The Silver Chair

When the two protagonists first meet behind the school gym, their relationship is briefly established as a tentative friendship born of a sense of solidarity against bullies and mutual taste for fantastical adventures. Eustace’s attempts to comfort Jill reveal him to possess a fairly sensitive and friendly nature and opens an opportunity for Eustace himself to mention how much his behavior has improved since his appearance in a previous series of adventures, which knowledgeable readers will recognize as an oblique reference to The Voyage of the Dawn Treader. In this first scene, Jill shows her tendency toward becoming easily overwhelmed and emotional, first crying and then snapping at Eustace before promptly apologizing, while Eustace, on the other hand, is shown trying to awkwardly befriend her in an eager attempt to prove himself better than the “little tick” (4) he used to be. Thus, C.S. Lewis has successfully forged an initial bond between the two protagonists and has also established a quick sketch of their most prominent character flaws, hinting at further character growth to come.  

The novel’s main setting, Narnia, is introduced soon after Eustace mentions it, and although readers will already be intimately familiar with Narnia by this stage in the series, Lewis’s descriptions nonetheless make the faraway land sound mysterious and appealing to Jill, who is a newcomer in the series as a whole. Although it appears that the children find the magical door by chance, they later learn that they were called to Narnia by Aslan, and this occurrence positions the lion as an all-powerful, all-seeing being very early in the story. Incidentally, Eustace and Jill are first brought to the liminal space of Aslan’s mountain before they are deposited into Narnia itself, which allows the lion to provide Jill with all the necessary background information. Taking the traditional form of a quest, Aslan’s advice, rules, and warnings establish clear narrative guidelines that structure the journey that Jill and Eustace must undertake.

Narnia itself is described as an idyllic place, populated with mythical creatures and lush vegetation. It is reminiscent of the garden of Eden, especially as humans like Jill and Eustace are habitually referred to as “sons of Adam” and “daughters of Eve.” This clear biblical reference establishes the close philosophical parallels between the land of Narnia and the many nuances of Lewis’s religious ideology, providing the necessary contextual clues to prompt readers to interpret the book symbolically and be fully aware of the ongoing theme of Narnia as a Christian Allegory. Additionally, the narrator’s tone establishes a moralistic stance designed to frame the theme of Faith as a Moral Guide.

To heighten the somewhat oratorical tone of the story as a whole, Lewis’s Narrative Voice throughout the series is characterized by its direct addresses to the reader, humorous asides, and didactic attitude. The description of Jill and Eustace’s school at the very beginning of the novel, for instance, exemplifies the narrator’s disdain for a school where “boys and girls should be allowed to do what they liked” (3) without negative consequences. The narrator suggests that the lack of supervision or repercussions at Experiment House leads to children being bullied and unhappy. This dynamic contrasts significantly with the way Narnia is described as being a peaceful and prosperous place, precisely because it is ruled by the all-seeing, awe-inspiring Aslan who provides fair and equitable treatment for all. This establishes the lion’s role as a divine figure and a Christian symbol, thus clarifying Lewis’s ideological viewpoint beyond any doubt.

Once the quest and major narrative elements are introduced, tension is created when Jill and Eustace immediately miss Aslan’s first sign and hint at the concept of human efforts falling far short of divine perfection. Thus, the quest is thrown off-balance from the very beginning, mirroring the ways in which the unpredictable distractions and temptations of life can thwart the most earnest person’s attempts to do the right thing. In accordance with this idea, Aslan’s warning to Jill that “the signs [...] will not look at all as you expect them to look, when you meet them [down in Narnia]” (20) hints at the idea that unconditional faith, even when faced with uncertainty or dire consequences, will be the characters’ most important guide. From the pragmatic standpoint of storytelling, this element of the plot also creates additional tension, for the success of the protagonists’ mission is not guaranteed despite the inherent powers of such a grandiose spiritual guide.

Finally, Chapter 4 offers a transition between the children’s arrival in Narnia and the beginning of their journey, and in this section Lewis’s characteristic humor surfaces through various examples of whimsical wordplay and deliberate nonsense. For example, the “parliament” of owls (which is in fact merely a term describing a group of owls) that initially appears very formal and intimidating soon loses its solemnity when the owls’ hooting and humorous banter about Trumpkin lighten the mood created by their ominous warnings. Even the tension created by a secret late-night meeting is defused by Glimfeather’s explanation:

You see [...], most of the creatures in Narnia [...] do things by day, in broad blazing sunlight (ugh!) when everyone ought to be asleep. [...] So we owls have got into the habit of meeting at sensible hours, on our own, when we want to talk about things (40).

This balance between suspense and humor is typical of Lewis’s narration and is exemplified in many instances throughout The Silver Chair.