The Magician's Nephew

The Magician's Nephew  
TheMagiciansNephew(1stEd).jpg
Cover of first edition (hardcover)
Author C. S. Lewis
Illustrator Pauline Baynes
Country United Kingdom
Language English
Series The Chronicles of Narnia
Genre(s) Fantasy, Children's Literature
Publisher The Bodley Head
Publication date 1955
Media type Print (Hardcover, Paperback)
Pages 202 pp
Preceded by The Horse and his Boy
Followed by The Last Battle

The Magician's Nephew is a fantasy novel for children written by C. S. Lewis. It was the sixth book published in his The Chronicles of Narnia series, but is the first in the chronology of the Narnia novels' fictional universe. Thus it is an early example of a prequel.

The novel is initially set in London in the early 1900s. The principal characters are two pre-adolescent children, Digory Kirke and Polly Plummer, Digory being the younger Professor Kirke from The Lion, the Witch and the Wardrobe. The pair have adventures after being transported to other worlds by the sorcerous experiments of Digory's evil Uncle Andrew. It features the genesis of Narnia, and the introduction of the Evil queen Jadis, antagonist of The Lion, the Witch and the Wardrobe into the newly created Narnia. While begun shortly after The Lion, the Witch and the Wardrobe, it took Lewis nearly six years to complete, and includes a number of autobiographical elements from Lewis's own life. It explores includes a number of themes with general moral and Christian implications including atonement, original sin, temptation and the order of nature.

This book is dedicated to "the Kilmer family".

Contents

Plot summary

The story begins in London around 1900. Two children, Digory Kirke and Polly Plummer, meet while playing in the adjacent gardens of a row of terraced houses. They decide to explore an attic connecting the houses, but take the wrong door and surprise Digory's Uncle Andrew in his study. Uncle Andrew, a bumbling yet self-absorbed magician, tricks Polly into touching a yellow magic ring, causing her to vanish. He then blackmails Digory into rescuing Polly by using another yellow ring, while giving him two green rings for their return.

Digory finds himself in a wood among many pools of water, and is reunited with Polly. They realize that the yellow rings transport their wearers to the wood, which serves as an interdimensional junction — much like how the attic in London allows one to enter any of the houses connected to it. Jumping into a pool of water while wearing a green ring takes them to a different universe. Digory convinces Polly to explore other worlds before returning to Earth.

After marking the pool leading back to Earth, they enter a pool and find themselves in a crumbling palace among the ruins of the ancient world of Charn. They find a hall lined with statues of former rulers, progressing from the fair and wise to the proud and cruel. They also find a bell, marked by a sign that dares one to ring the bell while warning against doing so. Digory falls for the taunt and rings the bell against Polly's wishes. Its sound awakens the last of the statues, the evil Queen Jadis.

The Queen describes a final war between herself and her sister. When defeat seemed certain, Jadis spoke the Deplorable Word, destroying all life on Charn and leaving her to become Queen of a dead world. She cast a spell to petrify herself until the bell was rung. Realizing her evil nature, the children flee back through the wood to home, but Jadis follows and is pulled with them to London.

Digory and Polly finally succeed in extracting Jadis from London, but their return to the wood also brings along Uncle Andrew, a cab driver named Frank, and his horse, Strawberry. Digory leads them into the nearest pool, where they find an empty blackness, which Jadis recognizes as a world not yet created. They hear singing, which causes stars to appear and the sun to rise. The singer is Aslan, the great Lion. Aslan breathes life into the world, causing animals and plants to emerge from the earth. Jadis attacks Aslan, but finding the lion invulnerable, she flees. Aslan selects some animals to become talking beasts, giving them authority over the other beasts.

Aslan offers Digory the opportunity to atone for bringing the evil of Jadis into Narnia, and sends him and Polly upon Strawberry, whom he transforms into a talking winged horse, Fledge. They fly to a mountain to retrieve a magic apple from a walled garden. There they find Jadis, who has already eaten one of the apples, thereby gaining eternal youth, as well as gaining the palid white color that will define her in The Lion, the Witch and the Wardrobe. She tempts Digory to eat an apple or to use it to cure his dying mother. Although sorely tempted, Digory refuses, believing that his mother would not condone theft.

