Article Overview
This article explores the Christian symbolism in The Lion, the Witch and the Wardrobe, focusing on Aslan’s role as a Christ figure and the ways in which C. S. Lewis uses imaginative storytelling rather than strict allegory. We discuss the concept of “supposal,” examine biblical parallels, and consider how teachers can guide students to think critically about character, narrative, and moral complexity. Additionally, we highlight Aslan’s earlier depictions in The Magician’s Nephew, showing his role as creator before his Christ-like appearance in the first published Narnia novel.
If you have taught The Lion, the Witch and the Wardrobe, you have likely heard a student ask:
“Is this basically the story of Jesus? Did Lewis rewrite the Gospel—but with a lion?”
When that question arises, it is worth pausing. Students are noticing real textual parallels, and their instinct is perceptive. Aslan sacrifices himself. He rises again. His death brings about Edmund’s redemption. The echoes of the Gospel narrative are clear (for a more detailed exploration, see this classroom activity on biblical parallels in The Lion, the Witch and the Wardrobe, and for a broader discussion of its key themes, see this in-depth analysis of the novel).
So naturally, the next question follows:
Is the novel an allegory?
At first glance, the answer might seem obvious. The parallels are so strong that it is tempting to read the story as a direct retelling of the Gospel in symbolic form. However, this is precisely where the discussion becomes more interesting—and more nuanced. The presence of strong similarities does not automatically make a story an allegory. While C. S. Lewis clearly draws on Christian ideas, he did not construct Narnia as a strict, one-to-one symbolic system.
Allegory—or Something More?
As M. H. Abrams explains in A Glossary of Literary Terms, allegory is “a narrative in which the agents and actions, and sometimes the setting as well, are contrived to make coherent sense on the ‘literal,’ or primary, level of signification, and at the same time to signify a second, correlated order of agents, concepts, and events” (see the full definition of allegory in Abrams’ glossary). In simpler terms, an allegory tells one story on the surface while pointing consistently to a second, underlying meaning.
Yet Lewis resisted calling Narnia an allegory. In a 26 December 1958 letter to Mrs. Hook (published in The Collected Letters of C. S. Lewis, Vol. III), he explained:
“I don’t say ‘Let us represent Jesus as He really is in our world by a Lion in Narnia’: I say, ‘Let us suppose that there were a land like Narnia and that the Son of God, as He became a Man in our world, became a Lion there, and then imagine what would have happened.’” He described the Chronicles as a supposal rather than a strict allegory.
Aslan, then, is not a mechanical stand-in for Jesus, but Lewis’s imaginative answer to a theological question: What might redemption look like in another world? For earlier depictions of Aslan—as a creator—see this analysis of The Magician’s Nephew themes and Aslan’s role as creator, which explores his function before he appears as a Christ figure.
Why This Distinction Matters for Students
Presenting the novel as a strict allegory risks flattening its richness. Students may start looking for one-to-one correspondences instead of fully engaging with character development, narrative tension, and moral complexity. Introducing the concept of supposal encourages a reflective approach, prompting students to consider why Aslan chooses this form of sacrifice, how Edmund’s betrayal mirrors yet diverges from biblical narratives, and what resurrection means within Narnia’s own logic.
Once students have resisted the temptation to map the Gospel onto the story word-for-word, the real teaching opportunity begins. An in-depth comparative analysis between Aslan and Jesus becomes highly productive. Students can see how Aslan appears in multiple forms across the series, how his authority extends beyond a single salvific moment, and how his presence reshapes Narnia’s moral and metaphysical structure.
By fostering comparison rather than simple equivalence, we nurture discernment and critical thinking—exactly the nuanced engagement Lewis intended. As historian Robert Turcan reminds us, “Il faut distinguer pour comprendre”—we must distinguish in order to understand. This approach blends textual analysis, theological insight, and moral reflection, helping students appreciate the layers of meaning without reducing the story to a simple allegorical puzzle.
Moving Beyond Labels
So—is The Lion, the Witch and the Wardrobe an allegory?
Not in the strict, one-to-one sense. But it is deeply shaped by Christian thought. It is symbolically rich and theologically imaginative. It invites readers—young and old—to wrestle with questions of sacrifice, justice, mercy, and hope. Perhaps the better question to ask students is not, “What does this represent?” but rather, “What kind of truth is Lewis exploring here?”.
Guiding students beyond simplistic labels allows literature to be seen not as a puzzle to decode, but as a living conversation—dynamic, interpretive, and deeply human. And that, ultimately, is the heart of good teaching.
Thank you for reading! Wishing you an inspiring teaching experience,
Chiara
