Kyojin

Giants are beings of immense scale who appear both among the forces summoned to defend Narnia and in the final destruction of the old world. Their most consequential figure is the giant formerly known as Father Time: awakened at the world’s end, he calls the stars home and, at Aslan’s command, squeezes out the sun, turning Narnia’s ending into a cosmic passage rather than merely a political defeat.

Giants in Narnia

When Tirian sets out with Jewel, he sends Roonwit to Cair Paravel to gather reinforcements, including Stonefoot the Giant. The request places a giant among the mounted men, Talking Dogs, archers, and other forces Tirian hopes to bring against the danger gathering in the valley. The passage identifies Stonefoot as a prospective ally, though it does not show him arriving with Roonwit’s party.

At the world’s end, giants appear among the many kinds of creatures racing toward Aslan’s doorway. They are part of the immense company that gathers at the threshold alongside Talking Beasts, Dwarfs, Satyrs, Fauns, Calormenes, men from Archenland, Monopods, and beings from distant lands. Their presence situates giants within the varied population of the old Narnia and its surrounding world, even as that world is about to disappear.

Father Time Awakens

Aslan opens the Door and roars that the time has come. Beyond it, the bonfire has gone out and the land is black; then a towering shape rises against the stars, visible from the northern moorlands beyond the River Shribble. Jill and Eustace recognize the sleeping giant they once saw in caves beneath those moors, when they were told he would wake on the day the world ended.

Aslan explains the change in the giant’s name: while he slept, his name was Time; now that he is awake, he will have a new one. The awakening marks a decisive change in the world’s condition. What had been held in reserve as a sleeping presence becomes an active power in the final sequence, and the narrative connects that transformation to the ending already foretold.

The Horn and the Stars

The giant raises a horn to his mouth. Its sound reaches the company only after a delay, described as high, terrible, and strangely beautiful. At once, shooting stars fill the sky in increasing numbers, until they fall like silver rain. The blackness spreading overhead is not a cloud: it is the emptiness left as the stars vanish, because Aslan has called them home.

The stars descend not as distant lights but as people, with long hair like burning silver and spears like white-hot metal. They land with a hissing sound that burns the grass, then stand behind Aslan’s company and illuminate the woods. The giant’s horn therefore does more than announce the end: its call brings the stars into the scene as living participants, and their light makes the approaching creatures and Aslan’s doorway visible under a sky that will remain starless.

The World’s End

After the stars have fallen, creatures flee from the northern slopes into Narnia, including dragons, giant lizards, and featherless birds with batlike wings. The living beings of the old world also rush toward Aslan. At the doorway they are divided by their response to him: those who look with fear and hatred turn aside into his shadow, while those who love him, even when frightened, enter on his right. Giants are included in this rush toward the threshold, though the account does not specify the fate of each individual giant.

As the sun rises, it is unnaturally large, dark red, and dying. Digory and Polly recognize the signs because they once saw a dying sun in another world. The Moon appears in the wrong position, and the sun’s flames reach toward it until the two become a burning mass. Aslan then says, "Now make an end." The giant throws his horn into the sea, stretches an arm across the sky, takes the sun, and squeezes it as one would squeeze an orange. Total darkness follows, and ice-cold air enters through the Doorway.

The giant’s actions complete the physical destruction of the old Narnia, but the ending does not treat that destruction as the final reality. Aslan tells the children that a real railway accident has killed them and their parents, and that the term is over and the holidays have begun. The closing image recasts the end as the beginning of the Great Story: the old world’s last darkness gives way to an enduring order beyond it. In that transition, the awakened giant is both an agent of cosmic closure and the instrument through whom the narrative makes the world’s ending visible.