Therefore, she uses her own distaste to seduce Digory into her kingdom, by offering him in satanic fashion the gift of life for his mother. Once she tastes of the apple–a picture of godly wisdom–she despises any association with the glory-cloud of Yahweh. The Witch possesses a distaste for the holy. The entire drama is a great synopsis of redemptive history setting the Witch and Digory as protagonists in the new Garden scene, thus setting the stage for the momentous and ubiquitous presence of Aslan throughout the series. They end up the mockery of the created world falling into the ditch they themselves dug. And, it’s hard to pass over Uncle Andrew, who images so clearly the offspring of Satan who finds themselves constantly hungering for more foolishness and often fail the Solomonic task of pursuing wisdom. There is, of course, the addition of Frank and Helen, crowned by Aslan, who may fit biblically as an image of redeemed men and women in Christ, as royal servants of the Aslanic reign.

The themes intertwine and the chronology is not as neat as following the first three biblical chapters, but they re-capitulate the phases through the Witch Jadis–who plays the role of the deceptive serpent, Digory and Polly–who play the roles of Adam and Eve, and Aslan–as the great Father, showing compassion to his new creation.

In “The Magician’s Nephew” (TMN), Lewis articulates a creation, fall, and redemption overview. Lewis applied an incredible appetite for biblical theology in “The Magician’s Nephew.” In fact, I argue that Lewis reveals a mosaic of Genesis 1-3 in the Narnia series.

The Magician's Nephew by C.S. Lewis