Abstract
C.S. Lewis's The Lion, the Witch and the Wardrobe has often been considered overly eclectic in its use of mythologies and literary sources. This essay argues that the unity of the story is not impaired by frequent allusions to previous texts but is grounded in Lewis's particular brand of medievalism, which encourages a playful renewal of medieval romance, not least by means of a rewriting of authors such as Thomas Malory. Lewis's use of allusion and pastiche help explain many of his artistic choices, from the characterization of the White Witch to the archaic language in the Hunt for the White Stag. The essay uncovers several important, unrecognized allusions and demonstrates that Lewis's use of his medieval source material is not only humorous but also purposeful and culturally relevant.
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