THE HEROIC VALUES OF THE CHARACTERS IN THE CHRONICLES OF NARNIA : THE LION, THE WITCH AND THE WARDROBE NOVEL BY CLIVE STAPLE LEWIS.

THE HEROIC VALUES OF THE CHARACTERS IN
THE CHRONICLES OF NARNIA: THE LION, THE WITCH AND
THE WARDROBE NOVEL BY CLIVE STAPLE LEWIS
THESIS

Submitted as a Partial Fulfillment of the Requirements for Sarjana Degree of
English Department Faculty of Letters and Humanities UIN Sunan Ampel
Surabaya

By:
ILMA NUR KHAULA
Reg. Number: A03212043

ENGLISH DEPARTMENT
FACULTY OF ARTS AND HUMANITIES
STATE ISLAMIC UNIVERSITY OF SUNAN AMPEL
SURABAYA
2016

 


 

ABSTRACT
Ilma Nur Khaula. 2016. The Heroic Values in The Chronicles of Narnia: The
Lion, The Witch, and The Wardrobe Novel by Clive Staple Lewis. Thesis.
English Department. Faculty of Letters and Humanities. States Islamic University
Sunan Ampel Surabaya.
The Advisor: Sufi Ikrima Sa’adah, M. Hum.
Key words: heroic values, moral greatness
This study aims to reveal how Clive Staple Lewis shows the representation
of the characters and the heroic values of the characters in the novel.
This study is a qualitative research that emphasizes object on the novel
The Chronicles of Narnia: The Lion, The Witch, and The Wardrobe. Furthermore,
this study used New Criticism theory in processing the data. This theory was used
to analyze the characters and characterizations in the novel.
Based on the analysis, the writer concludes that the characters in the novel
of Clive Staple Lewis do have heroic values. In addition, the writer also describes
the characters such as Aslan, Peter, Susan, Edmund, Lucy, Mr. Tumnus, and Mr.
and Mrs. Beaver that showed heroic actions like moral greatness in the novel.


xii

 

 

ABSTRAK
Ilma Nur Khaula. 2016. The Heroic Values in The Chronicles of Narnia: The
Lion, The Witch, and The Wardrobe Novel by Clive Staple Lewis. Thesis.
English Department. Faculty of Letters and Humanities. States Islamic University
Sunan Ampel Surabaya.
The Advisor: Sufi Ikrima Sa’adah, M. Hum.
Key words: nilai kepahlawanan, kebesaran moral
Penelitian ini bertujuan untuk mengungkapkan bagaimana Clive Staple
Lewis menunjukkan representasi dari karakter-karakter dan nilai-nilai kepahlawan
dari beberapa karakter di dalam novel.
Penelitian ini merupakan penelitian kualitatif yang menekankan pada
objek yaitu novel The Chronicles of Narnia: The Lion, The Witch, and The
Wardrobe. Selanjutnya, penelitian ini menggunakan teori New Criticism di dalam
mengolah data. Teori ini digunakan untuk menganalisis karakter dan penokohan

di dalam novel.
Berdasarkan hasil analisis, penulis menyimpulkan bahwa karakter-karakter
di dalam novel Clive Staple Lewis mempunyai nilai-nilai kepahlawanan. Penulis
menggambarkan karakter seperti Aslan, Peter, Susan, Edmund, Lucy, Mr.
Tumnus, dan Mr dan Mrs Beaver yang menunjukkan sikap kepahlawanan seperti
kebesaran moral pengorbanan di dalam novel.
 
 
 
 
 
 
 
 
 

xi

 


TABLE OF CONTENTS
Inside Cover Page ………………………………………………………… i
Inside Title Page ………………………………………………………….. ii
Declaration Page ………………………………………………………….. iii
Approval Sheet ……………………………………………………………. iv
Examiner’s Approval Sheet……………………………………………….. v
Motto ……………………………………………………………………… vi
Dedication Page …………………………………………………………… vii
Acknowledgement ………………………………………………………… viii
Table of Contents …………………………………………………………. xi
Abstract …………………………………………………………………… xii
Abstrak …………………………………………………………………… xiii
CHAPTER I INTRODUCTION …………………………………………1
1.1 Background of the Study ……………………………………………… 1
1.2 Statement of the Problem ……………………………………………… 4
1.3 Objective of the Study ………………………………………………… 5
1.4 Scope and Limitation …………………………………………………. 5
1.5 Significance of the Study ……………………………………………… 5
1.6 Method of the Study ……………………………………………………6
1.7 Definition of Key Terms ………………………………………………. 7

