not start with a coherent plan for the books, but Ward's book answers this by arguing that the astrological associations grew in the writing: Jupiter was... [Lewis's] favourite planet, part of the "habitual furniture" of his mind... The Lion was thus the first example of that "idea that he wanted to try out". Prince Caspian and The "Dawn Treader" naturally followed because Mars and Sol were both already connected in his mind with the merits of the Alexander technique.... at some point after commencing The Horse and His Boy he resolved to treat all seven planets, for seven such treatments of his idea would mean that he had "worked it out to the full". A quantitative analysis on the imagery in the different books of The Chronicles gives mixed support to Ward's thesis: The Voyage of the Dawn Treader, The Silver Chair, The Horse and His Boy, and The Magician's Nephew do indeed employ concepts associated with, respectively, Sol, Luna, Mercury, and Venus, far more often than chance would predict, but The Lion, the Witch, and the Wardrobe, Prince Caspian, and The Last Battle fall short of statistical correlation with their proposed planets. Influences from literature George MacDonald's Phantastes (1858) influenced the structure and setting of "The Chronicles". It was a work that was " a great balm to the soul". Plato was an undeniable influence on Lewis's writing of The Chronicles. Most clearly, Digory explicitly invokes Plato's name at the end of The Last Battle, to explain how the old version of Narnia is but a shadow of the newly revealed "true" Narnia. Plato's influence is also apparent in The Silver Chair when the Queen of the Underland attempts to convince the protagonists that the surface world is not real. She echoes the logic of Plato's Cave by comparing the sun to a nearby lamp, arguing that reality is only that which is perceived in the immediate physical vicinity. The White Witch in The Lion, the Witch, and the Wardrobe shares many features, both of appearance and character, with the villainous Duessa of Edmund Spenser's Faerie Queene, a work Lewis studied in detail. Like Duessa, she falsely styles herself Queen; she leads astray the erring Edmund with false temptations; she turns people into stone as Duessa turns them into trees. Both villains wear opulent robes and deck their conveyances out with bells. In The Magician's Nephew Jadis takes on