Chronicles of Narnia legend. The Chronicles of Narnia: The Lion, the Witch and the Wardrobe

Dear Lucy!

I wrote this story for you, but when I started it, I didn't realize that girls grow up faster than books are written.

And now you are already too big for fairy tales, and by the time this fairy tale is printed and published, you will be even older. But someday you will grow up to the day when you start reading fairy tales again. Then you take this little book off the top shelf, dust it off, and then tell me what you think of it. Perhaps by then I will be so old that I will not hear or understand a word, but even then I will still be your loving godfather.

Clive S. Lewis

Chapter first
Lucy peeks into the wardrobe

Once upon a time there were four guys in the world, their names were Peter, Susan, Edmund and Lucy. This book tells about what happened to them during the war, when they were taken out of London so that they would not suffer from air raids. They were sent to an old professor who lived in the very center of England, ten miles from the nearest post office. He never had a wife and lived in a very large house with a housekeeper named Mrs. Macready and three maids, Ivy, Margaret, and Betty (but they hardly took part in our story at all). The professor was very old, with disheveled gray hair and a disheveled gray beard almost to the very eyes. Soon the guys fell in love with him, but on the first evening, when he came out to meet them at the front door, he seemed very wonderful to them. Lucy (the youngest) was even a little scared of him, and Edmund (following Lucy in age) could hardly restrain himself from laughing - he had to pretend that he was blowing his nose.

When they wished the professor that evening Good night and went upstairs to the bedrooms, the boys went into the girls' room to chat about everything they had seen during the day.

“We're pretty lucky, that's a fact,” Peter said. - Well, we'll live here! We can do whatever you want. This grandpa won't say a word to us.

“I think he's just adorable,” said Susan.

- Shut up! Edmund said. He was tired, although he pretended not to be, and when he was tired he was always out of sorts. - Stop talking like that.

- How so? Susan asked. “Anyway, it’s time for you to sleep.

“You think you are a mother,” said Edmund. Who are you to tell me? It's time for you to sleep.

"We'd better all lie down," Lucy said. “If they hear us, we will get hit.”

"It won't," said Peter. “I tell you, this is the kind of house where no one will look at what we are doing. Let us not be heard. From here to the dining room is not less than ten minutes walk through all sorts of stairs and corridors.

- What is this noise? Lucy suddenly asked.

She had never been in such a huge house, and at the thought of long corridors with rows of doors to empty rooms, she felt uneasy.

“Just a stupid bird,” said Edmund.

Well, I'm going to bed. Listen, let's go scouting tomorrow. In places like here, you can find a lot of things. Did you see the mountains when we drove here? And the forest? Here, right, and eagles are found. And deer! And the hawks for sure.

“And badgers,” Lucy said.

“And foxes,” said Edmund.

“And rabbits,” Susan said.

But when morning came, it turned out that it was raining, and so often that neither the mountains nor the forest could be seen from the window, not even the stream in the garden, and that was not visible.

“Obviously, we can’t do without rain!” Edmund said.

They had just had breakfast with the professor and went upstairs to the room he had given them for playing, a long, low room with two windows on one wall and two on the opposite wall.

“Stop grumbling, Ed,” Susan said. “I bet whatever you want, it will clear up in an hour. In the meantime, there is a receiver and a bunch of books. What's bad?

“Well, no,” Peter said, “this is not my occupation. I'll go scouting around the house.

Everyone agreed that better game you can't imagine. And so their adventure began. The house was huge - it seemed there would be no end to it - and it was full of the most amazing corners. At first, the doors they opened led, as one would expect, to empty guest bedrooms. But soon the guys got into a long, long room, hung with paintings, where there were knightly armor; behind it was a room with green curtains, in the corner of which they saw a harp. Then, descending three steps and ascending five, they found themselves in a small hall with a door to a balcony; behind the hall was a suite of rooms, all the walls of which were lined with bookcases - these were very old books in heavy leather bindings. And then the guys looked into the room, where there was a large wardrobe. You have certainly seen such wardrobes with mirrored doors. There was nothing else in the room but a dried blue fly on the windowsill.

“Empty,” Peter said, and they left the room one after the other…everyone except Lucy. She decided to try to see if the closet door would open, although she was sure it was locked. To her surprise, the door immediately swung open and two balls of mothballs fell out.

Lucy looked inside. Several long fur coats hung there. More than anything, Lucy loved ironing fur. She immediately climbed into the closet and began to rub her face against the fur; she left the door open, of course, because she knew there was nothing more foolish than locking oneself in a closet. Lucy climbed deeper and saw that behind the first row of fur coats a second one was hanging. It was dark in the closet, and, afraid to hit something with her nose, she held out her hands in front of her. The girl took a step, another and another. She waited for her fingertips to rest against the back wall, but her fingers still went into the void.

“Well, a huge closet! thought Lucy, parting her fluffy fur coats and making her way farther and farther. Something crunched under her foot. - I wonder what it is? she thought. “Another moth ball?” Lucy bent down and began to fumble with her hand. But instead of a smooth wooden floor, her hand touched something soft and crumbling and very, very cold.

“How strange,” she said, and took two more steps forward.

In the next second, she felt that her face and hands rested not on the soft folds of fur, but on something hard, rough and even prickly.

- Just like the branches of a tree! Lucy exclaimed.

And then she noticed a light ahead, but not where the closet wall should be, but far, far away. Something soft and cold fell from above. A moment later, she saw that she was standing in the middle of the forest, snow under her feet, snow flakes falling from the night sky.

Lucy was a little scared, but curiosity was stronger than fear. She looked over her shoulder: behind, between the dark tree trunks, she could see the open closet door and through it - the room from which she came here (you, of course, remember that Lucy left the door open). There, behind the closet, it was still daylight.

I can always come back if anything goes wrong, Lucy thought and moved forward. “Crunch, crumble,” the snow crunched under her feet. About ten minutes later she came to the place where the light came from. In front of her was… a lamppost. Lucy rolled her eyes. Why is there a lantern in the middle of the forest? And what should she do next? And then she heard a slight creak of footsteps. The steps were getting closer. A few seconds passed, and a very strange creature appeared from behind the trees and entered the circle of light from the lantern.

It was a little taller than Lucy and held an umbrella over its head, white with snow. The upper part of his body was human, and his legs, covered with black shiny hair, were goat's, with hooves at the bottom. It also had a tail, but Lucy didn't notice it at first, because the tail was neatly draped over the hand—the one in which the creature held the umbrella—to keep the tail from dragging through the snow. Wrapped around his neck was a thick red scarf, the color of reddish skin. He had a strange but very nice face with a short pointed beard and curly hair, horns peeking out of his hair on either side of his forehead. In one hand, as I said, it held an umbrella, in the other - several packages wrapped in brown paper. Bags, snow all around—it looked like it was coming from a Christmas shop. It was a faun. At the sight of Lucy, he shuddered in surprise. All packages fell on the snow.

- Fathers! the faun exclaimed.