Upon their return, Aslan congratulates Digory and tells him to plant the apple. Aslan then crowns Frank and his wife Helen (whom Aslan has transported from Earth) the first King and Queen of Narnia. The apple grows into a tree, which Aslan explains will protect Narnia from the Witch for a time. He also explains that a stolen apple would have cured his mother, but at a terrible price. Aslan then gives Digory an apple from the tree to save his mother. Upon returning to London Digory cures his mother with the apple and then buries the core in his back yard. He also buries the rings around the apple core to prevent their misuse.

The apple core grows into a tree, and years later the tree is blown down in a storm. Digory has it made into a wardrobe, linking the narrative to The Lion, the Witch and the Wardrobe, in which Digory is the "old professor" in whose country house Lucy Pevensie finds the wardrobe and the way into Narnia.

Principal characters

Writing

Lewis had originally intended only to write the one Narnia novel, The Lion, the Witch and the Wardrobe, however Roger Lancelyn Green asked him how a lamp post came to be sitting in the midst of Narnian woodland. Lewis was intrigued enough by this question to attempt to find an answer by writing The Magician's Nephew, featuring a younger version of Professor Kirke from the first novel.[1]

The Magician's Nephew seems to have been the most challenging Narnia novel for Lewis to write. The other six Chronicles of Narnia were written between 1948 and 1953, The Magician's Nephew was written over a six year period between 1949 and 1954. He commenced in the summer of 1949 after finishing The Lion, the Witch and the Wardrobe, but came to a halt after producing 26 pages of manuscript and did not resume work until two years later. This may be as a result of the autobiographical aspects of the novel, as it reflects a number of incidents and parallels very close to his own experiences.[2]

He returned to The Magician's Nephew late in 1950, after completing The Silver Chair. He managed to finish close to three quarters of the novel, and then halted work once again after Roger Lancelyn Green, to whom Lewis showed all his writing at the time, suggested there was a structural problem in the story. Finally he returned to the novel in 1953, after finishing The Last Battle in the Spring of that year and completed early in 1954.[3]

Lewis originally titled the novel "Polly and Digory"; his publisher changed it to The Magician's Nephew.[4]

The Lefay Fragment

The original opening of the novel differs greatly from the published version, and was abandoned by Lewis. It is now known as 'The Lefay Fragment', and is named after Mrs Lefay, Digory's fairy godmother, who does not appear in the final version, although the name does appear in the novel in an entirely different context, as a less benevolent user of magic.[5]

In the Lefay Fragment Digory is born with the ability to speak to trees and animals, and lives with an Aunt Gertrude, a former school mistress, with an officious, bullying nature, has ended up as a Government minister after a lifetime of belligerent brow-beating of others. Whenever his aunt is absent, Digory finds solace with the animals and trees, including a talking squirrel named Pattertwig. Polly enters the story as a girl next door who is unable to understand the speech of non-human creatures. She wants to build a raft to explore a stream which leads to an underground world. Digory helps construct the raft, but ends up sawing a branch from a talking tree necessary to complete it, in order not to lose face with Polly. This causes him to lose his supernatural powers of speech. The following day he is visited by his Godmother Mrs Lefay who knows that Digory has lost his abilities and gives him a card with the address of a furniture shop which she instructs him to visit. At this point the fragment ends.[6]

Mrs Lefay, Pattertwig and Aunt Gertrude do not appear in the final version of the novel, however Pattertwig does appears as a Narnian creature in Prince Caspian, and Aunt Gertrude is the Principal of the experimental school in The Silver Chair.[7]

Authenticity

Some doubt has been cast on the authenticity of The Lefay Fragment, as the handwriting in the manuscript differs in some ways from Lewis' usual style, the writing is not of a similar calibre to his other work. Also in August 1963 Lewis had given instructions to Douglas Gresham to destroy all his unfinished or incomplete fragments of manuscript when his rooms at Magdelene College Cambridge were being cleaned out, following his resignation from the college early in the month.[8]