CHAPTER II LITERARY REVIEW ………………………………….. 8
2.1 New Criticism ………………………………………………………… 8
2.2 Definition of Character ……………………………………………….. 9
2.3 Characterization ………………………………………………………. 12
2.4 Definition of Heroism …………………………………………………. 14
2.5 Review of Related Studies …………………………………………….. 17
CHAPTER III ANALYSIS …………………………………………….. 18
3.1 Characters and Characterizations…………………………………….. 19
3.1.1 Aslan ……………………………………………………………… 19
3.1.2 Peter ………………………………………………………………. 26
3.1.3 Susan ……………………………………………………………… 31
3.1.4 Edmund ……………………………………………………………. 33
3.1.5 Lucy ……………………………………………………………….. 39
3.1.6 Mr. Tumnus ……………………………………………………….. 44
3.1.7 Mr. and Mrs. Beaver ………………………………………………. 48
CHAPTER IV CONCLUSION AND SUGGESTION ………………… 52
5.1 Conclusion …………………………………………………………….. 52
5.2 Suggestion …………………………………………………………….. 53
WORK CITED ……………………………………………………………. 54
APPENDIX ……………………………………………………………….. 56


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CHAPTER I
INTRODUCTION
1.1

Background of Study
Literature has been widely known by many people and experts lately. The

term ‘literature’ is more focused to imaginative works that comes up from the
imaginative idea of the writer. It has a beautiful language and the meanings
contained are very deep. Literature can create its own world as a product of the
unlimited imagination (Wellek and Warren 22). Meanwhile, according to Robert
and Henry, literature refers to compositions that tell stories, dramatize situations,
express emotions and analyze and advocate ideas. Based on those definitions, the
writer concludes that literature is a creative work which contains beauty that arises
out of the human ability to create language.

Edgar V. Robert and Henry E. Jacobs (2) classified literature into four
categories or genres: (1) prose fiction, (2) poetry, (3) drama, (4) nonfiction prose.
Prose fiction or narrative fiction includes myths, parables, romances, novels and
short stories. Poetry expresses a conversation or interchange that is grounded in
most deeply felt experiences of human beings. Drama is literature designed to be
performed by actors. Beside, non-fiction prose is literary genre that consists of
news reports, feature articles, essays, editorials, textbooks, historical and
biographical works and the like, all of which describe or interpret facts and
present judgments and opinions.

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Prose has two important elements, namely extrinsic and intrinsic elements.
Rene Wellek introduced his instrinsic approach, which essentially is a study of
literary work based on analyzing the internal elements that build that work.
According to Wellek (332) The natural on sensible starting point for work in
literary scholarship is the interpretation and analysis of the works of literary
themselves. After all, only the works themselves justify all our interest in the life

of an author, in his social environment, and the whole process of literature. Rene
Wellek introduced his extrinsic approach such as biography, psychology, social
milieu, ideas, and other arts. They write that research into extrinsic elements often
results in an attempt to establish some casuality between the extrinsic elements
and a study of work.
Wellek further explained that the elements that form the foundation of a
literary work are plot, setting, theme, character, point of view, and style. Although
there are so many elements of novel, the writer just chooses character and
characterization to analyze. Character is one of important element in prose,
therefore, the writer wants to analyze the characters who have heroic values in the
novel The Chronicles of Narnia: The Lion, The Witch, and The Wardrobe.
The Chronicles of Narnia: The Lion, the Witch and the Wardrobe is one of
the novel series written by Clive Staples Lewis. It was first published in 1950 in
UK. It was the first-published book of The Chronicles of Narnia and is the best
known book of the series. The book has been published in forty seven foreign
languages. From that time on, millions of copies have been sold throughout the

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world. The TIME magazine included the novel in its TIME 100 Best Englishlanguage Novels from 1923-2005 (http://entertainment.time.com/).
This book becomes one of the greatest children’s novels which have been
produced. Since the first publication of this book, the popularity of this book is so
great. This book tells about the story of four siblings who accidentally travel into
a fantasy world called Narnia. They are children who become victims during the
World War 2 and evacuated from London to escape from the air raid by Nazis.
They are sent to the house of Professor Digory Kirk located in English
countryside. In this house, they find the wardrobe which leads them into the
fantasy world of Narnia. The adventure begins soon after they meet the magical
creatures who live in Narnia. (narnia.wikia.com/)
Since the first publication of this book, Lewis was aware of the public
criticisms. At that time it was fashionable for children’s stories to be realistic:
fantasy and fairy tales were seen as indulgent, appropriate only for very young
readers, and potentially harmful to older children, even hindering their ability to
relate to everyday life. Some reviewers thought the tale was obviously moralistic.
In some ways, as Lewis was famous for his religious works and he was
considered as a very obedient Christian, most of his books were influenced by this
aspect. Indeed, The Chronicles of Narnia has a very strong element which
indicates the theology of Christian beliefs. (narnia.wikia.com/) Furthermore, In

