Course Hero. "The Chronicles of Narnia (Series) Study Guide." Course Hero. 10 Nov. 2017. Web. 17 July 2018. <https://www.coursehero.com/lit/The-Chronicles-of-Narnia-Series/>.
Course Hero. (2017, November 10). The Chronicles of Narnia (Series) Study Guide. In Course Hero. Retrieved July 17, 2018, from https://www.coursehero.com/lit/The-Chronicles-of-Narnia-Series/
(Course Hero, 2017)
Course Hero. "The Chronicles of Narnia (Series) Study Guide." November 10, 2017. Accessed July 17, 2018. https://www.coursehero.com/lit/The-Chronicles-of-Narnia-Series/.
Course Hero, "The Chronicles of Narnia (Series) Study Guide," November 10, 2017, accessed July 17, 2018, https://www.coursehero.com/lit/The-Chronicles-of-Narnia-Series/.
In The Lion, the Witch and the Wardrobe, the Stone Table is a solemn or even grim monument, large and heavy in size and covered with ancient markings, "strange lines and figures that might be the letters of an unknown language." One interpretation is that the table is a symbol for the stone tablets, which were given to Moses by God, according to the Bible. Thus, the table would represent the ancient laws of God. When Aslan willingly sacrifices himself on the Stone Table, it cracks in half, broken by the "Deeper Magic from Before the Dawn of Time." This Deeper Magic could be the Love of God itself, a selfless love, which Aslan (as a Christ figure) exhibits by laying down his life for Edmund. Love, then, is even greater than the laws of God; Love conquers all. The breaking of the table also marks a shift from the cold cruelty of the White Witch's reign to a new time of peace and prosperity under the magnanimous rule of the four Pevensie kings and queens.
By the time of Prince Caspian, more than 1000 Narnian years later, the Stone Table has been somewhat forgotten, entombed within a mound of earth known as Aslan's How. It is still revered as a magical place, though, and the Old Narnians retreat there to use it as a stronghold from which to resist King Miraz's army. In Prince Caspian's era, many Narnians have given up their beliefs in Aslan, viewing the stories of Old Narnia as fairy tales. Even some of the Old Narnians, like Trumpkin the Dwarf, don't believe creatures such as dryads once existed. Like the Stone Table, buried and forgotten beneath the ground, the people's beliefs have been buried and forgotten. At the heart of Aslan's How, though, the Stone Table still lies, a symbol of the ancient faith and laws of God, and a reminder that Aslan once was—and will always be. By retreating to Aslan's How, the Old Narnians are putting their faith once again in Aslan, calling for help with Queen Susan's horn and believing help will be sent. This, too, is a turning point for Narnia, moving away from the harsh rule of the usurper Miraz with a return to the old ways of goodness and belief in Aslan and all he represents.
The lion in Narnia, as embodied by Aslan, is a symbol of strength, power, and kingship. This "king of the beasts" is powerful and fearsome, and Aslan is often described in terms of awe, "terrible" yet wonderful. On the flip side, a lion is also a kind of cat, and cats have their playful side. Aslan plays joyfully with Susan Pevensie and Lucy Pevensie after he returns to life in The Lion, the Witch and the Wardrobe, and he playfully tosses the Dwarf Trumpkin into the air like a child in Prince Caspian. Aslan morphs into a cat to watch over Shasta at the Tombs of the Ancient Kings in The Horse and His Boy, highlighting a feline's ability to comfort and show affection in times of trouble.
Aslan is more than a mere lion, though. His character can be interpreted as an allegory (or extended metaphor) for Jesus Christ, the Christian savior of mankind. Aslan comes from a heavenly country outside of Narnia and appears in times of need to guide and rescue his loyal followers, just as according to Christianity, Jesus guides believers and helps them through difficult times in their lives. Aslan and Jesus both champion qualities such as faith, mercy, and right living—being a "good" person and resisting "evil." Both Aslan and Jesus teach moralistic lessons to their followers, with Jesus using parables to illustrate right living, while Aslan asks tough questions that force the stories' characters to examine their own motives and actions. (For example, in Chapter 11 of The Magician's Nephew, Aslan asks Digory Kirke to tell how the evil Queen Jadis came into Narnia. Digory states that he "met" the Witch and that she "woke up," but Aslan's probing questions force him to admit the truth: Digory had sought out the Witch and woke her up himself.) Finally, Aslan's willing death on the Stone Table in place of the traitor Edmund strongly parallels the self-sacrifice of Jesus, by whose death Christians believe humanity was redeemed from sin. Jesus is also known as the "Lion of Judah," a further link to the character of Aslan as a lion.
When Lucy Pevensie first enters Narnia, she encounters a strange lamppost growing from the ground. It burns with an eternal flame, lighting up its small corner of the Lantern Waste, an out-of-the-way forest on the edge of Narnia. The lamppost serves as a marker between the children's own world and the world of Narnia, designating where the magic begins. It comes both of their world, since it grew from a similar lamppost in London, and of Narnia, since it has taken root in that land. In this way, a piece of the children's world exists in Narnia and has an influence there, just as pieces originating in Narnia exist in England (for example, the wardrobe in Professor Kirke's house, which is made from a Narnian tree). This signifies a correlation between the two worlds. The lamppost is also a guidepost, showing the children the way to return home when they chase after the white stag at the end of The Lion, the Witch and the Wardrobe.
The lamppost is unintentionally "planted" by the White Witch in The Magician's Nephew. After breaking off an iron bar from a lamppost in London, she throws the bar at Aslan in Narnia to try to injure him. This suggests that some good may come from evil, since the iron bar grows into a bright light that shows the children the way into Narnia. Moreover, while the lamppost gives off actual light, it also sheds figurative light on at least one event in the stories. Before the children first enter Narnia together in The Lion, the Witch and the Wardrobe, Edmund Pevensie pretends he has never been there, even though he has. However, after they all arrive, he comments that they ought to bear left "if we are aiming for the lamp-post." This inadvertently reveals his own lie, as he could not have known about the lamppost if he hadn't visited previously.