What happens in Book III of A Tale of Two Cities?
Book III, Chapters 5–8 plunge Lucie Manette and the imprisoned Charles Darnay further into the chaos of the Terror. Lucie maintains her daily vigil near the prison, hoping Darnay might catch a glimpse of her from a window. She endures the mocking comments of the wood-sawyer, who grotesquely mimics the guillotine with his saw. The Vengeance and the knitting women perform the Carmagnole in the street below, a sight that horrifies Lucie even as it excites the crowd. Dr. Manette, whose authority forged in prison has thus far protected the family, begins to feel that authority slipping away. One evening at home, a knock at the door reveals Sydney Carton, who has arrived in Paris. He speaks privately with Mr. Lorry, hinting at a plan he won't fully reveal. Carton then visits Darnay in prison, and in a charged, nearly silent exchange, convinces Darnay to exchange clothes with him. At the same time, Barsad—now identified as Solomon Pross, Miss Pross's long-lost brother—is confronted by Carton, who dangles the spy's double identity over him like a knife. Carton uses this advantage to gain access to the prison, setting himself up for the sacrifice that is now unavoidable.
Analysis
Dickens carefully crafts these chapters, ramping up the tension while deepening the novel's symbolism. The wood-sawyer stands out as one of Dickens's most effective grotesques: his makeshift guillotine merges political terror with everyday life, turning horror into something commonplace long before Hannah Arendt coined the term. The Carmagnole sequence serves as a stark tonal shift—Dickens moves from personal domestic worry to a scene of mob chaos, with the prose rhythm becoming percussive and circular, echoing the repetitive nature of the dance. Lucie's faint afterward isn’t just typical Victorian sentiment; it signifies the exact moment the Revolution transforms from an idea into a tangible threat to her and her family's safety.
Carton's arrival in Paris reawakens the novel's central theme of doubling. His likeness to Darnay, which had been dormant as a plot device, is now turned into a weapon. The prison-swap scene unfolds almost without sound—Dickens relies on the reader's sense of dread to fill in the silence—and this restraint is the chapter's most skillful move. Carton's blackmail of Barsad is portrayed with a sardonic lightness that contrasts with the surrounding seriousness; Dickens gives Carton a moment of dark humor, making him relatable just as he is about to become a martyr. Mr. Lorry acts as the reader's stand-in throughout: dependable, practical, and quietly horrified, his presence keeps the melodrama anchored in something that feels real. The recurring motif of hands—knitting, sawing, knocking, dealing cards—sews these chapters together into a single, foreboding fabric of fate being shaped by human hands.
Key quotes from Book III
“It was nothing to her that an innocent man was to die for the sins of his forefathers; she saw, not that, but that the Carmagnole was danced, and that the knitting-women knitted on.”
Dickens describes the indifference of the revolutionary crowd, using the knitting women as an emblem of mechanised, unseeing cruelty during the Carmagnole scene.
“I am the resurrection and the life, saith the Lord: he that believeth in me, though he were dead, yet shall he live.”
Carton murmurs this Biblical passage to himself as he walks the Paris streets at night, foreshadowing his self-sacrifice and establishing him explicitly within a Christ-like redemptive arc.
“Carton's manner was so easy and so suddenly careless that Barsad could not but look at him.”
During the confrontation in which Carton exposes Barsad's double identity, Dickens captures Carton's dangerous, almost playful composure—the quality that makes him both compelling and unpredictable.
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Create an accountSign inVocabulary in Book III
- forefathers
- Ancestors; the people from earlier generations of one's family. Used here to describe the crimes of Darnay's noble ancestors for which he is being condemned.
- Carmagnole
- A wild, frenzied dance performed in the streets by French revolutionaries during the Reign of Terror. Dickens uses it to show the brutal festivity surrounding the executions.
- resurrection
- The act of rising from death back to life. Used in the biblical quotation Carton repeats to himself, and as a thematic echo of his own self-sacrifice giving new life to others.
- saith
- An archaic third-person singular form of 'says,' used in older English Bible translations. It appears here in the King James Bible verse that Carton recites as he goes to his death.