Matt Brennan’s article, he said that Lewis typifies the Biblical character of Jesus
Christ as the character of Aslan the lion, retelling certain events in the life of Jesus

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to children in a this new context in a way that is easy for them to understand; most
importantly, however, children can both relate to and enjoy the fantasy of Narnia.
In this research, the writer chooses The Chronicles of Narnia: The Lion,
The Witch and The Wardrobe novel By Clive Staple Lewis because the story is
very interesting to analyze more deeply, especially the characters as object of the
research who have heroic values. He makes the story become interested and also
has a big influence for the plot of the story. Based on the explanation above, the
researcher would like to examine the heroic values in the novel The Chronicles of
Narnia: The Lion, The Witch, and The Wardrobe through the characters. In this
novel the writer uses New Criticism theory. And writer appoints thesis entitled
The Heroic Values in The Chronicles of Narnia: The Lion, The Witch, and The
Wardrobe Novel by Clive Staple Lewis.
1.2


Statement of Problem
By the background of study above, the statement of problems are

formulated as follows:
1. How is the characterization of the characters in the story?
2. What kind of heroic values have been performed by the characters in the
story?
1.3

Objective of the Study
The same as the number of the problems above, there are also two

objectives offered in this paper :
1. To describe the characterization of the characters in the story.

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2. To identify and describe the heroic values have been performed by the
characters in the story.
1.4

Scope and Limitation
The writer limits the research using New Criticism theory focused on the

characterization, so the writer can analyzes the characterization and identifies
which characters that have the heroic values in the novel The Chronicles of
Narnia: The Lion, The Witch, and the Wardrobe. The characters that will be
analyzed are Aslan, Peter, Susan, Edmund, Lucy, Mr Tumnus, Mr & Mrs Breaver.
1.5

Significance of the Study
Actually, this research has several significances:
1. Theoretically, it is hoped that this research can be used as a helpful
reference in order to understand the content of the novel and how to apply
New Criticism in this research. This research is also hoped to be studied
by the students, lecturers, or other people who will be interested to the
novel.
2. Practically, it is hoped that the research can be used as a reference for the
student who are interested to analyze this novel or the other novel. Finally,
the writer hoped that the whole significances can be additional reference,
especially for people who are studying literature.

1.6

Method of the Study
The research uses library research. Library research works through many

books and other references like articles, journals, and websites in doing this

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research to support the topic. The writer also applies qualitative research method.
Qualitative research method uses observation as the data collection method.
1. Data Source
There are two sources of data : the primary data source is the novel The
Chronicles of Narnia: the Lion, the Witch and the Wardrobe that is written by
Clive Staple Lewis. Whereas, the secondary data is taken from some books and
online resources that concern with the novel and the explanation of New Criticism
theory.
2. Data Collection
The writer takes some steps in collecting the data. Firstly, the writer finds
the book and the other references to get more data that relates with the problem
and New Criticism theory. Then, the writer focuses with the main source of data
The Chronicles of Narnia: the Lion, the Witch and the Wardrobe novel that will
be read repeatedly to get deeper understanding. In addition, the writer also does
searching more data about the novel and the theory by web surfing.
3. Data Analysis
In analyzing the data, the writer follows some steps as follows: reading the
whole story of the novel as the primary data, selecting the topic that relates with
the statement of the problems, analizing the data based on statement of the
problems.

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1.7

Definition of Key Terms
1. Children’s Literature
The body of written works and accompanying illustrations produced in
order to entertain or instruct young people. The genre encompasses a wide
range of works, including acknowledged classics of world literature,
picture books and easy-to-read stories written exclusively for children, and
fairy tales, lullabies, fables, folk songs, and other primarily orally
transmitted materials. (Stephanie S Halldorson)
2. Hero
A hero is anyone who extends themselves beyond normal human
endurance (character) and returns with a cultural, social, moral, or ethical
lesson for the community (journey). (Stephanie S Halldorson)

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CHAPTER II
LITERARY REVIEW
The theoritical bases that will be used in this research is the theory of New
criticism theory.
1.1

New Criticism
New Criticism is a literary criticism which concern itself interpretation and

evaluation of the ‘word on the page’ rather than with study of source and sociocultural background. The characteristic method of the New Criticism to have a
‘close reading’ of the text is based on the view that the literary work is a selfsufficient, autonomous object whose success or failure, charm or lack of it are to
be sought within the work itself. The merit of a literary work is to be discerned in
its language and structure and not outside it in the mind of the writer or in the
respondse of the reader. What is more important is the text not the writer or the
reader (Das 24-25).
Eliot and Richard are have the most ideas of New Criticism since the late
1930s to the late 1950s. An alienated world could give new life. This theory
actually focused on poetry but one of the prominent British critics, Mark Schorer
extended his main principles to include analysis of prose fiction. He emphasizes
the fact that in the end prose fiction always manages to fit in all clear
contradictions into a coherent whole (Carter 26-28).
In conclusion, New Criticism focuses only on the intrinsic elements such
as plot, theme, character, setting, point of view, etc. It ignores the extrinsic
elements and is not affected by the social and political conditions at the time,

