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C. S. LewisA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
In keeping with the novel’s Christian premise, C. S. Lewis explores sin, forgiveness, and redemption throughout Prince Caspian. Christianity teaches that all people are fundamentally flawed, and for this reason, even the novel’s most sympathetic characters are fallible. For example, Trumpkin constantly dismisses the idea that Aslan exists and even mocks Trufflehunter and the Pevensie children for believing in him: In religious terms, he lacks faith. He also doubts that the Pevensie children could really be useful to Prince Caspian and the Old Narnians. However, Trumpkin’s willingness to admit his mistakes and work to correct them makes him redeemable. For example, he acknowledges that the Pevensie children are more skilled fighters than himself, saying, “My humble duty to your majesties all—humble duty” (1191).
In return, the Pevensie children are quick to forgive Trumpkin. This is the appropriate response, the novel suggests, not least because it mirrors God’s own mercifulness. Aslan, God’s incarnation in Narnia, easily forgives Trumpkin after setting him on the right course with a gentle shake: “Son of Earth, shall we be friends?” (1724). Lewis underscores the connection between God’s forgiveness and human compassion when Lucy forgives Susan for dismissing her sightings of Aslan. While Lucy is angry at first, she finds she is no longer upset after she refocuses on following Aslan: “Lucy went first, biting her lip and trying not to say all of the things she thought of saying to Susan. But she forgot them when she fixed her eyes on Aslan” (1658). This suggests that Aslan’s loving presence helps Lucy overcome her anger toward Susan and soften her own behavior. Susan later apologizes to Lucy and receives Aslan’s pardon as well, suggesting that divine forgiveness is always available to those who seek it.
It is through Prince Caspian, however, that the novel most closely parallels Christian notions of sin and redemption. Prince Caspian is a sympathetic character who treats others fairly; he does not personally have much to apologize for. Nevertheless, he carries an inherited burden of guilt, ashamed of his Telmarine ancestors’ violent actions. This symbolically resembles “original sin,” or the predisposition to sin that is passed down through generations as a result of humanity’s fall. Christianity teaches that Jesus’s sacrificial death is what redeems people from this fallen state, so it is appropriate that Aslan assuages Caspian’s anxieties about his heritage. In fact, when Caspian confesses his worries, Aslan explicitly alludes to the story of humanity’s fall: “You come of the Lord Adam and the Lady Eve, […] And that is both honour enough to erect the head of the poorest beggar, and shame enough to bow the shoulders of the greatest emperor on earth. Be content” (2434). The propensity to sin may be a constant, Aslan suggests, but one can be “content” knowing that God’s mercy is available to all.
Prince Caspian emphasizes the virtues of faith and courage, implying that they are essential for confronting evil and establishing positive leadership. The Pevensie children courageously confront soldiers to rescue Trumpkin and accept their mission to find Prince Caspian and help the Old Narnians. Likewise, Prince Caspian overcomes his fears to escape King Miraz’s castle and find the Old Narnians:
Caspian, though tears had come into his eyes at saying goodbye to Doctor Cornelius, felt brave […] But when day came, with a sprinkle of rain, and he looked about him and saw on every side unknown woods, wild heaths, and blue mountains, he thought how large and strange the world was and felt frightened and small (706).
Later, a bolder Prince Caspian finds the courage to lead the Old Narnians to Aslan’s How and fight in battle against King Miraz. Similarly, Peter must accept his responsibility to duel King Miraz and save the Old Narnians. Peter risks his life in the fight and worries that he will not prevail, but this does not deter him.
Because the novel considers bravery partly in a Christian context, it is inseparable from faith. Physical valor—e.g., the willingness to risk one’s life—is commendable mostly in the service of moral or spiritual courage. Faith itself is an expression of this courage because it inherently involves uncertainty: One has faith (i.e., in God, or in God’s wisdom and mercy) not knowing what will happen or even if one is correct. Courage can therefore manifest in small, psychological moments, as it frequently does in Prince Caspian. For example, when Susan apologizes for her lack of faith in him, Aslan tells her that she has “listened to fears” instead of her deep convictions (1716). After Aslan comforts her, he asks her, “Are you brave again?” (1716). This suggests that Susan lacked the courage to maintain her faith in Aslan.
Such courage may also have a social dimension. Aslan praises Lucy for her strong belief in him, but he reminds her that she must be brave enough to act on her faith, even if it means confronting her siblings and going her own way. Lucy struggles with this, not wanting to jeopardize her relationships with her sister and brothers. However, after spending time with Aslan, her bravery grows and she becomes a “lioness” ready to assert her faith to the others regardless of the personal cost.
However, if faith requires courage, it can also bolster it. Trufflehunter the badger maintains consistent faith in Aslan throughout the story, which emboldens him to repeatedly confront his friends Trumpkin and Nikabrik, who do not believe in Aslan, on how to save the Old Narnians from Miraz. Faith and courage are therefore mutually reinforcing, allowing characters to persevere in the face of danger and sacrifice.
Nature plays an important role in the Narnia series, and Prince Caspian in particular. Lewis’s depiction of the natural world draws on the biblical notion that God gave humans “dominion” over the rest of creation. As the coronation of the Pevensie children at the end of The Lion, the Witch and the Wardrobe suggests, humans are the “rightful” rulers of Narnia. Prince Caspian reiterates this when Trufflehunter remarks that a man should be king of Narnia.
However, this does not give humans the authority to abuse nature; in fact, the Pevensies’ actions as rulers (e.g., saving trees from being cut down) suggest that they are expected to protect it. Lewis also imbues nature with sentience, borrowing elements such as the dryads and naiads (Greek tree and water spirits, respectively) from “pagan” religions and furnishing Narnia with talking animals. These creatures are as much Aslan’s creations as humans and show their own devotion to him, as Trufflehunter’s faith throughout Prince Caspian demonstrates. Nature is thus suffused with spirituality in the Narnia series, and any human efforts to dominate or exploit it indicate a warped relationship not only to the natural world but to God.
This is clear in Lewis’s depiction of the Telmarines, whose misrule of Narnia manifests in large part as a combative and fearful attitude toward nature. They “hate and fear running water as much as they hate and fear woods and animals” (2356), and they respond with violence. Even the good Prince Caspian struggles to rid himself of this mindset:
[T]hey entered a dark and seemingly endless pine forest, and all the stories Caspian had ever heard of trees being unfriendly to man crowded into his mind. He remembered that he was, after all, a Telmarine, the race who cut down trees wherever they could and were at war with all wild things […] (713).
This “war” not only kills large numbers of Narnia’s nonhuman sentient creatures but also has a deadening effect on Narnia’s tree and water spirits. The Telmarines’ violent oppression of Narnia numbs the trees, robbing them of their ability to speak, dance, and move and reducing them to unconscious beings. Similarly, the river feels that is has been constricted by the man-made bridge and asks Aslan to free it from its “chains.”
The defeat of King Miraz restores the natural world’s “proper” order. Nature and all the creatures associated with it are liberated—left free to pursue their own lives and purposes. The description of the celebratory feast notes that these creatures’ ways may seem strange to humans; Lucy initially “shudder[s]” when she realizes that the trees’ dishes consist of dirt. However, Lewis also emphasizes the beauty and bounty of untamed nature. Most tellingly, Aslan clarifies that while Caspian will rule Narnia, the land would belong to all of the creatures in it, reaffirming that humans must exist in harmony with the natural world.
By C. S. Lewis