Chapter Two
What Lucy found on the other side of the door

“Hello,” Lucy said. But the faun was very busy - he was picking up his packages - and did not answer her. Gathering them all to one, he bowed to Lucy.

“Hello, hello,” said the faun. “Excuse me… I don’t want to be too curious… but I’m not mistaken, are you Eve’s daughter?”

“My name is Lucy,” she said, not quite understanding what the faun meant.

“But you… forgive me… you… what is it called… a girl?” the faun asked.

"Of course I'm a girl," Lucy said.

In other words, you are the real human Man?

"Of course I'm human," Lucy said, still puzzled.

“Of course, of course,” said the faun. How stupid of me! But I have never met a son of Adam or a daughter of Eve. I am delighted. That is ... - Here he fell silent, as if he almost accidentally said something that he should not have, but remembered it in time. - Delighted, delighted! he repeated. - Let me introduce myself. My name is Mr Tumnus.

“Very pleased to meet you, Mr. Tumnus,” said Lucy.

- Allow me to inquire about Lucy, daughter of Eve, how did you get to Narnia?

- To Narnia? What is it? Lucy asked.

“Narnia is a country,” said the faun, “where we are now; all the space between the Lamppost and the great castle of Cair Paraval on the eastern sea. Did you... come from the wild western forests?

“I… I came through the wardrobe from an empty room…”

“Ah,” said Mr. Tumnus sadly, “if I had learned geography properly as a child, I would no doubt have been all about these unknown countries. Now it's too late.

"But it's not a country at all," Lucy said, barely able to keep from laughing. “It's a few steps away… at least… I don't know. It's summer there now.

“Well, it’s winter here in Narnia,” said Mr. Tumnus, “and it’s been going on for an eternity. And we'll both catch a cold if we stand and talk here in the snow. Daughter of Eve from a distant land eternal summer in the bright city of Platenshkaf, would you like to come and have a cup of tea with me?

– Thanks a lot Mr. Tumnus,” said Lucy. But I guess it's time for me to go home.

“I live a stone's throw from here,” said the faun, “and I have a very warm place... a fire burning... and toasted bread... and sardines... and a pie.

“You are very kind,” said Lucy. But I can't stay long.

“If you take my arm, O daughter of Eve,” said Mr. Tumnus, “I can hold the umbrella over both of us.” Us here. Well, let's go.

And Lucy set off on her way through the forest, arm in arm with the faun, as if she had known him all her life.

Soon the ground under their feet became uneven, with large stones sticking out here and there; the travelers now went up the hill, then went down the hill. At the bottom of a small hollow, Mr. Tumnus suddenly turned aside, as if he was going to go right through the rock, but, coming close to it, Lucy saw that they were standing at the entrance to the cave. When they entered, Lucy even closed her eyes - the firewood burned so brightly in the fireplace. Mr. Tumnus stooped down and, taking a firebrand with polished tongs, lit the lamp.

“Well, now soon,” he said, and at the same moment put the kettle on the fire.

Lucy had never seen such a cozy place. They were in a small, dry, clean cave with walls of reddish stone. There was a carpet on the floor, two armchairs (“One for me, one for a friend,” said Mr. Tumnus), a table and a kitchen sideboard, and over the fireplace hung a portrait of an old faun with a gray beard. There was a door in the corner (probably to Mr. Tumnus's bedroom, Lucy thought), next to it was a shelf of books. While Mr. Tumnus set the table, Lucy read the titles: The Life and Letters of Silenus, The Nymphs and Their Customs, A Study of Common Legends, Is Man a Myth.

“You are welcome, daughter of Eve,” said the faun.

What was not on the table! And soft-boiled eggs—an egg for each—and toasted bread, and sardines, and butter, and honey, and a sugar-coated cake. And when Lucy was tired of eating, the faun began to tell her about life in the forest. Well, these were amazing stories! He told her about the midnight dances, when the naiads who live in wells and the dryads who live in trees come out to dance with the fauns; about hunting for a deer white as milk, which fulfills all your desires, if you manage to catch it; about pirates and treasure hunting with dwarves in caves and mines deep underground; and about the summer, when the forest stands green and Silenus comes to visit them on his fat donkey, and sometimes Bacchus himself, and then wine flows instead of water in the rivers and a holiday lasts week after week in the forest.

“Only now it’s always winter here,” he added sadly.

And to cheer up, the faun took from a case that lay on the cabinet, a strange little flute, apparently made of straw, and began to play. Lucy immediately wanted to laugh and cry, dance and fall asleep - all at the same time.

Apparently, more than one hour passed before she woke up and said:

“Ah, Mr. Tumnus… I hate to interrupt you… and I really like the tune… but really, I have to go home.” I was only there for a few minutes.

“It’s too late to talk about it now,” said the faun, putting down his flute and shaking his head sadly.

- Late? Lucy asked and jumped up from her seat. She became scared. - What do you mean by that? I need to go home immediately. Everyone is probably worried. - But then she exclaimed: - Mr. Tumnus! What's wrong with you? “Because the brown eyes of the faun filled with tears, then tears rolled down his cheeks, dripped from the tip of his nose, and finally he covered his face with his hands and wept aloud.

- Mister Tumnus! Mr Tumnus! – terribly upset, said Lucy. - Don't, don't cry! What happened? Are you unwell? Dear Mr. Tumnus, tell me please, tell me what's the matter with you?

But the faun continued to weep as if his heart were breaking. And even when Lucy came up to him and hugged him and gave him her handkerchief, he did not calm down. He only took a handkerchief and rubbed his nose and eyes with it, squeezing it onto the floor with both hands when it got too wet, so that soon Lucy was in a big puddle.

- Mister Tumnus! Lucy shouted loudly into the faun's ear and shook him. - Please stop. Stop now. Shame on you, such a big faun! Why, why are you crying?

– Ah-ah-ah! roared Mr. Tumnus. “I am crying because I am a very bad faun.

“I don't think you're a bad fawn at all,” said Lucy. “I think you are a very good faun. You are the sweetest faun I have ever met.

“Ah, you wouldn’t say that if you knew,” answered Mr. Tumnus, sobbing. - No, I'm a bad fawn. There was no such bad faun in the whole wide world.

- What have you done? Lucy asked.

- My father ... this is his portrait there, over the fireplace ... he would never have done that ...

- How so? Lucy asked.

“Like me,” said the faun. “Went into the service of the White Witch—that’s what I did.” I'm on the payroll of the White Witch.

- The White Witch? Who is she?

- She is? She is the one who has all of Narnia under her shoe. The same one, because of which we have eternal winter. Eternal winter, but there is still no Christmas. Just think!

- Terrible! Lucy said. But what does she pay you for?

"That's the worst part," said Mr. Tumnus with a deep sigh. “I'm a kidnapper, that's why. Look at me, daughter of Eve. Is it possible to believe that I am able, having met a poor innocent child in the forest who has done me no harm, pretend to be friendly to him, invite him to my cave and put me to sleep with my flute - all in order to give the unfortunate child into the hands of Belaya Witches?