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biographical, intellectual, etc. It only focuses on text itself including its
organization and language. Therefore, in order to analyze the character and
characterization in the novel entitled The Chronicles of Narnia: The Lion, The
Witch, and The Wardrobe, this research will use New Criticism theory. The
following explanations of character and characterization are stated below:
1.2

Definition of Character
Some experts have their own statement about the meaning of character.

Robert DiYanni (55) explained that character is the imaginary people that the
writers create, sometimes identifying them, sometimes judging them. Richard Gill
(127) said that character is generally known as a person in literary work besides
characterization is the way in which a character is created. In this case, character
is only the figure of person that created by the author and characterization
completed it with the physically description, attitude, and even how they think and
act in the text.
Character could be individuals as well as mixing the various interests,
emotional and moral principles of individuals (Stanton 33). Character is an
important factor that plays the course of the story. Without the characters, the
story cannot be arranged. In a story there is usually a main character, the
protagonist (good character), antagonist (villain), and a supporting role (another
character who participated build a story).
Character is the life of literature. It is the object of curiosity and attraction,
liking and dislike, respect and blame (Bennet and Royle 60). A character can be
describes as a people or person who have a poor and oppressed life, but most of

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the character have the mercy of the rich and powerful life. It is because the
characteristic of characters describes a real life in society.


Types of character
The essential function of character is to make the story in the novel

meaningful. Therefore, characterization plays important role in giving the main or
peripheral character selected behavior or typical of personality. Characterization
categorizes kind of character into several types; flat and round character.
According to Perrine, the definition about flat character describes “Flat characters
are characterized by one or two traits; they can be summed up in a sentence.
Though they touch life at only one or two points, may be made memorable in the
hands of an expert author through some individualizing detail of appearance,
gesture, or speech.” (Perrine 67-68)
Based on quotation above, it can be said that flat character just has one or
two basic personalities and they cannot give any great impact in the story. Flat
character is not prominent and they are very monotone. But, in the hands of the
reliable authors, though only one or two action can make a very valuable memory
through words, actions, and gestures.
The other typical of character grouped into characterization is round
character. Different with flat character, the complexity in its personality, mind and
behavior makes round character is difficult to notice in early story. According to
Perrine (67-68), round character can be described as “Round characters are
complex and many-sided; they might require an essay for full analysis and live by
their very roundness, by the many points at which they touch life.” The quotation

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explains that round character requires comprehensive exploration and even needs
separated analyses to reveal its possibilities of actual personality, mind or
behavior as a subject or object in the novel.
The character development probably changes the behavior, mind, or
personality of character. This character development could be irreversible,
reversible or there are even no changes at all from the beginning until the end of
story. This character development can be classified into two groups, such as static
and dynamic character. According to Perrine (69), “The Static Character is the
same sort of person at the end of the story as at the beginning.” Based on the
quotation, overall this character never changes from the beginning until the end of
the story because of the effect of changing event or disorder inter-relationship
with other character.
Meanwhile, Perrine (69) defines dynamic character as: “The Developing
(or Dynamic) character undergoes a permanent change in some aspect of
character, personality, or outlook. The change may be a large or a small one; it
may be for better or for worse; but it is something important and basic: it is more
than a change in condition or a minor change in opinion.”
Contrary to static character, the meaning of dynamic character is a little
change from the character whether it comes in early, middle or the end of story.
The dynamic of character does not measure from the quantity of changing such as
big or just a little but it comes from the significant difference of character
behavior in some events. Therefore, the dynamic character is complex, manysided and need full analyses to explain.