Autobiographical elements

There are a number of aspects of The Magician's Nephew which closely follow Lewis' own life. Both Digory and Lewis were children in the early 1900s, both wanted a pony, and are faced with the death of their mothers in childhood. Digory is separated from his father, who is in India, and misses him. Lewis was schooled in the United Kingdom after his mother’s death, while his father remained in Ireland. He also had a brother in India. Lewis was a voracious reader when a child, Digory is also, and both are better with books than with numbers. Digory (and Polly) struggle with sums when trying to work out how far they must travel along the attic space to explore an abandoned house, Lewis failed the maths entrance exam for Oxford. Lewis remembered rainy summer days from his youth and Digory is face with the same woe in the novel. Additionally Digory becomes a professor when he grows up, who takes in evacuated children during world war two.[9]

The character of Andrew Ketterley also closely resembles Robert Capron, a schoolmaster at Wynyard School which Lewis attended with his brother, whom Lewis suggested during his teens would make a good model for a villain in a future story. Ketterly resembles Capron in his age, appearance and behaviour.[10]

Style

The Magician's Nephew is written in a lighter tone than other Chronicles of Narnia books, in particular The Last Battle, which was published after. It frequently makes use of humour; this perhaps reflects the sense of looking back at an earlier part of the century with affection, and Lewis as a middle age man recalling his childhood during those years. There are a number of humorous references to life in the old days, in particular school life. Humorous exchanges also take place between Narnian animals. Jadis' attempt to conquer London is portrayed in a more comical than threatening way and further humour derives from her contrast, as an evil empress with Edwardian London and its social mores and her mistaking bumbling Andrew Ketterley as a powerful sorcerer. This recalls the style of Edith Nesbit's children's books.[11] Lewis was fond of these books, which he read in childhood, a number were set in the same period and The Magician's Nephew has some apparent references or homages to them.[4]

Reading order

The Magician's Nephew was originally published as the sixth book in the Narnia Chronicles. Most reprintings of the novels until the 1980s also reflected the order of original publication. In 1980 HarperCollins published the series in order of chronological of the events in the novels, which meant The Magician's Nephew was numbered as first in the series. HarperCollins who had previously published editions of the novels outside the United States, also acquired the rights to publish the novels in that country in 1994 and used this sequence in the uniform worldwide edition published in that year.[12]

Lewis appeared to have given his blessing to this sequence of reading the novels. In a letter dated 23 April 1957, a young fan, Laurence Krieg wrote to Lewis following the publication of The Magician's Nephew. He asked for Lewis to adjudicate between his views of the correct sequence of reading the novels - according to the sequence of events, with The Magician's Nephew being placed first, and that of his mother, who thought the order of publication was more appropriate. Lewis wrote back appearing to support the younger Krieg's views, although he did point out that the views of the author may not be the best guidance, and that perhaps it would not matter what order they were read in.[13]

However this approach may have some effect upon Lewis' strategies for drawing readers into the world of Narnia. An example is Lucy Pevensie's discovery of the wardrobe, Narnia and a mysterious lamp post in the woods in The Lion, the Witch and the Wardrobe, which creates a sense of suspense about an unknown land she is discovering for the first time. This might be affected if the reader has already has already been introduced to Narnia in The Magician's Nephew and discovered the origins of Narnia, the wardrobe and the lamp post. Indeed, the narrative of the The Magician's Nephew appears to assume a reader has already read The Lion, the Witch and the Wardrobe and is being shown its beginnings.[14]

Themes and interpretations

Parallels with Biblical Genesis

Lewis suggested that he did not directly intend to write his Narnia stories as Christian tales, but that these aspects appeared subconsciously as he wrote, although the books did become Christian as they progressed. He thought that the tales were not direct representations or allegory, but that they might evoke or remind readers of Biblical stories.[15] In The Lion, the Witch and the Wardrobe, Aslan is a Christ-like figure who suffers a death of atonement and returns to life in a similar way to Christ's crucifixion and resurrection.[16] The Magician's Nephew has similar biblical allusions, reflecting aspects of The Book of Genesis such as the creation, original sin and temptation.[17]

Parallels with events in Genesis include the forbidden fruit represented by an Apple of Life. Queen Jadis resembles the Biblical Satan, as Aslan describes her as the first evil brought into the Narnia and Jadis later tempts Digory to eat one of the forbidden apples in the garden, as does Satan, disguised as a serpent, tempt Adam and Eve into eating a forbidden fruit in the Garden of Eden. Unlike Adam and Eve however, Digory rejects Jadis's offer. Jadis's satanic elements are perhaps evocative of Satan in Islam, where Satan is called Iblis and is portrayed as one of the race of the Djinn, the same race as Jadis.