“No,” Lucy said. “I'm sure you're incapable of doing that.

“But I did so,” said the faun.

“Well,” said Lucy, after a pause (she did not want to tell a lie and at the same time did not want to be very harsh with him), “well, that was not good of you. But you regret what you did, and I'm sure you'll never do it again.

“Oh, daughter of Eve, don’t you understand? the faun asked. “I have never done this before. I do so now, at this very moment.

- What do you want to say?! Lucy cried out and turned as white as a sheet.

“You are that child,” Mr. Tumnus said. - The White Witch ordered me, if I suddenly see the son of Adam or the daughter of Eve in the forest, to catch them and hand them over to her. And you are the first person I met. I pretended to be your friend and invited me to tea, and all this time I waited until you fell asleep so that I could go and tell her everything.

"Ah, but you won't tell her about me, Mr. Tumnus!" Lucy exclaimed. “It’s true, won’t you tell me?” Don't, please don't!

“And if I don’t tell her,” he picked up, starting to cry again, “she will certainly find out about it.” And he orders me to cut off my tail, saw off the horns and pluck my beard. She will wave her magic wand and my pretty cloven hooves will turn into hooves like a horse's. And if she gets especially angry, she will turn me to stone, and I will become a statue of a faun and I will stand in her terrible castle until all four thrones in Cair Paraval are occupied. And who knows when it will happen and if it will happen at all.

“I'm sorry, Mr. Tumnus,” said Lucy, “but please let me go home.

"Of course I'll let you go," said the faun. “Of course I have to do it. Now it's clear to me. I didn't know what Humans were until I met you. Of course, I can't hand you over to the Sorceress now that I've met you. But we need to leave soon. I'll escort you to the Lamppost. You will find the way from there to Platenshkaf and the Empty Room, won't you?

“Of course I will,” said Lucy.

“We must go as quietly as possible,” said Mr. Tumnus. The forest is full of her spies. Some trees, and those on her side.

They didn't even clear the table. Mr. Tumnus opened his umbrella again, took Lucy by the arm, and they walked out of the cave. The way back was not at all like the way to the cave of a faun: without exchanging a word, they crept under the trees almost at a run. Mr. Tumnus chose the darkest spots. Finally they reached the Lamppost. Lucy breathed a sigh of relief.

“Do you know the way from here, O daughter of Eve?” asked Mr. Tumnus. Lucy peered into the darkness and saw in the distance, between the trunks of trees, a bright spot.

“Yes,” she said, “I see an open wardrobe door.

"Then hurry home," said the faun, "and... can you... can you forgive me for what I was about to do?"

"Well, of course," said Lucy, shaking his hand warmly, from the bottom of her heart. "And I hope you don't get in too much trouble because of me."

“Good luck, daughter of Eve,” he said. “May I keep your handkerchief as a memento?”

“Please,” Lucy said, and ran as fast as she could towards the distant spot of daylight. Soon she felt that her hands were parting not thorny tree branches, but soft fur coats, that under her feet it was not creaky snow, but wooden planks, and suddenly - bang! - she found herself in the very empty room where her adventures began. She closed the closet door tightly and looked around, still unable to catch her breath. It was still raining, and the voices of her sister and brothers could be heard in the hallway.

- I'm here! she screamed. - I'm here. I'm back. Everything is fine.

Chapter Three
Edmund and the wardrobe

Lucy ran out of the empty room into the hallway where everyone else was.

“It's all right,” she repeated. - I'm back.

- What are you talking about? Susan asked. - I don't understand anything.

- How about what? Lucy said in surprise. "Weren't you worried where I disappeared to?"

So you were hiding, weren't you? Peter said. “Poor Lou hid, and no one noticed! Hide a little longer next time if you want people to start looking for you.

“But I haven't been here for many hours,” Lucy said.

The boys rolled their eyes at each other.

- I'm crazy! said Edmund, tapping his forehead with his finger. - Completely crazy.

What do you mean, Lou? Peter asked.

“What I said,” Lucy replied. - I climbed into the closet right after breakfast, and I was not here for many hours in a row, and I drank tea at a party, and all sorts of adventures happened to me.

“Don't talk nonsense, Lucy,” Susan said. “We just left this room, and you were there with us.

“She doesn’t talk,” Peter said, “she just made it up for fun, didn’t she, Lou?” Why not?

"No, Peter," Lucy said. - I didn't write anything. This is a magic closet. There is a forest and snow inside. And there is a faun and a sorceress, and the country is called Narnia. Go take a look.

The guys did not know what to think, but Lucy was so excited that they returned with her to an empty room. She ran to the closet, flung open the door and shouted:

"Get in here and see with your own eyes!"

“What a fool,” said Susan, sticking her head into the closet and parting her fur coats. - Ordinary wardrobe. Look, here is his back wall.

And then everyone else looked inside, and parted their fur coats, and saw - but Lucy herself didn’t see anything else right now - an ordinary wardrobe. There was no forest or snow behind the fur coats - only the back wall and hooks on it. Peter climbed into the closet and tapped the wall with his knuckles to make sure it was solid.

The Chronicles of Narnia is a series of films based on a series of seven fantasy books written by Clive Staples Lewis. It was these stories that made the hearts of the children of the 2000s beat faster. What is the history of creation incredible movies about magical land?

Start over...

So, who in the world is not familiar with the story of the brave children of Pevensie, the Great Lion Aslan and the magical land of Narnia? But as many already know, books are one thing, but their adaptations are quite another. Let's look at all the parts of The Chronicles of Narnia in order and find out how the masterpiece was created.

background

In 1996, young producers Frank Marshall and Kathleen Kennedy applied for permission to film the first installment of the then-popular Clive Staples Lewis book series The Chronicles of Narnia: The Lion, the Witch and the Wardrobe. However, they received a very sharp refusal, which was explained by the simple stubbornness and unwillingness of the author to see his offspring on the big screen. It is understandable, because the cinema of that time left much to be desired. Soon a very persistent young American screenwriter Perry Moore appeared in Lewis's life. Moore over the next two years negotiated with Lewis himself and his literary agent Douglas Gresh, who in 2001 signed a contract to film the first part of The Chronicles of Narnia with the young company Walden Media. Thus began the incarnation magic story into a more real art form.

The Chronicles of Narnia: The Lion, the Witch and the Wardrobe

Now more about the films. If we want to carry out our analysis of all parts of The Chronicles of Narnia in order, then we need to start with the very first film. Four children go to the village. They go to a family friend, in whose house they discover a mysterious wardrobe. Going inside, they find themselves in Narnia - the country where they live fantasy creatures, and magic is not fiction, but reality. Later it turns out that Narnia is under the rule of the White Witch, who turned Narnia into a land of eternal winter. Children, with the help of King Aslan (Lion - the founder of Narnia), must fight the Witch in order to break the spells and free the inhabitants of a wonderful country.

