XXVII: Desrolles Is Not Communicative explained

What happens

Themes in this chapter

• Secrets and Deception

  Desrolles deliberately conceals the truth about John Treverton's identity as Chicot, while Edward Clare presses for the truth. The chapter revolves around the concealment and revelation of a dangerous secret.

• Crime and Justice

  The murder of La Chicot and the search for the fugitive Chicot dominate the dialogue. Edward Clare expresses a personal desire to bring the murderer to justice, while Desrolles speculates about Chicot's possible suicide.

• Bohemianism vs. Respectability

  Desrolles is transformed by money from a shabby pauper into a confident Bohemian, contrasting with Edward Clare's settled, respectable life. The tension between artistic freedom and social propriety is evident.

Characters to notice

• Mr. Desrolles

  Desrolles, now flush with money from John Treverton, is confronted by Edward Clare. He denies any link between Treverton and Chicot, but privately schemes about how to profit from the secret.

• Edward Clare

  Edward Clare aggressively questions Desrolles about the identity of John Treverton and Chicot, vowing to find Chicot and see him punished for the murder of his wife.

• John Treverton

  John is the subject of the dispute: Edward suspects he is Chicot, while Desrolles denies it. Desrolles privately acknowledges the bigamous implications of John's marriage to Laura.

• Laura Malcolm

  Laura is mentioned as the woman Edward seeks to protect, fearing she may be married to a scoundrel and suffer a fate like the dancer's.

• Chicot

  Chicot is the caricaturist and fellow lodger of Desrolles, suspected of murdering his wife. Desrolles suggests he may have drowned himself in the Thames.

• La Chicot

  The murdered dancer, wife of Chicot, whose death is central to the conversation. Edward Clare refers to her fate as a warning for Laura.

Key passages

• ““The two men have not one attribute in common.” “If the man I saw talking to you in Long Acre was Chicot, the caricaturist, then Chicot and Treverton are one.””

  Desrolles insists that John Treverton and Chicot are completely different, but Edward Clare counters that if the man he saw was Chicot, then they must be the same person.

  This exchange establishes the central conflict of the chapter: the disputed identity of John Treverton.

• ““I have the honour to know both men, and am in a position to state that they are totally distinct individuals⁠—bearing a kind of resemblance to each other in certain broad characteristics⁠—height, figure, complexion⁠—””

  Desrolles claims to know both men personally and asserts they are separate people, though they share some physical similarities.

  Desrolles's confident denial is later undercut by his private thoughts, revealing his duplicity.

• ““If he is alive it shall be my business to find him,” said Edward savagely, “The crime was brutal⁠—unprovoked⁠—inexcusable⁠—and if it is in my power to bring it home to him he shall suffer for it.””

  Edward Clare angrily declares he will hunt down Chicot if he is still alive, determined to see him punished for the brutal murder.

  Edward's personal animosity hints at deeper motives beyond mere justice, possibly connected to his concern for Laura.

• ““A good, easygoing fellow,” he reflected, “and he seems inclined to be openhanded. But if the dancer was his legal wife, and if he married Laura a year ago, that poor girl is no more his wife than I am. Awkward for me to wink at such a position as that, in my paternal character; yet it might be dangerous for me to interfere.””

  Desrolles privately considers that if Chicot was legally married to the dancer, then John's marriage to Laura is invalid, but he hesitates to act because of the potential danger to himself.

  This internal monologue reveals Desrolles's self-serving nature and the bigamous implications of John's secret identity.