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Besides that, characters in a play or in fiction can be divided into two
major characters; protagonist and antagonist. Protagonist is the main character
in the story or a real event. The protagonist experiences conflict caused by
antagonist. Usually protagonist reflects a good side of plays as a central character
in a fiction that represents a hero as readers expected. While, antagonist is always
against the protagonist. Reaske (45) said that the main character of any drama is
known as protagonist the tragic hero and protagonist are same in tragedy for bout
terms describe the central character. The opponent of the protagonist is known as
antagonist.
1.3

Characterization
Character is a person in literary work; characterization is the way in which

a character is created. Characters are all the product of characterization, that is to
say, they have been made in particular way. Characters are what they like because
the way they have been made. The kind of conversation they have, the things they
do, their appearance and so on are he particular ways in which the author has
chosen to characterize of his or her characters. The things that they do and their
appearances are the particular ways in which the author has chosen to characterize
the characterization.
Characterization is an essential component in writing good literature.
Modern fiction, in particular, has taken great advantage of this literary device.
Understanding the role of characterization in storytelling is very important for any
writer. To put it briefly, it helps us make sense of the behavior of any character in
a story by helping us understand their thought processes. A good use of

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characterization always leads the readers or audience to relate better to the events
taking place in the story. Dialogues play a very important role in developing a
character because they give us an opportunity to examine the motivations and
actions of the characters more deeply. (http://literarydevices.net/)
Holman (81) says that the creation of these imaginary persons so that they
exist for the reader as life like is called characterization. There are three
fundamental methods of characterization in fiction:
1. The explicit presentation by the author of the character through direct
exposition.
2. The presentation of the character in action, with little or no explicit
comment by the author. The reader is expected to be able to give attributes
of the actor from the action.
3. The presentation from within the character, without comment on the
character’s inner self, with the expectation that the reader will come to a
clear understanding of the attributes of the character.
From the some points above, the authors usually do that three ways that
helping us to know the personalities of the characters like Holman said. Through
the author’s explicit presentation, the characters’ action, and the characters’
presentation, it is expected that the reader can imagine the fictional character
shown by the author.
2.4

Hero
Reflection of human life creates a literary work. In this case, authors put

many similar things from the real life to their literary works. From the real people

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and their lives, authors reach many inspirations. According to Hudson (12) it
obtained through authors’ experiences, observations, and imaginations. These
reflections are clearly explained by authors in their works. For example, as human
being, we have certain values in our life. Oxford Advanced Learner’s Dictionary
on page 1693 defines value as “beliefs about what is right and wrong”. Value is
develop from the relation of the condition of people around and ourselves. We
cannot separate from this thing because this is focusing to our life. In literary
work, value is an example point which born from the world of life. For example,
in the fiction story, we can find some values such as moral values and family
values. These values bring out by the characters portrayed through the story.
The concept of value is wide. In literary works, we can find the heroism
values. According to Franco (3), heroism is a social activity: (a) in helping others
that really need the assistance; it can be person, group, or community, (b) engaged
in voluntarily, (c) close to possible of risk, (d) in which the actor is disposed to
sacrifice, (e) without any expectations to get the profit of the action. From these
definitions, heroism can be categorized as a moral concept. It is because heroism
is an act which closes to an appearance of someone we called as a hero who full of
courage to spread the kindness in human life. It can be concluded that the term of
heroism cannot be separated from good character, or in literary works it wellknown as a protagonist character.
A hero is anyone who extends themselves beyond normal human
endurance (character) and returns with a cultural, social, moral, or ethical lesson
for the community (journey). Just as important as these two identifying features is

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the need for the audience to take the hero’s journey with them and incorporate the
lessons given, thus concluding that they would have done the same under the
same circumstances, this is what Halldorson said (6).
As a human being, we are really nearby with struggle or effort in our life.
It means that we are hero for ourselves. This is supported by Campbell (18) that
gives definition about hero as the man or woman who has own struggle by
themselves to facing their lives. Moreover, Bernstein (in Gramstad, 1999)
describes the hero as “the man dedicated to the creation and defense of reality,
conforming life, promoting values”. This definition emphasizes to the hero
appearance in literary works. The main point here is a hero carries out the values
by his existence that is heroism values. In addition, Webster’s Ninth Collegiate
Dictionary (in Gramstad, 1913), defines a hero into some different categories.
They are described as follow:
a. A mythological or legendary figure often of divine descent end owned with
great strength or ability.
This first category refers to a figure of hero in legend or myth. This figure
is totally illustrated as the abstract figure. The appearance of hero in
legend or myth is supported by his great strength or ability. The hero in
this category also depicted has divine traits.
b. An illustrations warrior
In this term, the definition of an illustrations warrior is a man who joins in
battle or war. The figure of hero in this explanation is illustrated as
someone who has heroic actions in fighting.

