Insights into Chapter 11 (Book III) “Dusk” Be sure you note the titles of Chapter 11 and 12—because they are companion chapters: “Dusk” and “Dark.” Be sure you’re asking yourself how (besides indicating the literal setting of the day) these titles are metaphorically representing what is going on in plot. On page 338, remember that Charles has just been condemned to die, and so “the wretched wife” is, of course, Lucie. The fact the she “fell under the sentence” means that she actually fell down when the death sentence was delivered. Notice the typical Victorian melodrama that takes place as Lucie and Charles say goodbye to one another. At the top of page 340, notice carefully Dr. Manette’s reaction to Charles’ words. Make a prediction about what will happen to Dr. Manette as a result of this stress. In the middle of page 340, we see Lucie hold up as long as she can, and then— when Charles is taken away—she falls totally unconscious at her father’s feet. Notice carefully who comes to whisk her away from the prison—and notice also that Lucie has no idea that this man is even in the same country as she. Pay attention to little Lucie’s words to Sydney Carton at the bottom of page 340. She’s offering, of course, a bit of foreshadowing. At the top of page 341, notice that little Lucie witnesses Sydney lean over the unconscious Lucie, kiss her on the cheek, and say, “A life you love.” Make sure you connect this line to the promise Sydney makes on page 155. Book III, Chapter 12 “Darkness” Notice the title of Chapter 12—and notice who the first person mentioned in that chapter is. Notice on 342 and 343 that Sydney is intentionally showing himself around Saint Antoine—to make sure that people know that there is someone who looks like the prisoner Charles Darnay. Pay attention to the fact that Sydney has “no strong drink” in this section of the book. He’s also shed the skin of the jackal. Ask yourself if, indeed, Lucie has been able to recall Sydney Carton to life—just as she did her father. At the bottom of page 343, notice that Carton speaks in French—and does so in a way that illustrates he is actually English. Keep in mind that there is also another character (one who looks very much like Sydney) who speaks in the language of these “Two Cities.” At the bottom of page 344, Defarge illustrates his love of Dr. Manette in his desire to protect him. On page 345, Madame Defarge illustrates her contempt for the entire group, and she communicates her own “profound secret” at the bottom of the page—the fact that SHE is the little sister who had been hidden away, and whose family had been destroyed by the Evremonde brothers. “The listener” in the middle of page 346 is, of course, Sydney. Keep in mind that he’s hearing all of this. Notice also that he thinks about killing Madame Defarge in this moment (although he never acts on that thought). In the middle of page 347, we see something wrong with Dr. Manette. Be sure that you understand what is wrong—and why. Page 348 is very important. At the bottom of this page and the entirety of the next and onto page 350, Sydney is making detailed plans for the family to get out of Paris. Note the details of that plan. At the end of Chapter 12, we see Sydney walk—for the last time—past Lucie’s window. Notice the capital “F” in the “Farewell” that he breathed toward that window. Chapter 13: Fifty-Two Keep in mind the number fifty-two (which is, of course, the title of this chapter). Fifty-two will have a literal and a figurative meaning in this chapter. Keep in mind that there are fifty-two cards in a deck of cards—and keep in mind the connection we’ve had to cards and gambling throughout the novel. “Two score and twelve” (p. 351) would, of course, be fifty-two. On page 353, we have Charles writing her farewell letters; however, on 355, his writing is interrupted by a surprising visitor. Pay attention to this plot development. Every single moment of the novel has been pushing toward this development. On page 357, we see Sydney force Charles to continue writing—but this time, Charles is writing words that HE wants said to Lucie (after everything is said and done). Page 358 illustrates the blackmail that Sydney enforces on John Barsad (the spy). The fifty-two who are to die include a seamstress. Pay attention to what she recognizes about this prisoner in her conversation with him—and how kind Sydney is to her. (See page 360 for this exchange.) Pages 360 to 363 are the pages which illustrate the family fleeing Paris.) Note the switch from a third-person point-of-view narrator to a first-person point-of-view at the bottom of 362 until the end of the chapter. By the end of the chapter, all fifty-two cards in Sydney’s deck have been played.