While the creation of Narnia closely echoes the creation of the Earth in the Book of Genesis, there are a number of important differences. In Narnia the fall takes place before the creation and human beings are not created by Aslan, they have to be brought into Narnia from our own world. Unlike Genesis, where only human beings created in the image of God are given a soul, animals, half human half animal creatures such as Fauns and Satyrs and even trees and watercourses are given souls and the power of rational thought and speech. This appears to suggest Lewis combined his Christian worldview with his fondness for nature, myth and fairy tales.[18]

Parallels may also be found in Lewis' other writings. Jadis' references to "reasons of State", and her claim to own the people of Charn and be beyond morality, represent the eclipse of the medieval Christian belief in natural law by the political concept of sovereignty, as embodied first in royal absolutism and then in modern dictatorships.[19] Uncle Andrew represents the Faustian element in the origins of modern science.[20]

The Holy Spirit and the Breath of Life

On a number of occasion in the Chronicles of Narnia Aslan uses his breath to give strength to characters, demonstrating his benevolent power or bringing life. He specifically does so in The Magician's Nephew when a 'long warm breath' gives life to Narnia. Lewis used the symbol of the breath to represent the Holy Spirit also known as the Holy Ghost. Both 'spirit' and 'ghost' are translations of the word for breath in Hebrew and Greek. The flash from the stars when the Narnian animals are given the ability to talk also most probably represents the Holy Spirit[21] or "breath of life" of Genesis chapter 2, as well as (possibly) the scholastic concept of the divine active intellect which inspires human beings with rationality.[22]

Nature and a natural order

The Magician's Nephew suggests two opposing approaches to nature, a good approach associate with Aslan as creator and an evil approach associated with human deviation from divine intentions and the harmony of a natural order. On the one hand there is the beauty of Aslan's creation of Narnia, which is suggested as having a natural order by the use of musical harmony to bring landscapes and living things into being. There is also a distinct order to the process of creation, from earth to plants to animal, which evokes the concept of The Great Chain of Being. Lewis himself was a strong believer in the intrinsic value of nature for itself, rather than as a resource to be exploited. This is perhaps reflected in how Aslan also gives speech to spiritual aspects of nature, such naiads in the water and dryads in the trees. Andrew Ketterley and Jadis represent an opposite, evil approach of bending the forces of nature to human will for the purpose of self gain. They see nature solely as a resource to use for their plans and thus disturb and destroy the natural order.[23]

Influences on The Magician's Nephew

Edith Nesbit

Lewis read Edith Nesbit's children's books as a child and was greatly fond of them.[4] The Magician's Nephew refers to these books in the opening of the novel as though their events were true, mentioning the setting of the piece as being when "Mr. Sherlock Holmes was still living in Baker Street and the Bastables were looking for treasure in the Lewisham Road". The Bastables were children who appeared in a number of Edith Nesbit's stories.[24] In addition to being set in the same period and location as several of Nesbit's stories, The Magician's Nephew also and has some similarities with Nesbit's The Story of the Amulet (1906). This novel focuses on four children living in London who discover a magic amulet, their father is away and their mother is ill, as is the case with Digory. They also manage to transport the queen of ancient Babylon to London and she is the cause of a riot; a very similar event takes place in The Magician's Nephew when Polly and Digory transport Queen Jadis to London and she also causes a similar distrubance.[4]

The creation of Narnia

The creation of Narnia strongly reflects the Book of Genesis, but may also have been influenced by J.R.R. Tolkien's The Silmarillion, which also contains a creation scene driven by the effect of music.[25] Some of the details of the creation of Narnia, such as the emergence of animals from the ground, and the way they shake earth from their bodies are also similar to John Milton's Paradise Lost, and may also have been inspired by descriptions of the processes of nature in The seventh book of Edmund Spenser's The Faerie Queene.[26]