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c. A man admired for his achievement and nobles qualities
A hero also can define as a man who gets the achievement. This is making
people respect to himself.
d. One that shows courage.
The figure of hero is cannot separated from bold trait which exist in
himself. It means that a hero should isolate his scare feeling.
From the definitions above, we can conclude that a hero is someone who
has struggle or effort. In a real life, a person can be called a hero as long as he/she
has struggle in facing of their life. Whereas in literary works the term of hero is
generally depicted as a man who full of bravery.
Furthermore, in The Philosophical Foundations of Heroism, Bernstein (in
Gramstad, 1999) explains the components referring to heroism values of a hero. It
is “Moral greatness”. It is the component that should take place in a figure of
someone who called as hero. This is become as the basic of heroism values. It
considers that hero is identified by his morality. Therefore, it will use further to
analyze the heroic values portrayed in C.S Lewis novel, The Chronicles of
Narnia: the Lion, the Witch and the Wardrobe.
Moreover, according to Bernstein (in Gramstad, 1999), moral greatness is
the basic component that really close to someone who called hero. It is because
the term ‘moral greatness’ refers to all virtues that has given to others. It can be
said that moral greatness is contributions of a hero to people’s life.
Based on the definitions above, the writer concluded that a hero is a man
or woman that through a journey to give a cultural, social, moral, or ethical lesson

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for the community. So, a hero must have good characteristics for the community
and they can do the same if they are in the same position.
2.5

Review of Related Study
The first research entitled An Analysis of Moral Value through the Reward

and Punishment on the script of The Chronicles of Narnia: the Lion, the Witch
and the Wardrobe by Dian Rizqiyati. The purpose of the research is to figure out
how the author delivers the moral message to children through the reward and
punishment value as an element of Lawrence Kohlberg’s thought of moral
development. She limits the research on the reward and punishment concept of the
script The Chronicles of Narnia: the Lion, the Witch and the Wardrobe.
The second research entitled The Aspect of Fantasy in Lewis’ The
Chronicles of Narnia: the Lion, the Witch and the Wardrobe by Asep Shofian.
The purpose of the research to describe characteristic and the function of the
fantasy in Lewis’ The Chronicles of Narnia: the Lion, the Witch and the
Wardrobe. He also limits the problem by examining aspects of fantasy in this
novel.
Both researches above describe the difference of discussion with the
researcher’s research study. The first research, it discusses the reward and
punishment moral value of the novel. The second research discuss about the
aspects of fantasy of the novel. The difference of both researches is the
application of the theories. The first researcher applies the theory of reward and
punishment value. The second researcher uses the theory of children literature and

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fantasy. In this research, the writer discusses the intrinsic elements and what kind
of heroic values that performed by the characters using New Criticism theory.

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CHAPTER III
ANALYSIS
This chapter reveals and discusses the data collection from The Chronicles
of Narnia: the Lion, the Witch and the Wardrobe; a novel written by C.S Lewis.
All of data here were collected and analyzed through some steps explained in the
previous chapter. It covers the finding of characters, characterization, and heroic
performances in the novel The Chronicles of Narnia: The Lion, The Witch, and
The Wardrobe.
1.1.

Characters and Characterization
1.1.1

Aslan

Aslan is the great lion who is described as the King of Narnia, the King of
Beasts, the Lord of the Wood, and the son of the great Emperor beyond the sea.
As it describes, “I tell you he is the King of the wood and the son of the great
Emperor-beyond-the-Sea. Don’t you know who is the King of Beasts? Aslan is a
lion–the Lion, the great Lion” (45). So, Aslan is described as a King of Narnia, he
is a great Lion.
When the children try to see Aslan’s face, they describe that Aslan has a
golden mane and a pair of large eyes. “For when they tried to look at Aslan’s face
they just caught a glimpse of the golden mane and the great, royal, solemn,
overwhelming eyes; and then they found they couldn’t look at him and went all
trembly” (69). From children descriptions, they notice at his hair, his mane, and
his eyes that shows he is great.

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Aslan is a good leader. He does not discriminate towards his status with
other animals. It is seen when a lion who looks very excited when he hears the
Aslan’s conversation. “Did you hear what he said? Us Lions. That means him and
and me. Us Lions. That’s what I like about Aslan. No side, no stand-off-ishness.
Us Lions. That meant him and me” (95).
Aslan is the only one who is feared by the White Witch. Even a roar alone
can make the White Witch depressed after hearing his roar. “Haa-a-arrh!” roared
Aslan, half rising from his throne; and his great mouth opened wider and wider
and the roar grew louder and louder, and the Witch, after staring for a moment
with her lips wide apart, picked up her skirts and fairly ran for her life” (79).
Aslan is a powerful figure, even for people who didn’t know who he is yet.
When the name of Aslan is called, the children feel strange in themselves, not
only perceive his power, but also become a little bit more themselves.
“At the name of Aslan each one of the children felt something
jump in its inside. Edmund felt a sensation of mysterious horror.
Peter felt suddenly brave and adventurous. Susan felt as if some
delicious smell or some delightful strain of music had just floated
by her. And Lucy got the feeling you have when you wake up in
the morning and realize that it is the beginning of the holidays or
the beginning of summer” (39).
So, the children feel his aura that he is a powerful and great King.
They feel comfortable in Aslan’ side.