History is silent on the number of scenarios that came to Lewis's mind while writing the first part of the series. It is only known that the plot often changed, and in 1947, guided by the negative reviews of his friends, Lewis even destroyed the manuscript. Only in the early spring of 1949 was a version of the book created that suited Lewis himself and his friends.

The prototype of little Lucy was Lewis's goddaughter, Lucy Barfield. The girl was the adopted daughter of the writer Owen Barfield's best friend. Carol sent his goddaughter his manuscript for her fifteenth birthday.

The creation of the film, the original title of which is The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (in the title of the first part of the film series, the word "clothes" was replaced by "magic"), was an equally complex process, to which a team of several talented people walked for several years. The film was directed by Andrew Adamson, who is both a producer and co-writer. Prior to The Chronicles of Narnia, he directed two parts of Shrek. Adamson is known as a good special effects specialist, which helped a lot when creating animals through computer graphics. The screenwriters of the film are the notorious Christopher Markus, Stefan McFeely and Ann Peacock.

To find children for the four main roles, the director looked through about 2,500 records of children, Adamson met with 800 of them, allowed 400 to audition, and eventually selected 120. The children selected to play the main roles in the film turned out to be older than their heroes: Georgie Henley was 10 years old at the time of filming (according to the script Lucy Pevensie is 8-9 years old), Peter was about 17 (William was filmed from 15 to 18 years old), Susan was 15 (Anna was 13-17 years old at the time of filming), and Edmund was 12-13 (Skandar was filmed from 11 to 14 years old, in addition, he grew by 26.5 cm at the very beginning of filming, so his height became very different from the growth of Edmund's character).

Initially, she applied for the role of the White Witch, but subsequently the actress refused the offer. As a result, the role of the White Witch was given to Tilde Swinton. The actress deliberately read the book after filming wrapped.

Filming began on June 28, 2004. The first was the scene of the children in the train car. Since it was the first day of filming, the kids were extremely insecure on set. An interesting fact is that Skandar Keynes's line "Get off! I know how to get on the train!” was pure improvisation. Filming was done before June 2004, but they were "costume": they drove and filmed small episodes. Filming wrapped in January 2005. The scene of Edmund's fight with the White Witch was the last footage to be filmed.

Filming took place in New Zealand and the Czech Republic. On signs in Oakland that film crew used to get to film set, was written by Paravel to confuse the crowds of fans eager to get on the set.

The box office exceeded all expectations, reaching a mark of $720,539,572, and the disc sales turnover amounted to $442,868,636. The film "The Chronicles of Narnia: The Lion, the Witch and the Wardrobe" became the most successful both in terms of box office and in terms of reviews from critics and viewers among all the existing film adaptations of the series.

"The Chronicles of Narnia: Prince Caspian"

Lucy, Susan, Edmund and magically return to Narnia again. Compared to England, where not much time has passed yet, centuries have passed in Narnia. The king of the neighboring state of the Telmarines, Miraz, usurps power and wants to destroy the remnants of the magical land. But his nephew - the young Prince Caspian - decides to help Narnia survive and find its former peace. To help Caspian, the young kings and queens of Narnia raise an army fairy creatures- Residents of Narnia. They wonder if Aslan, the founder and patron of Narnia, will come to their aid?

To decide on the choice of filming locations, Andrew Adamson (director of the film) traveled to five continents. The main places where the shooting of the second part took place famous series novels, became New Zealand, Czech Republic (castle of King Miraz), Slovenia (bridge over the river), Poland.

The most difficult thing was to find an actor for the role of Prince Caspian, who, according to the scriptwriters, should be 17 years old. As a result, Adamson chose the British actor Ben Barnes, who was already 26 years old at the time of filming. In "Prince Caspian" Reepicheep was completely recreated using computer technology. And Cornell John (the centaur Glenstorm) was ordered to master jumper stilts, which were later turned into horse legs. They did this using computer graphics. Make-up artist Howard Berger's team consisted of 50 makeup artists who have done over 4,600 makeup sessions.

The Prague historical film studio "Barrandov" became the place where the main scenery of "Prince Caspian" was erected. An interesting fact is that Miraz Castle, which was erected on the territory of the film studio, occupied 1858 square meters and outwardly was partly based on the appearance of a short one located in France. Two hundred carpenters, plasterers and artists worked on the castle for almost 4 months. In one of the scenes, the image of the castle was enlarged 3 times using computer graphics.

The same wooden bridge, which became one of the scenes of the last battle between the Telmarines and the Narnians, was erected on the Soča River (Slovenia). It was built thanks to the efforts of 20 engineers and builders. To implement the plan of the main artist Roger Ford, who designed this bridge, the engineers had to temporarily change the course of the river. And the London Underground station, from where Pevensie takes the children to Narnia, was not at all in London. Realistic subway scenery was built at the Henderson Film Studios (North New Zealand).

It is impossible not to pay attention to the stunning costumes in which the heroes of the film are dressed for most of the "Prince Caspian". A total of 70 people worked on them. It can be seen with the naked eye that the costumes from Prince Caspian seem to have been taken from the Middle Ages. Talmarine roots are traced to pirates, which is why their attire is so close to Spanish clothes. 1,042 garments were made for the leading actors, and 3,722 garments were made for King Miraz, his retinue, and the Telmarine warriors, including helmets, masks, shoes, and gloves.

New Zealand designer Richard Taylor (Weta Workshop) designed 800 weapons for both troops.

"Chronicles of Narnia": the third part

Concluding our conversation about all parts of the "Chronicles of Narnia" in order, let's pay attention to the last film of the saga now filmed. Filming locations are the picturesque expanses of New Zealand and Australia. original name book by C. S. Lewis, based on which the third part of the popular series was filmed, sounds like "The Voyage of the Dawn, or Sailing to the End of the World." Let's talk about the film adaptation of this book.

There are some interesting facts about the latest (at the moment) filmed part of the "Chronicles of Narnia":

1. 90 days - that's how long the shooting of "The Treader of the Dawn Treader" took.
2. One of the main characters in the film was created on sea ​​cape Cleveland Point. The structure weighed 125 tons and was 140 feet high. After the scenes were filmed outdoors, it was dismantled into more than 50 elements and reassembled in the pavilion to continue filming.
3. In the film, the sea serpent is one of the creatures of the Isle of Darkness, in the book the characters encountered it by chance before discovering the Isle of Dead Water.
4. The film shows how the main characters of the story are subjected to temptations that were not mentioned in the book.
5. The song Instantly, which sounds at the end of the "Traveler of the Dawn Treader", is performed by Russian singer Sergey Lazarev.
6. This film received the lowest critical ratings (of the entire series).

Conclusion

So we examined all the parts of the "Chronicles of Narnia" in order. I would like to believe that very soon we will have the opportunity to contemplate the new exciting adventures of the Pevensie children on the big screen. Currently, the development of the fourth part of the series - the film "The Chronicles of Narnia: The Silver Throne" is underway.

