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One symbol that Lewis uses to demonstrate the glory, power, and regal bearing of his Christ figure throughout the Narnian books is the depiction of Aslan as a lion. This would be a particularly appealing and obvious connection for his primary audience, British schoolchildren, since the lion has been the symbol of English royalty for centuries. In describing Aslan as the largest, grandest, and most awe-inspiring of lions, he is further developing the idea of Christ’s grandeur.
Since it is characteristic of Lewis to provide contrasts in every aspect of his stories, in the final chapter of the book he transforms Rabadash, the Calormen crown prince into a donkey, a braying symbol of that which is brash, annoying, and ridiculous, the exact opposite of the great Aslan. Contrasting the powerless donkey to the all-powerful lion for Lewis is an ultimate statement of Christ’s immense power.
By C. S. Lewis
A Grief Observed
A Grief Observed
C. S. Lewis
Mere Christianity
Mere Christianity
C. S. Lewis
Out of the Silent Planet
Out of the Silent Planet
C. S. Lewis
Perelandra
Perelandra
C. S. Lewis
Prince Caspian
Prince Caspian
C. S. Lewis
Surprised by Joy
Surprised by Joy
C. S. Lewis
That Hideous Strength
That Hideous Strength
C. S. Lewis
The Abolition of Man
The Abolition of Man
C. S. Lewis
The Discarded Image
The Discarded Image
C. S. Lewis
The Four Loves
The Four Loves
C. S. Lewis
The Great Divorce
The Great Divorce
C. S. Lewis
The Last Battle
The Last Battle
C. S. Lewis
The Lion, the Witch and the Wardrobe
The Lion, the Witch and the Wardrobe
C. S. Lewis
The Magician's Nephew
The Magician's Nephew
C. S. Lewis
The Pilgrim's Regress
The Pilgrim's Regress
C. S. Lewis
The Problem of Pain
The Problem of Pain
C. S. Lewis
The Screwtape Letters
The Screwtape Letters
C. S. Lewis
The Silver Chair
The Silver Chair
C. S. Lewis
The Voyage of the Dawn Treader
The Voyage of the Dawn Treader
C. S. Lewis
Till We Have Faces
Till We Have Faces
C. S. Lewis