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Aslan is the king who protects the animals. His arrival is really awaited by
the resident of Narnia. This is illustrated when Peter and his sisters get to the
Stone Table.
“Aslan stood in the center of a crowd of creatures who had
grouped themselves round him in the shape of a half-moon. There
were Tree-Women there and Well-Women (Dryads and Naiads as
they used to be called in our world) who had stringed instruments;
it was they who had made the music. There were four great
centaurs. The horse part of them was like huge English farm
horses, and the man part was like stern but beautiful giants. There
was also a unicorn, and a bull with the head of a man, and a
pelican, and an eagle, and a great Dog. And next Aslan stood two
leopards of whom one carried his crown and the other his
standard” (69).
Aslan is a noble lion. When he returns to Narnia,everyone there expects
him to beat the White Witch, rescue the betrayer Edmund, bring back spring, and
make everything perfect. Mr. Beaver recites in old rhyme of Narnia that suggests
Aslan can fix everything in a jiffy. “Wrong will be right, when Aslan comes in
sight, at the sound of his roar, sorrows will be no more, When he bares his teeth,
winter meets its death, And when he shakes his mane, we shall have spring again”
(44).

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A part of Aslan's nature is playfulness. After he is revived by the
Emperor's magic, Aslan plays with Susan and Lucy, and all three is very enjoy the
feeling of being alive and playing together. There is something simple and
beautifully good about their play.
“Oh, children,”said the Lion, “I feel my strength coming back to
me. Oh, children, catch me if you can!” He stood for a second, his
eyes very bright, his limbs quivering, lashing himself with his tail.
Then he made a leap high over their heads and landed on the other
side of the Table. Laughing, though she didn't know why, Lucy
scrambled over it to reach him. Aslan leaped again. A mad chase
began” (90).
Aslan really knows everything that is going on in Narnia. He definitely
knows what happen with Edmund and the Witch, so he asking about the fourth
child is just a formality. Directly, it can be said that Edmund is a betrayer. “But
where is the fourth?” asked Aslan. “He has tried to betray them and joined the
White Witch, O Aslan,” said Mr. Beaver” (70).
Aslan knows a secret that nobody else did, and it fixed everything. But the
spiritual point is that one great sacrifice can redeem for someone’s betrayal. One
victim can stand in for another, and by doing so, he can free the whole world.
“It means,” said Aslan, “that though the Witch knew the Deep
Magic, there is a magic deeper still which she did not know. Her
knowledge goes back only to the dawn of Time. But if she could

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have looked a little further back, into the stillness and the darkness
before Time dawned, she would have read there a different
incantation. She would have known that when a willing victim
who had committed no treachery was killed in a traitor's stead, the
Table would crack and Death itself would start working
backwards” (89).
Aslan takes a responsibility to save Edmund from the Witch by sacrifices
his own life. He did it because he wants to save the citizens in Narnia. So, he must
responsible to face the White Witch.
Aslan instructs the animals to follow some wolves that are immediately go
to their master after hiding. When the properly time come, the centaurs, eagles,
and other animals follow some wolves to find the White Witch, so they can rescue
Edmund from the White Witch.
“Quick! Quick!” shouted the voice of Aslan. “Centaurs! Eagles! I
see another wolf in the thickets. There–behind you. He has just
darted away. After him, all of you. He will be going to his
mistress. Now is your chance to find the Witch and rescue the
fourth Son of Adam.” And instantly with a thunder of hoofs and
beating of wings a dozen or so of the swiftest creatures
disappeared into the gathering darkness” (72).
Aslan revives the lion statue and other statues in the castle. Aslan does it
just by blowing his breath on the statues. So they can move and dance together.

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At the first, Aslan blows his breath to the stone lion, and then dwarfs, rabbits, and
centaurs. Then Aslan finds other stone statues and revives them all.
“He was indeed. He had bounded up to the stone lion and breathed
on him. Then without waiting a moment he whisked round - almost
as if he had been a cat chasing its tail -and breathed also on the
stone dwarf, which (as you remember) was standing a few feet
from the lion with his back to it. Then he pounced on a tall stone
dryad which stood beyond the dwarf, turned rapidly aside to deal
with a stone rabbit on his right, and rushed on to two centaurs.”
(91-92)
“For a second after Aslan had breathed upon him the stone lion
looked just the same. Then a tiny streak of gold began to run along
his white marble back–then it spread–then the color seemed to lick
all over him as the flame licks all over a bit of paper–then, while
his hind quarters were still obviously stone, the lion shook his
mane and all the heavy stone folds rippled into living hair. Then he
opened a great red mouth, warm and living, and gave aprodigious
yawn. And now his hind legs had come to life. He lifted one of
them and scratched himself” (92).
Aslan helps Edmund when he gets the punishment that is written at the
Deep Magic where Edmund has to be sacrificed on the Stone Table as a betrayer.
Aslan wants everyone to fall back because he will say something that can save