Christianity and The Chronicles of Narnia by C. S. Lewis

N. N. Mamaeva

Clive Staples Lewis was an Oxford scholar, philologist, theologian, and specialist in the history of medieval literature. His pen belongs to literary works, philosophical and religious treatises "Love", "Suffering", "Miracle", the allegories "A Roundabout" and "Dissolution of Marriage", a science fiction trilogy and, finally, "The Chronicles of Narnia". C. S. Lewis was a member of the same literary circle as J. R. R. Tolkien, just like him, wrote fairy tales for children, in which he talked about the eternal questions of Being, asserted the possibility and necessity of the existence of Good in this the world.

Lewis wrote his "Chronicles of Narnia" for seven years (1950-1956), a year from the book (Lewis C. S. Chronicles of Narnia. London, 1950-1956). The first translation of Lewis's fairy tale was published by the publishing house "Children's Literature" in 1978, translated by Mr. Ostrovskaya 1 . After that came a break that lasted 13 years. Although the translations of The Chronicles of Narnia were made by N. Trauberg back in the 80s, they saw the light only in the early 90s. At the same time, other works by Lewis began to be published, in which their Christian content was completely obvious and which, quite naturally, could not be published in the USSR 2 . In 1998, the Alexander Men Foundation made an attempt to publish an 8-volume collected works of Clive Staples Lewis 3 . Two of the promised eight volumes have now come out, but it seems that the publication of the works of C. S. Lewis will end there due to financial problems. As for the study of the work of C.S. Lewis, there is a huge gap in Russian literary criticism. We can name only small introductory articles preceding the publications of certain works of Lewis 4 . As for the 8-volume collected works, which began to be published by the A. Men Foundation, in it the work of Lewis is considered purely within the framework of theology 5 . Therefore, in our research we had to rely only on own opinion yes to the texts of Lewis himself 6 .

In his Chronicles of Narnia, Lewis talks about the creation of the magical land of Narnia by the lion Aslan, about its history, wars and invasions, kings and queens, and about its end. The heroes of the book are the boy Digory and the girl Polly, who were present at the birth of Narnia, the Pevensie brothers and sisters, who became the High Kings of Narnia, and their friends Eustace and Jill.

To create his world, Lewis turns to mythology. This is a long tradition of English literary fairy tales: Kipling, Barry, Travers, Tolkien often borrowed their plots from myths. But Lewis surpassed all his predecessors. He refers to the ancient Eastern, ancient, German-Scandinavian, medieval European, Christian traditions. His Narnia is inhabited by fauns, satyrs, naiads, dryads, unicorns, gnomes (these are the gnomes of English legends, squat, thick-set creatures with thick, coarse hair and long beards, and German dwarfs with pig faces, cockscombs and tails), talking animals folk tales and, finally, characters invented by the author himself, for example, kvakli. The gods of Tarkhistan, neighboring Narnia, seem to have descended from Hittite reliefs. So, the main goddess Tash is a person with the head of a bird of prey and four arms. And the servant of the White Witch, the wolf Mogrin, goes back to the Scandinavian Fenrir. Lewis often uses plots ancient myths and literary works: Prince Rabadash, turned into a donkey for stupidity and meanness, acquires his human appearance at the autumn festival of the goddess Tash ("Golden Ass"), Bacchus turns nasty schoolchildren into pigs, the classroom is transformed into a forest clearing, and their teacher joins his retinue (legends about Dionysus and the pirates, King Pentheus, daughters of Minius), on the Island of Dead Water, the heroes find a stream, the water of which turns everything that comes into contact with it into gold (the myth of King Midas).

But the main source for Lewis was, of course, the gospel. No wonder his book is sometimes called a children's Christian catechism.

The creator of Narnia, the lion Aslan, is one of the incarnations of Jesus Christ. According to medieval tradition, the lion is a symbol of Christ. In one of the books, Aslan appears in the form of a lamb, which is already a direct borrowing from the Gospel.

Lewis writes of Aslan's "royal and peaceful yet sad" look, that he was "kind and formidable" at the same time. The golden radiance of Aslan's mane, which the author constantly mentions, is associated with the gold of the halo. In Narnia, they swear by the name of Aslan, the heroes say: "In the name of Aslan", "Aslan I ask you", and the hermit even exclaims "Merciful Aslan!" 7. A stream springs from Aslan's footprint, which is reminiscent of numerous medieval legends about the excision of springs. According to the Bible, "God is light" and as you move east to Aslan's country, the water itself becomes like light, the light permeates the whole world surrounding the heroes, and the very name of the story and the ship on which they travel is "Sailing into the dawn."

The Great Lion creates Narnia with his song and gives its inhabitants the main commandment: "And all love one another." He determines that only sons of Adam and daughters of Eve can rule Narnia. All this is a paraphrase of the corresponding lines of the Book of Genesis (Gen. 1, 26-27). The commandments that Aslan gives to the Narnians come from the commandments of Moses and the Sermon on the Mount. Aslan demands love, humility and repentance from the inhabitants of his country. He condemns any, even the most weak attempt shift the blame to another: "And why do you look at the speck in your brother's eye, but do not feel the beam in your eye?" (Matthew 7:5). The betrayal was committed by Edmund, but this is also Peter's fault, as he was too harsh with his brother. Peter, Susan and Edmund do not believe Lucy when she says she sees Aslan, and it is their fault, because their own shortcomings do not allow them to see him, but Lucy is also guilty, because she failed to convince them. Aslan punishes Aravita by following the commandment "an eye for an eye" - she receives the same number of wounds as the maid received for her escape.

Lewis very gracefully touches on one of the most controversial theological issues about the divine and human nature of Jesus Christ. The talking horse Igogo, speaking a little naively on this topic, ends his speech with the conclusion: "You can understand how ridiculous it is to count ( we are talking about Aslan) his real lion. Moreover, it is disrespectful." At this time, Aslan appears and says: "And you, Igogo, you poor and proud horse, come closer. Feel me. Here are my paws, here is my tail, here are my whiskers. I, like you, am an animal." 8 Thus, Lewis decides this question in favor of the human (lion) nature of God.

The gospel defines the main themes of Lewis's books. It is the themes - the plots - that remain traditionally fabulous: the fight against the evil sorceress, the search, the journey, the matchmaking, the escape. A theme running throughout the chronicles is redemption. In a fairy tale, the hero traditionally receives a reward for his feat, and the feat is usually accomplished with the expectation of a reward. In the story "The Sorcerer's Nephew" Digory, while extracting a magic apple that should ensure the prosperity of Narnia for many centuries to come, does not expect to get anything (although he needs medicine for his sick mother), by this he atones for his guilt, since it is because of him out of curiosity, an evil witch appeared in Narnia. Lewis plays the plot with the fruit of the tree of the knowledge of good and evil in a peculiar way. Both in the Bible and in Lewis, the cause of evil was curiosity: in the first case - Eve, in the second - Digory, who, by ringing the bell, woke the sleeping Jadis. But if in Holy Scripture the apple was the cause of the fall, here, on the contrary, it is a guarantee of salvation.

