The fourth installment of The Chronicles of Narnia and the sixth book chronologically. A few months after The Voyage of the Dawn Treader, Eustace, with schoolmate and fellow outcast Jill Pole, returns to Narnia, and is sent on a quest to rescue Caspian's long-kidnapped son Rilian from a witch, reuniting them just before the king's death of old age.A film adaptation of the book has recently been greenlit by The C.S. Lewis Estate and The Mark Gordon Company. It is currently unknown when it will be released.Not to be confused with the band of the same name Silverchair.
Author Tract: At the end of the book, where the Lady of the Green Kirtle is set up as a Hollywood Atheist of the "completely evil" variety and Lewis puts into her mouth some deliberately skewed philosophical arguments against the existence of Aslan, although given her supernatural powers, she could be read as more like a demon than an atheist. Though she certainly is tempting the protagonists to atheism.
Big Eater: When Eustace is told the centaurs haven't finished their breakfast, he incorrectly assumes that they started late. Actually, they started before he awoke, and have been eating for several hours!
"A Centaur has a man-stomach and a horse-stomach. And of course both want breakfast. So first of all he has porridge and pavenders and kidneys and bacon and omlette and cold ham and toast and marmalade and coffee and beer. And after that he tends to the horse part of himself by grazing for an hour or so and finishing up with a hot mash, some oats, and a bag of sugar. That's why it's such a serious thing to ask a Centaur to stay for the weekend. A very serious thing indeed."
Boarding School of Horrors: Jill's and Eustace's school, which is a mix of the author's personal experience and educational theories he spoke against in The Abolition of Man. Unusually for the trope (and interestingly considering C. S. Lewis's own childhood experience under a Sadist Teacher), the school's abuses stem not from draconian discipline but from an indulgent lack of discipline that allows gangs of bullies to run wild, terrorizing ordinary students like Jill and Eustace.
The children's school seems to be more inspired by the "Wyvern" period of Lewis's life, as detailed in Surprised By Joy.
Catchphrase Interruptus: Puddleglum finally gets tired of all the "few return to the sunlit lands" stuff supplied by the warden and cuts him off, explaining that he already knows what's coming as the warden seems to only think about that one idea.
Clipped Wing Angel: The Lady of the Green Kirtle turns into a serpent and Rillian chops its head off
Dark Is Not Evil: The army of the Lady of the Green Kirtle is mostly composed of unwilling slaves. The witch herself aguably plays the opposite trope.
Not to mention that said unwilling slaves make their home deep in the ground, farther than anyone has ever gone. They think it's utterly fantastic and describe some nice things about it.
Ear Trumpet: Trumpkin uses one. This is both for comic effect (he mishears a good bit of information before he finally gets his ear trumpet) and to emphasize how old he is, and thus how much time has passed since the last trip to Narnia.
The Eeyore: Puddleglum the Marsh-wiggle, though unusually for this trope, his pessimism saves their lives more often than not.
Eskimos Aren't Real: The Lady of the Green Kirtle claims not to believe in lions or any other aspect of the outside world. She's lying, but she nearly bewitches the overlanders into agreeing with her. This is a typical C. S. Lewis allegory; in order to describe Aslan or Narnia to the Lady who says they don't exist, they have to do so in terms of things that she does accept the existence of, allowing her to dismiss it with "So you made up a bigger version of a cat, and called it a lion", in the same way as heaven, whether or not it exists, can clearly only described in terms of the mortal world by those who haven't experienced it (which may be everyone).
Exotic Entree: The protagonists discover that the venison served at the table of the "Friendly Giants" came from a Talking Stag. Talking Animals are fully sentient and sapient beings with all the same rights as humans and other people-esque races (e.g. dwarves), so the author notes that for anyone of Narnian culture, this is the equivalent of cannibalism. If that weren't enough, the characters later find out they are on the menu for the following night.
Gang Of Bullies: The progressive teaching methods at Experiment House have the effect of indulging bullies while making learning difficult for other students. Jill and Eustace's attempt at escaping the bullies sets off the plot and provides a satisfying moment of Bully Hunter revenge at the end.
Kicked Upstairs: This happens to the Head of Experiment House, after it is revealed that she is utterly incompetent at running the school. Played for laughs when she ends up in Parliament.
Knight in Sour Armor: Puddleglum. He will fight to the bitter end on the side of good and never doubt for a second and assume the worst every step of the way. His cynicism keeps Eustace and Jill firmly grounded and sensible.
Lady and Knight: The children meet the Lady riding with her Knight (who turns out to be Rilian in disguise).
Let's Meet the Meat: Subverted in that Puddleglum overhears some giants talking about the stag they were eating and how it had told them that it was tough and that they would not like it. Cue in-universe Fridge Horror.
Load-Bearing Boss: The Underland floods once the Lady of the Green Kirtle is killed. Justified since she's a witch who set the place to magically self-destruct if she died.
Mondegreen: Owing to being hard of hearing without his Ear Trumpet, Trumpkin at first mishears "The girl's called Jill" as "The girls are all killed." He also mistakes "Eustace" for "Useless."
More than Mind Control: The Lady's attempt to convince the four that Narnia doesn't exist and the Underland is the only world. It almost works, until Puddleglum decides their so-called fantasy world is far superior to the dreary "real" world of the Lady, thank you very much.
Puddleglum: There is one thing to say. Suppose we have only dreamed and made up these things, like sun, sky, stars and moon and Aslan himself. In that case, it seems to me that the made-up things are a good deal better than the real ones; and if this black pit of a kingdom is the best you can make, then it's a poor world. And we four can make a dream world to lick your real one hollow. As for me, I shall live like a Narnian! Even if there isn't any Narnia, so thanking you very much for supper. We're going to leave your court at once and make our way across your great darkness to search for our landABOVE!
Plot Sensitive Latch: Near the beginning, Eustace and Jill are escaping from some bullies towards a door that is always locked, and of course it turns to be unlocked. Justified in that Aslan has magically caused this to happen, but they don't know it at the time.
Quick Nip: Puddleglum drinks often from a brown bottle kept on his person, offers spirits to children (they don't like the taste), and on one occasion ends up utterly legless after downing a large cup of giant-strength liquor. It's cool; no one minds.
Slap Yourself Awake: Puddleglum employed this technique when he stomped out the fire that the Lady of the Green Kirtle was using as part of her hypnotic magic. Not only did it quash the aroma that was lulling the heroes into a trance, but the pain (he was barefoot) is specifically said to give him a moment's perfect clarity.
Why Did It Have To Be Underground?: Jill's claustrophobia makes the trip to Underland through several dark, incredibly cramped passages and tunnels paralyzingly terrifying for her.
Eustace has a similar aversion to heights.
Wish Fulfillment: Arguably, when Aslan, Caspian, and Eustace teach the bullies at the boarding school a lesson. Note that Lewis' autobiography, Surprised by Joy, reveals that he had a bad experience at a boarding school.
An in-universe example as well. Caspian says several times how it is his dream to visit a land on a planet that's round. Aslan allows him to briefly visit Earth.
You Have to Believe Me: The man in the Silver Chair really doesn't do much to dispel their suspicions that he's a raving lunatic. He's really just, during his brief moments of sanity, very aware of how strongly he's enchanted and he is beyond desperate to escape it, thus coming across as insane and reinforcing the lie that those few moments are of madness rather than clarity.