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Edmund from the Deep Magic to the Witch. He does not want everyone know
about what has he said or what agreement that has done with the Witch.
“You have a traitor there, Aslan,” said the Witch. Of course
everyone present knew that she meant Edmund.
“Have you forgotten the Deep Magic?” asked the Witch.
“… You know that every traitor belongs to me as my lawful prey
and that for every treachery I have a right to a kill.” (77)
“Fall back, all of you,” said Aslan, “and I will talk to the Witch
alone.”
“At last they heard Aslan's voice, “You can all come back,” he
said. “I have settled the matter. She has renounced the claim on
your brother's blood.” And all over the hill there was a noise as if
everyone had been holding their breath and had now begun
breathing again, and then a murmur of talk.” (78-79)
When Aslan talked face to face with the Witch to save Edmund from his
punishment as a betrayer, no one knows that Aslan will do a big sacrifice. He will
replace Edmund to do a punishment on Stone Table. When Aslan arrives at Stone
Table, he is immediately tied by four Hags after that they kicking him, hitting
him, and anything they can do to hurting him.

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“… Four Hags, grinning and leering, yet also (at first) hanging
back and half afraid of what they had to do, had approached him.
“Bind him, I say!” repeated the White Witch.” (84)
“…Then they began to drag him towards the Stone Table.
“Stop!” said the Witch. “Let him first be shaved.” (84)
“ … , and for a few minutes the two girls could not even see him so thickly was he surrounded by the whole crowd of creatures
kicking him, hitting him, spitting on him, jeering at him.” (85)
So, Aslan is a figure of hero because he have good attitudes like
responsible, always helping, sacrifice, caring, and he fights the White Witch.
1.1.2

Peter

Peter has an adventurous spirit. It is seen when he firstly comes to
Professor’s house, he is excited to explore the house and its surroundings.
“It’s an owl,” said Peter. “This is going to be a wonderful place for
birds. I shall go to bed now. I say, let’s go and explore tomorrow.
You might find anything in a place like this. Did you see those
mountains as we came along? And the woods? There might be
eagles. There might be stags. There’ll be hawks” (3).
Peter is a smart leader in managing strategy. This is shown when he offers
an idea like suggesting to impersonate a peddler when they go to the house White

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Witch to help Mr. Tumnus. He also suggested to divide the search into 4 parts to
find Edmund.
“Couldn’t we have some stratagem?” said Peter. “I mean couldn’t
we dress up as something, or pretend to be–oh, peddlers or
anything–or watch till she was gone out–or–oh, hang it all, there
must be some way” (43).
“We’d better divide into four search parties,” said Peter, “and all
go indifferent directions. Whoever finds him must come back here
at once and–“ (48).
Peter seems to know how to be a warrior. After receiving his sword from
Father Christmas, he needs no training before slaying Fenris and fighting in the
battle. He also instinctively begins to think like a military tactician. When Aslan
leads his followers to the Fords of Beruna, Peter suggests that they should camp
on the far side of the river to protect them from a night attack by the Witch.
“It was still afternoon when they came down to a place where the
river valley had widened out and the river was broad and shallow.
This was the Fords of Beruna and Aslan gave orders to halt on this
side of the water. But Peter said, “Wouldn't it be better to camp on
the far side - for fear she should try a night attack or anything?”
Aslan, who seemed to have been thinking about something else,
roused himself with a shake of his magnificent mane and said,
"Eh? What's that?" Peter said it all over again.

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"No," said Aslan in a dull voice, as if it didn't matter. "No. She will
not make an attack to-night."And then he sighed deeply. But
presently he added, “All the same it was well thought of. That is
how a soldier ought to think” (80).
Peter loves his brother and sisters so much. This is seen when he still looks
for a way to help in escaping Edmund, though he knows that Edmund has
betrayed them. “All the same,” said Peter in a rather choking sort of voice, “we’ll
still have to go and look for him. He is our brother after all, even if he is rather a
little beast. And he’s only a kid” (49).
Peter is a responsible person. He takes responsibility for his failings. He
admits to Aslan, without being asked, that his attitudes to Edmund may have
contributed to Edmund’s betrayal. “That was partly my fault, Aslan,” Peter says.
“I was angry with him and I think that helped him to go wrong” (70).
Peter's bravery increases and develops. In spite of his fears, Peter push
himself together and fights. Likewise, when Aslan leaves him in charge of the
battle against