Morgan Le Fay and Pandora's Box

Lewis greatly enjoyed stories of Arthurian legend and wrote poetry about this world. Mrs Lefay visits Digory in the The Lefay Fragment, and becomes Andrew Ketterley's nefarious godmother in the finished novel. She gives Ketterley a box from Atlantis containing the dust from which he constructs the rings Digory and Polly use to travel between worlds. Both Lefays are probably a representation of Morgan Le Fay, a powerful sorceress in a number of version of King Arthur's tales who is often portrayed as evil. The box itself is also evocative of Pandora's box from Greek myth, which also contained dangerous secrets.[27]

The Atlantis legend

The box containing the dust from which the rings to travel between world originated in Atlantis.[27] Both Lewis and his close friend J.R.R. Tolkien were fascinated with the Atlantis legend. The world of Charn was destroyed by Jadis when speaking The Deplorable Word, a form of knowledge ancient Charnian scholars feared for its destructive potential. Upon publication of The Magician's Nephew, a number of commentators believed Lewis was referring to the use of the atomic bomb at the close of World War II, which was less than a decade prior. However it is perhaps more likely that Lewis was echoing the destruction of Atlantis, which was also destroyed by the forces of evil and arrogance.[28]

Adaptations

Potential Walden Media film production

Walden Media, having already made movie adaptions of The Lion, the Witch and the Wardrobe and Prince Caspian, also retain the option to make The Chronicles of Narnia: The Magician's Nephew in the future.[29] Designs for a winged horse resembling Strawberry can be seen in the book The Crafting of Narnia: The Art, Creatures, and Weapons from Weta Workshop.

Actress Tilda Swinton who played Jadis, the White Witch in The Lion, the Witch and the Wardrobe commented on the character and her origins in an interview:

Why is Jadis so angry?

Tilda Swinton: I didn't see her as angry. She's interested in dominating absolutely and is irritated that there is this prophecy that says sooner or later four humans will turn up and make trouble for her reign. She wants to get rid of them fast and it's all going a bit wrong. She's confused and irritated. I don't see her as particularly angry. Have you read ‘The Magician's Nephew'?

No...

Tilda Swinton: I hope they make it. It's a prequel that explains where Jadis came from and how Narnia is created. She's so bad that she destroyed her empire to spite her sister. There's this one deplorable word, which we don't know what it is, that if it's spoken; everything is vanquished and she's the only one alive. She does it to spite her sister. She just wants to dominate. The idea of anybody having anything over her is confusing.[30]

Theatrical adaption

Aurand Harris was a well known American playwright for children, whose works are among the most performed in that medium. He wrote 36 plays for children including an adaption of The Magician's Nephew.[31] The play was first performed on May 26, 1984 by the Department of Drama, University of Texas, Austin and staged at the B. Iden Payne Theatre. A musical score by William Penn was written for use with productions of the play.[32]

