Example: Narnia
Note: This article will be as spoiler-free as possible, but it will be diving into this story quite deeply.
It is impossible to have a discussion of symbolism as a Christian literary device without what is arguably the best modern example: C.S. Lewis’ Chronicles of Narnia. A fairytale for the modern Christian, a theological powerhouse of children’s fiction, and a wonderful, multilayered adventure of evil queens, betrayal, eternal winter, sacrifice, and hope, Narnia is a shining example of theologically dense Christian fiction. And, more importantly, it holds some of the most recognizable and easy to interpret forms of Christian symbolism.
The entire Narnia series is built around symbolism. From the foundations of the world — so to speak — to the simple-yet-nuanced plots to the obvious but delightful characters, nearly everything operates on some level as a representative of a deeper Christian philosophy or Scriptural truth. Many of these symbols overlap and play off of each other to create the entire narrative. While the story is typically and accurately classified as an allegory, it is allegorical because of its symbology.
Rather than trying to parse out symbolism in the entire series, this article is going to focus on The Lion, The Witch, and the Wardrobe, partly because of how familiar it is, but also the fact that much of the symbolism is carried from the book into the movie. Additionally, it has symbolism woven throughout almost every character arc, plot device, prop, and word uttered. It would likely take several articles to analyze each of the symbolic layers in The Lion, so, for the sake of brevity this article will focus on it’s use of symbology throughout the Big Three.
In the worldbuilding, there are a variety of visual and environmental cues. The lamppost as a light in the darkness, leading people to God’s will. The eternal winter, an oppressive and unending sorrow representative of our sin and the fallen world. The spring that eventually blooms after Aslan defeats the White Witch, victory assured and evil is conquered. All these environmental symbols set a backdrop of deeper theology to the story.
Next comes the plot, which takes the symbology a step further; there is the classic good vs. evil element, the true miracles of God against the false miracles and ruin of magic. There is also the temptation and the temptress, who lures wayward souls to her with earthly delights, much like Satan tempts us. And, of course, there is Aslan’s sacrifice and rise from the grave to save the whole of Narnia, quite an obvious allegory of Jesus’ sacrifice on the Cross, when you know the story.
And, lastly, there are the characters, both subtle in their roles and just as obvious as Aslan’s sacrifice. Aslan is Jesus, the roaring Lion who “…isn’t safe. But he is good. He’s the King…” Then his opposite — but not rival — the White Queen, the stirrer of trouble and blight upon the land as, of course, Satan. And caught in the middle lies Edmund and Lucy, opposites of each other; the wayward son and the faithful daughter, representing equally the singular Christian experience. The cycle of falling into sin and being pulled into grace. The haughty pride and desire to eat the world’s fruit and then the childlike wonder at the King, humble and earnest towards Him.
Studying The Lion, the Witch, and the Wardrobe — really, pulling it apart at the seams — is one of the absolute best uses of the Christian storyteller’s time, particularly if they want to include symbology in their story. The book, and the entire series, really, has a tremendous wealth of knowledge on how to write good, solid Christian fiction. Is it perfect? Of course not. But it is excellent.