Expiating Edmund's betrayal, Aslan allows the White Witch to stab him. But with the first rays of the sun, he is resurrected, for the sacrifice was made voluntarily, innocent blood was shed, and the evil spell dissipated. Aslan, like Christ, atones for the sins of people with his blood.

The second theme is also evangelical - temptation. This is not a temptation of wealth, power, might, no, this is a temptation of good, but an imaginary good. The sorceress persuades Digory not to give the apple to Aslan, but to take it to his mother. Digory resists the temptation and eventually receives the desired fruit from the hands of Aslan himself. Truly, no other good can be done except God's.

Likewise, Lucy, leafing through the book of the magician Coriakin, yields to the temptation to find out what others think of her, but this does not bring her joy, because because of this she almost loses her friend.

And another issue that Lewis's heroes constantly solve is the choice of a path in the broadest sense of the word. How to distinguish the true from the false, the authentic from the imaginary, the divine from the devil. The witch appears in the guise of a beautiful woman, and only when the heroes find the strength to resist her witchcraft, she takes on her true appearance as a monstrous snake. And the captive prince at first appears before them as a madman and a monster. The world and its reflection (this idea, borrowed by Lewis from Plato, will be most fully developed in latest book) is not easy to distinguish. What is the Sun, just a big lamp, as the sorceress claims, or is the lamp a weak likeness of the Sun?

Aslan rarely helps the hero resolve this issue. In general, he does not appear on the pages of the book often, is not always shown in his true form and prefers to speak in riddles, like the Son of God. For only the elect can hear the Word of God: "Blessed are your eyes that they see, and your ears that they hear" (Matthew 13:16).

Lewis' heroes eventually commit right choice. But if a person himself does not want to see the truth, if he has locked himself in the dungeon of his imagination, then no one, not even God, is able to help him. "For the heart of these people is hardened, and they can hardly hear with their ears, and they have closed their eyes" (Matthew 13:15). Uncle Digory convinced himself that a lion could not sing and, when spoken to, heard only a growl. The dwarves, once in the country of Aslan, convinced themselves that they were sitting in a dirty barn, and they could not see anything but walls, dung and straw, although a green meadow stretched around. Verily, each one is rewarded according to his faith.

(1950)

Book Lion, Witch and Wardrobe was completed in 1949 and published in 1950. It tells the story of four ordinary children (Peter, Susan, Edmund and Lucy). They find a wardrobe in Professor Kirk's house, which leads to magical land Narnia, under the spell of the evil White Witch. Four children fulfill an ancient prophecy with the help of Aslan and the good inhabitants of Narnia, and free Narnia from the White Witch, along with the overthrow of the White Witch in Narnia, the Long Winter, which lasted a century, ends.

Prince Caspian (1951)

Finished in autumn 1949 and published in 1951, the book Prince Caspian tells the story of the Pevensie children's second journey to Narnia, in which they encounter the events when Miraz, Lord Regent of Narnia and uncle of the Crown Prince Caspian, caused the heir to the throne to flee into the woods and, having usurped the throne, declared himself king. The children must once again save Narnia and help the Narnians return the throne to the rightful ruler, Caspian.

(1952)

The Voyage of the Dawn, or Swimming to the End of the World was completed in 1950 and published in 1952. In the third part, Edmund and Lucy Pevensie, along with cousin Eustace Wreed, join the voyage of Caspian, who wants to find the seven lords banished by Miraz. On their way to the country of Aslan, they come face to face with the wonders and dangers of the great Eastern Sea.

Silver armchair (1953)

Book Silver armchair was completed in 1951 and published in 1953. In it, Eustace and his classmate Jill Pole, running away from schoolchildren, end up in Narnia. Aslan instructs to find the son of Caspian - Prince Riliane, who was kidnapped 10 years ago. Eustace and Jill, together with the wakle Gloomy, go in search of the prince to the northern lands inhabited by giants.

Horse and his boy (1954)

Completed in the spring of 1950 and published in 1954, Horse and his boy- the first book that is not a direct continuation of the previous one. The setting of the novel is the period of the Pevensie's reign in Narnia, a period that begins and ends in the book Lion, Witch and Wardrobe. The story tells about the talking horse Igogo (Brie) and little boy named Shasta. Both main characters fell into slavery in Tarchistan, a country in the south of Narnia. By chance they meet and decide to return to Narnia. While traveling, they discover that the Calormenes are about to invade Orlandia, and decide to get there first and warn King Lum.

Wizard's Nephew (1955)

Completed in the winter of 1954 and published in 1955, Wizard's Nephew is a prehistory. It takes the reader back to the birth of Narnia, when Aslan created the world, and tells how evil first entered it. Digory Kirk and his girlfriend Polly Plummer fall into other worlds as a result of Uncle Digory's experiment, meet Jadis (White Witch) and witness the creation of Narnia. The book provides answers to many questions about Narnia that the reader may have while reading previous books.

last fight (1956)

Completed in the spring of 1953 and published in 1956, last fight describes the end of the world of Narnia. Jill and Eustace return at the call last king Narnia, Tirian, in order to save Narnia from the monkey Cunning, who dresses the donkey Burdock in a lion's skin and introduces the rest as Aslan, and begins to rule on his behalf and cooperate with the Calormenes, Narnia's old enemies. Cunning also declares that Tash and Aslan are one and the same, and calls Aslan Tashlan (Tash + Aslan). The situation turns into a battle between those who believe in Aslan and those who are on the side of the impostor...

Reading order

The Russian-language version was published in the following order: "The Lion, the Witch and the Wardrobe", "The Sorcerer's Nephew", "The Horse and His Boy", "Prince Caspian", "The Dawn Treader", "The Silver Chair", "The Last Battle". storyline changed in such a way that the subsequent book describes the phenomena or events mentioned in the previous one. For example, from The Magician's Nephew it becomes clear what relation Professor Kirk has to Narnia from the book The Lion, the Witch and the Wardrobe.

Geographic influences

According to some reports, Lewis based his description of the world of "Narnia" on the basis of the landscapes of the mountains of Morne, County Down, located in his native Northern Ireland.

According to other sources, this is a district in Italy.

Christian Parallels

There are different points of view whether the numerous Christian images are an accident. Beginning with the biblical address at the beginning of the novel: "daughters of Eve", to the resurrection of the lion Aslan, similar to the resurrection of Jesus. Lewis comments on the attribution of Christianity in Other Worlds:

Some people seem to think that I started by asking myself how to teach children about Christianity; then, using the fairy tale as a tool and relying on information about child psychology, he decided for which age group I will write; then he compiled a list of basic Christian truths and worked out allegories to describe them. All this is pure fantasy. I couldn't write like that. It all started with images: a faun carrying an umbrella, a queen on a sleigh, a magnificent lion. Initially, nothing related to Christianity was planned, this element appeared as if by itself.

