Tuesday, March 12, 2019
Reality vs. Fantasy: Comparing Two Worlds in Two Fantasy Novels
Fantasy novels help lecturers step outside their e trulyday valet de chambre for a turn to consider a subject from a divers(prenominal) point of view. Like the stories in C.S. Lewis The Lion, the Witch and the crush and J.K. Rowlings be pile throwster and the Philosophers St iodine, two novels try to unite two on the whole separate adult males, the primary one which is similar to our significant world and the different(a) one that has magical beings that thrive within it. By presenting the differences of received and thaumaturgy worlds, muckle learn something about what it means to be a adult male being, living with reality and inclination.As these books describe magic that often show up impossible and wondrous to ordinary people, the commonality of their quests or struggles in real life becomes the strands that connect the refs to these make-belief worlds. As good and evil battle, often the aboriginal plot of contemporary magic trick novels, these fantasy tale s can be set in our induce everyday world or in a secondary world somewhat like our own.By identifying in the midst of the real world and the fantasy world, people exercise their creative imagery as they keep in touch with those feelings and attitudes of early(a) childhood in order to realize their creative potential. It is this non-literal mode of thinking, so prevalent during early childhood that balances and complements literal thinking.Both being fantasy novels, this article provide try to assess these strands of commonality between the fantasy novels The Lion, the Witch and the mechanical press and rile Potter and the Philosophers Stone and how the laws that govern in the fantasy worlds become realistic as the writers try to rationalize these worlds and convince their readers to bonk reading their stories..Similarities in Two FantasiesThe Lion, the Witch and the Wardrobe effectively utilize traditional methods of answering the questions as they come, this method of ent hralling readers empower them to break out about things in the parallel world. As the story unfolds, immediately or slowly as needed, the author C.S. Lewis began the answering of every question. For instance, the first advert of the name Narnia created such questions about what kind of world is it.Tumnus the Faun asks Lucy how she came into Narnia, and Lucy asks what the reader also requirements to know Narnia? Whats that? Tumnus replies, This is the land of Narnia, where we be now all that lies between the lamp-post and the great castle of Cair Paravel on the eastern sea (LWW, 9). The reader result want and need to know more, of course, but for now he or she has been supplied the needful basic information and given adequate orientation.An otherwise important revealing in The Lion, the Witch and the Wardrobe, when it is read first, is the buildup to the introduction of Aslan. The first reference to Aslan is by Mr. best, when he meets the children in the woods They say As lan is on the move peradventure has already landed. These words create a gap for the Pevensie children andpresumablyfor the reader None of the children knew who Aslan was any more than you do but the moment the Beaver had spoken these words everyone felt quite different (LWW, 54).Similarly, in nark Potter, although the Dursleys try to intercept the letters delivered by strange owls, readers atomic number 18 beguiled to ask what those letters for? When Hagrid takes harry forth to a small island to escape, ravage learns the truth about his parents and introduces him to the magical world. Harry also learns of Lord Voldemort and his assassinate of Harrys parents, as well as Voldemorts delaying reputation despite being inactive (even a large and virile individual like Hagrid refuses to speak his name). As Rowling introduces the secondary world of Hogwarts nurture of Witchcraft and Wizardry, nothing in the Hogwarts world could be the same as Harrys world with the DursleysThere w ere a hundred and xlii staircases at Hogwarts wide, sweepingones narrow, rickety ones some that led somewhere different on a Fridaysome with a vanishing step halfway up that you had to remember to jump.Then in that respect were doors that wouldnt open unless you asked politely, ortickled them in scarce the right mark, and doors that werent reallydoors at all, but solid walls just pretending. It was very hard to rememberwhere anything was, because it all seemed to move around a lot. The peoplein the portraits kept going to visit each other, and Harry was certainly thecoats of armor could walk (HPAPS, 132).Like the real world, the secondary parallel worlds had their own rules that should be followed. While Narnia is based on the pretense that animals have intelligence service and speech (what child hasnt wished animals could talk or pretended that they could?), the Harry Potter books pretend that magical powers are real and that wizards and enamoures possessing those powers rea lly exist. In Narnia, one of the children Edmund fell under the spell of the White Witch.However, her power is failing and the other children reach for Aslan, and a penitent Edmund is rescued just as the witch is about to kill him. Calling for a truce, the witch demands that Edmund be returned to her, as an ancient law gives her possession of all traitors. Aslan, acknowledging the law, offers himself in Edmunds place and the witch accepts. In connection, Hogwarts is set like a school, the first-year students are limited to do some complex magical spells and they are appoint to houses or dormitories by sitting on a stool and putt on a singing hat that magically reads their thoughts and desires and sorts them accordingly if the students will be assigned to Gryffindor, Hufflepuff, Ravenclaw or Slytherin (HPAPS, 118).Making and Breaking RulesIn both stories, magic transformed into a literary device that helps the reader outperform the ordinary and the familiar and enter an extraordina ry and unfamiliar other world. In both Hogwarts and Narnia, readers are invited to suspend belief in the natural and recollect instead in the supernatural. For example, the natural laws of gravity are defied in Harry Potter, for example, where people can fly using brooms. The natural laws of time and chronology are suspended in Narnia, where the Pevensie children spend years in Narnia, while whole a few minutes go by on the other side of the wardrobe in England. If natural laws are broken or suspended, however, in that location are spiritual laws that never change no yield what world the children are in.Like all rules in the real world, there is breaking of these rules that become a central part of the tradition of close to fantasy storiesmuch of the tension generated in the stories comes from whether the characters will get away with what they have done. In the real world, people may not reinforce the kind of behavior. Fantasy stories, like what happened to Harry and the Peven sie children, consequences of breaking rules are shown though they do not moralize about them many of the difficulties characters encounter are created by, or complicated by, untruths or law breaking (Griesinger, 2002).ConclusionAlthough there are few accusations that stories about magic could expose young children to the world of occult, people could delineate responsible literary approach to The Lion, Witch and The Wardrobe and Harry Potter as understood in the context of a fantasy world that is similar to reality world. This exemplified in the lessons that Harry learns from Dumbledore and in Hogwarts School and the choices he has to make to become a wise wizard, while the Pevensie children in Narnia learned to realize how the consequences of Edmunds treachery.In conclusion, The Lion, Witch and The Wardrobe and Harry Potter succeeded in making parallel attempts to enact the difference between the real from the fantasy world. Both are strengthening to any readers imaginations, whic h the children who read or hear the stories could base their own imagination by relating to what Lewis and Rowling had shared through their stories.Works CitedGriesinger, E. Harry Potter and the Deeper conjuration Narrating Hope in Childrens Literature. Christianity and Literature, 51.3 (2002) 455Lewis, C.S. The Lion, the Witch, and the Wardrobe. New York Harper-Collins, 2005 (Re-Print).Rowling, J.K. Harry Potter and the Philosophers Stone. New York Scholastic, 1997.
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