). His willing sacrifice was the only thing that could have kept the traitorous, yet repentant, Edmund from the grasp of the Witch. The Witch, as Aslan relates to Susan and Lucy, knew the Deep Magic, there is a magic deeper still which she did not know She would have known that when a willing victim who had committed no treachery was killed in a traitor s stead, the table would crack and Death itself would