Original text (English)

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 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. I couldn't write in that way. It all began with images; a faun carrying an umbrella, a queen on a sledge, a magnificent lion. At first there wasn't anything Christian about them; that element pushed itself in of its own accord.

Lewis, as an expert on allegories, argued that the books were not allegories and preferred to refer to the Christian aspects in them as "speculative". As in what we call alternative history (fantasy) . As he wrote in a letter to Mrs. Hook in December 1958:

If Aslan represented an immaterial deity in the same way that Giant Despair represents despair, then he would be an allegorical character. In reality, he is an invention, as if giving an answer to the question “What could Christ be like if there was a world like Narnia, and He would decide to incarnate, die and rise again in this world, as He did in ours?” This is not an allegory at all.

Original text (English)

If Aslan represented the immaterial Deity in the same way in which Giant Despair represents despair, he would be an allegorical figure. In reality, however, he is an invention giving an imaginary answer to the question, 'What might Christ become like if there really were a world like Narnia, and He chose to be incarnate and die and rise again in that world as He actually has done in ours?' This is not allegory at all.

The book "The Treader of the Dawn" has a lot of images from early medieval books about fantastic travels by sea, in particular from "The Voyage of St. Brendan". It is quite logical that Lewis, who lived in Ireland, could not have been unaware of the travels of the Irish saint.

Criticism

Clive Staples Lewis and The Chronicles of Narnia have been criticized on numerous occasions, mostly by other authors.

Discrimination against women

There comes a moment when Susan, who has become grown up girl, is already lost to Narnia because she was interested in lipstick. She became an unbeliever because she discovered gender issues, and I don't like that at all.

Susan, like Cinderella, undergoes a transition from one phase of her life to another. Lewis does not approve of this. Either he did not like women in general, or he was simply repulsed by sexuality, at least during the period when he wrote books about Narnia. He was terrified and appalled at the idea of ​​wanting to grow. […] Death is better than life; boys are better than girls; people light color better than people of dark color, and so on. There is more than enough such nasty nonsense in Narnia if you look closely.

Original text (English)

Susan, like Cinderella, is undergoing a transition from one phase of her life to another. Lewis didn't approve of that. He didn't like women in general, or sexuality at all, at least at the stage in his life when he wrote the Narnia books. He was frightened and appalled at the notion of wanting to grow up. […] Death is better than life; boys are better than girls; light-colored people are better than dark-colored people; and so on. There is no shortage of such nauseating drivel in Narnia, if you can face it.

In many of Lewis's works, for example, The Foulest Power, the maturation of a woman (and a man too) as an escape from infantilism and a superficial attitude to life, the development of maturity of judgments and actions is expressed in the adoption of behavioral motivation and moral values, specifically related to issues of gender, associated with spiritual, not materialistic, secular perception of the universe.

Lewis's defenders argue that much of the criticism of his writing comes from those who do not convert to Christianity. Some [ who?] believe that the religious aspect of Lewis's books interferes with a truly objective analysis of The Chronicles of Narnia as an ordinary children's book. Lewis fans support him, arguing that it is completely pointless to write children's books strictly adhering to all modern Western ethical standards. If literary critics consider other classical works in line with modern social norms, they should not criticize Lewis. Lewis' apologists also cite positive female images in his books, such as Lucy Pevensie and Aravita, the heroines of the books The Lion, the Witch and the Wardrobe and The Horse and His Boy, respectively, as well as the image of Jill Pole in The Silver Chair and The Last Battle. The essence of the fact that Susan ceased to be a friend of Narnia is not in “stockings, lipsticks” and other manifestations of narcissism, but deeper, based on questions of faith, in Christian worldview C.S. Lewis, which is most clearly revealed precisely in the "Space Trilogy", especially in its third part - "The Foulest Power".

Racism

Henscher and Pullman also accused The Chronicles of Narnia of inciting racism. The basis was the negative presentation of other races and religions, especially the Calormenes, as the enemies of Aslan and Narnia. Calormenes are described by Lewis as an oily and dark-skinned people who wear turbans, pointy-toed shoes, and are armed with scimitars. This description is an allegorical comparison with the traditional attire of Muslims and Sikhs. Turbans are worn by Muslim clerics and by most adult Sikh males. Scimitars were created in the Middle East and are associated with Islam. Calormenes worship a "false god" - the goddess Tash, who has a stereotypical image of Baal, who demands evil deeds and sacrifices from his followers. Lewis's Calormene is contextually and historically similar to the Ottoman Empire, so Henscher and Pullman believe that the Calormenes are depicted as Saracens and the Narnians as medieval crusaders. Baltics with Slavs and Balts, and are shown not in best colors. Many of the Telmarine realities are reminiscent of the Norman conquerors of England and the Anglo-Norman barons.

Although Lewis is from Ireland, it is clear that he is distinctly British author, as did his contemporaries Tolkien, Charles Williams and others. Therefore, his style may have a taste of the British Victorian era, which may seem old-fashioned or

Ancient myths, ancient legends and fairy tales, children's impressions and adult reflections of the beautiful English writer formed the basis of the seven stories of the epic "The Chronicles of Narnia", which has become one of the most famous and beloved books for children and adults around the world.
Reading the book, you will again and again discover the enchanting world of Narnia - and you will find yourself in a country that only children and people with a pure soul and an open heart can really see.

The epic "Chronicles of Narnia" includes the following books:
Wizard's Nephew,
The lion, the witch and the wardrobe
Horse and his boy
Prince Caspian,
"The conqueror of the dawn", or Swimming to the ends of the world,
Silver armchair
last fight

NEPHEW OF THE enchanter

Chapter first. ABOUT HOW THE CHILDREN MISSED THE DOOR
Chapter two. DIGORY AND HIS UNCLE
Chapter three. FOREST-BETWEEN-WORLDS
Chapter Four. HAMMER AND BELL
Chapter five. SCARY WORD
Chapter six. HOW UNCLE ANDREW'S TROUBLE STARTED
Chapter seven. ABOUT WHAT HAPPENED IN FRONT OF THE HOUSE
Chapter eight. THE BATTLE AT THE LANTERN AND WHAT HAPPENED NEXT
Chapter nine. HOW NARNIA WAS CREATED
Chapter ten. FIRST JOKE AND OTHER EVENTS
Chapter Eleven. OF THE DISTRUCTIONS OF DIGORY AND HIS UNCLE
Chapter twelve. THE ADVENTURES OF STRAWBERRY
Chapter thirteen. UNEXPECTED MEETING
Chapter fourteen. ABOUT HOW THE WONDERFUL TREE WERE PLANTED
Chapter fifteen. ABOUT HOW THIS STORY ENDED AND ALL THE OTHER STORIES BEGAN