Endnotes

  1. ↑ Downing, David C. (2005). Into the Wardrobe: C.S. Lewis and the Narnia Chronicles. Jossey-Bass. p. 36. ISBN 978-0-7879-7890-7. 
  2. ↑ Downing, David C. (2005). Into the Wardrobe: C.S. Lewis and the Narnia Chronicles. Jossey-Bass. p. 56. ISBN 978-0-7879-7890-7. 
  3. ↑ Duriez, Colin (2004). The Life of C.S. Lewis. InterVarsity Press. p. 47. ISBN 0830832076. 
  4. ↑ 4.0 4.1 4.2 4.3 Lindskoog, Kathryn Ann (1997). Journey Into Narnia: C. S. Lewis's Tales Explored. Hope Publishing House. p. 87. ISBN 0932727891. 
  5. ↑ Downing, David C. (2005). Into the Wardrobe: C.S. Lewis and the Narnia Chronicles. Jossey-Bass. pp. 36–9. ISBN 978-0-7879-7890-7. 
  6. ↑ Downing, David C. (2005). Into the Wardrobe: C.S. Lewis and the Narnia Chronicles. Jossey-Bass. pp. 36–7. ISBN 978-0-7879-7890-7. 
  7. ↑ Downing, David C. (2005). Into the Wardrobe: C.S. Lewis and the Narnia Chronicles. Jossey-Bass. p. 39. ISBN 978-0-7879-7890-7. 
  8. ↑ Lindskoog, Kathryn Ann (2001). Sleuthing C.S. Lewis: more Light in the shadowlands. Mercer University Press. pp. 111–12. ISBN 0865547300. 
  9. ↑ Hinten, Marvin D. (2005). The Keys to the Chronicles: Unlocking the Symbols of C.S. Lewis's Narnia. B&H Publishing Group. pp. 68–9. ISBN 0805440283. 
  10. ↑ Downing, David C. (2005). Into the Wardrobe: C.S. Lewis and the Narnia Chronicles. Jossey-Bass. pp. 57–9. ISBN 978-0-7879-7890-7. 
  11. ↑ Myers, Doris T. (1998). C. S. Lewis in Context. Kent State University Press. pp. 174. ISBN 0873386175. 
  12. ↑ Schakel, Peter J. (2005). The way into Narnia: a reader's guide. Wm. B. Eerdmans Publishing. pp. 13–16. ISBN 0802829848. 
  13. ↑ Schakel, Peter J. (2005). The way into Narnia: a reader's guide. Wm. B. Eerdmans Publishing. pp. 17–18. ISBN 0802829848. 
  14. ↑ Schakel, Peter J. (2005). The way into Narnia: a reader's guide. Wm. B. Eerdmans Publishing. pp. 19–21. ISBN 0802829848. 
  15. ↑ Sammons, Martha C. (2004). A Guide Through Narnia. Regent College Publishing. pp. 128–9. ISBN 1573833088. 
  16. ↑ Ryken, Leland; Lamp Mead, Marjorie (2005). A reader's guide through the wardrobe: exploring C.S. Lewis's classic story. InterVarsity Press. p. 165. ISBN 0830832890. 
  17. ↑ Vaus, Will; Gresham, Douglas (2004). Mere theology: a guide to the thought of C.S. Lewis. InterVarsity Press. pp. 76–7. ISBN 083082782X. 
  18. ↑ Downing, David C. (2005). Into the Wardrobe: C.S. Lewis and the Narnia Chronicles. Jossey-Bass. pp. 73–4. ISBN 978-0-7879-7890-7. 
  19. ↑ See chapter 1 of Lewis' History of English Literature in the Sixteenth Century.
  20. ↑ See The Abolition of Man.
  21. ↑ Colbert, David (2005). The Magical Worlds of Narnia. McArthur & Company. pp. 81–3. ISBN 1552785416. 
  22. ↑ In the view of Avicenna and Maimonides, intellectual inspiration descends through ten angelic emanations, of which the first nine are the intelligences of the heavenly spheres and the tenth is the Active Intellect.
  23. ↑ Myers, Doris T. (1998). C. S. Lewis in Context. Kent State University Press. pp. 169–70. ISBN 0873386175. 
  24. ↑ Hinten, Marvin D. (2005). The Keys to the Chronicles: Unlocking the Symbols of C.S. Lewis's Narnia. B&H Publishing Group. pp. 68. ISBN 0805440283. 
  25. ↑ Downing, David C. (2005). Into the Wardrobe: C.S. Lewis and the Narnia Chronicles. Jossey-Bass. p. 59. ISBN 978-0-7879-7890-7. 
  26. ↑ Myers, Doris T. (1998). C. S. Lewis in Context. Kent State University Press. pp. 170–1. ISBN 0873386175. 
  27. ↑ 27.0 27.1 Colbert, David (2005). The Magical Worlds of Narnia. McArthur & Company. pp. 77–8. ISBN 1552785416. 
  28. ↑ Colbert, David (2005). The Magical Worlds of Narnia. McArthur & Company. pp. 91–2. ISBN 1552785416. 
  29. ↑ Jensen, Jeff. "The Family Business". EW.com: Entertainment Weekly. http://www.ew.com/ew/article/0,,1186021_4,00.html. Retrieved 2009-03-22. 
  30. ↑ Roman, Julian (2005-12-09). "Tilda Swinton, The White Witch of Narnia Speaks!". Movieweb: The Best Seat in the House. http://www.movieweb.com/news/NE0UY849ghZe33. Retrieved 2009-03-22. 
  31. ↑ Jennings, Coleman A.; Sendak, Maurice (2005). Theatre for Young Audiences. Macmillan. pp. 46–7. ISBN 0312337140. 
  32. ↑ Harris, Aurand; Lewis, C.S.; Penn, William A. (1984). The magician's nephew: a dramatization. Dramatic Publishing. pp. 4–5. ISBN 0871295415. 

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