LION, WITCH AND WARDROBE

Chapter first. LUCY LOOKING INTO THE WARDROBE
Chapter two. WHAT LUCY FOUND ON THE OTHER SIDE OF THE DOOR
Chapter three. EDMUND AND THE WARDROBE
Chapter Four. TURKISH DELIGHT
Chapter five. AGAIN ON THE OTHER SIDE OF THE DOOR
Chapter six. IN THE FOREST
Chapter seven. A DAY WITH THE BEAVERS
Chapter eight. WHAT HAPPENED AFTER DINNER
Chapter nine. IN THE HOUSE OF THE WITCH
Chapter ten. THE ENCHANTMENT BEGINS TO DISSOLVE
Chapter Eleven. ASLAN IS CLOSER
Chapter twelve. PETER'S FIRST BATTLE
Chapter thirteen. MYSTERIOUS MAGIC OF ANCIENT TIMES
Chapter fourteen. THE TRIUMPH OF THE WITCH
Chapter fifteen. THE MYSTERIOUS MAGIC OF EVEN MORE OLD TIMES
Chapter sixteen. WHAT HAPPENED TO THE STATUES
Chapter seventeen. CHASING THE WHITE DEER

HORSE AND HIS BOY

Chapter first. THE ESCAPE
Chapter two. FIRST ADVENTURE
Chapter three. AT THE GATES OF TASHBAAN
Chapter Four. KING AND QUEEN
Chapter five. PRINCE CORIN
Chapter six. SHASTA AMONG THE TOMBS
Chapter seven. ARAVITA IN TASHBAAN
Chapter eight. ARABIT IN THE PALACE
Chapter nine. DESERT
Chapter ten. HERMIT
Chapter Eleven. UNPLEASANT SATELLITE
Chapter twelve. SHASTA IN NARNIA
Chapter thirteen. BATTLE
Chapter fourteen. ABOUT HOW I BECAME SMARTER TOTAL
Chapter fifteen. RABADASH LOPP

PRINCE CASPIAN

Chapter first. ISLAND
Chapter two. ANCIENT TREASURY
Chapter three. DWARF
Chapter Four. GNOME TALKS ABOUT PRINCE CASPIAN
Chapter five. CASPIAN'S ADVENTURES IN THE MOUNTAINS
Chapter six. HIDDEN CITY
Chapter seven. OLD NARNIA IN DANGER
Chapter eight. HOW WE LEAVE THE ISLAND
Chapter nine. WHAT LUCY SAW
Chapter ten. RETURN OF THE LION
Chapter Eleven. LION ROAR
Chapter twelve. WITCH AND SUDDEN REVENGE
Chapter thirteen. THE HIGH KING TAKES COMMAND
Chapter fourteen. HOW EVERYONE WERE VERY BUSY
Chapter fifteen. ASLAN OPENS THE DOOR IN THE AIR

DAWN TREATER, OR SWIMMING TO THE END OF THE WORLD

Chapter first. PAINTING IN THE CHILDREN'S ROOM
Chapter two. ON BOARD THE SHIP
Chapter three. LONELY ISLANDS
Chapter Four. WHAT I DID ON CASPIAN ISLAND
Chapter five. THE STORM AND ITS CONSEQUENCES
Chapter six. THE ADVENTURES OF USTES
Chapter seven. HOW THE ADVENTURES OF YUSTES ENDED
Chapter eight. TWO MIRACULOUS RESCUES
Chapter nine. ISLAND AND VOICES
Chapter ten. MAGIC BOOK
Chapter Eleven. HOLOTOPS GET HAPPINESS
Chapter twelve. DARK ISLAND
Chapter thirteen. THREE SLEEPING LORD
Chapter fourteen. WHERE THE END OF THE WORLD BEGINS
Chapter fifteen. WONDERS OF THE LAST SEA
Chapter sixteen. THE END OF THE WORLD

SILVER ARMCHAIR

Chapter first. BEHIND THE SCHOOL
Chapter two. JIL RECEIVES A MISSION
Chapter three. THE KING GOES TO SEA
Chapter Four. OWL ADVICE
Chapter five. Hmur
Chapter six. IN DESERT NORTHERN PLACES
Chapter seven. HILL WITH STRANGE DITCHES
Chapter eight. AT HARFANG PALACE
Chapter nine. ABOUT HOW OUR HEROES LEARNED SOMETHING IMPORTANT
Chapter ten. WHERE THE SUN DOES NOT SHIN
Chapter Eleven. IN THE DARK CASTLE
Chapter twelve. QUEEN OF THE UNDERGROUND
Chapter thirteen. DUNGEON WITHOUT A QUEEN
Chapter fourteen. THE BOTTOM OF THE WORLD
Chapter fifteen. ON HOW JIL DISAPPEARED
Chapter sixteen. ALL RIGHT

LAST FIGHT

Chapter first. AT THE STONE CAILER
Chapter two. THE ROUGHNESS OF THE KING
Chapter three. MONKEYS IN GLORY
Chapter Four. WHAT HAPPENED THIS NIGHT
Chapter five. HOW HELP COME TO THE KING
Chapter six. GOOD NIGHT WORK
Chapter seven. MAINLY ABOUT GNOME
Chapter eight. WHAT NEWS BRING THE EAGLE
Chapter nine. THE GREAT MEETING AT THE SHED ON THE HILL
Chapter ten. WHO WILL ENTER THE SHED
Chapter Eleven. EVENTS ARE ACCELERATED
Chapter twelve. THROUGH THE DOOR TO THE SHED
Chapter thirteen. HOW THE GNOMS DID NOT ALLOW THEM TO BE LOST
Chapter fourteen. NIGHT COMES IN NARNIA
Chapter fifteen. FURTHER UP AND FURTHER DEEP
Chapter sixteen. FAREWELL SHADOW LAND

English writer, scientist, poet, philologist, literary critic and theologian. During the First World War he served in France, from 1918 to 1954 in Oxford. For about thirty years he taught English literature at St. Magdalen's College. Together with his friends and colleagues J. R. R. Tolkien and C. Williams, Lewis founded a circle of university figures who called themselves "Inklings". In 1954, Lewis went to work in Cambridge, where he received a chair and became a professor; in 1955 he became a member of the British Academy of Sciences. As a scientist known for his research English Literature era of the Middle Ages, as a theologian - works that interpret Christianity from the point of view of a person who lost faith in childhood and returned to it already in adulthood. The first literary publication was the poetry collection Burdened Spirit (1919). Lewis was a Doctor of Literature from Quebec (1952) and Manchester (1959) Universities, an Honorary Doctorate of Literature from the Universities of Dijon (1962) and Lyon (1963), an Honorary Member of the Councils of St. Magdalene College of Oxford (1955) and Cambridge University College (1958). In 1937 he became a scholarship holder of the Viktor Gollants publishing house, in 1948 he became a member of the Royal literary society; in 1957 he was awarded the Carnegie Endowment Medal of Honor. world fame he was brought the story "Letters of the Balamut" (1942), philosophical and religious treatises "Love", "Suffering", "Miracle", in which Lewis acted as an energetic apologist for Christianity. The cycle for children "The Chronicles of Narnia" was written in 1950-1956. Clive Staples Lewis died on November 22, 1963.