Chapter 37 Summary and Analysis: The Sleepwalker’s Parable
⚠️ Spoiler Warning: This guide contains detailed spoilers for the entire novel. Proceed only if you've finished reading or are comfortable knowing the plot.
Summary
Simon walks home through the wilting afternoon heat, carrying a silver candlestick he did not use. He recalls the opera Sonnambula about a sleepwalking girl vindicated by her unconscious actions, and draws parallels to Grace’s claim of amnesia. He wrestles with whether Grace is a true somnambulist or a cunning impostor shaping her story to create a positive impression. Simon admits he wants to believe her innocence but cautions himself to remain objective. He considers that she may be withholding knowledge of guilt or innocence. Back at the house, Dora lets him in, and Mrs. Humphrey invites him to dine; he declines. Upstairs he discovers she has been diluting his laudanum, stealing the drug. Simon then goes on a rowing trip with Lydia, flirts half-heartedly, and briefly contemplates proposing to her as a way to escape his dilemmas, but decides against it.
Key Events
- Simon reflects on the opera Sonnambula and its allegory of unconscious innocence, questioning its relevance to Grace.
- He internally debates whether Grace is an amnesiac, a liar, or possibly insane.
- Simon considers allowing Jerome DuPont to perform a neuro-hypnotic experiment on Grace to extract the truth.
- Dora opens the door and announces that “Herself” (Mrs. Humphrey) wants to see him.
- Mrs. Humphrey invites Simon to dinner; he refuses, citing a prior engagement.
- Simon discovers that Mrs. Humphrey has been stealing his laudanum, replacing it with water.
- He goes on a rowing excursion with Lydia and other young people, flirting but feeling detached.
- Simon muses about proposing to Lydia as a way to resolve his own fate, but ultimately rejects the idea.
Character Development
Simon Jordan: His internal conflict deepens. He admits he wants to be convinced of Grace’s innocence, revealing emotional investment that undermines his professional objectivity. His suspicion of Mrs. Humphrey’s theft shows his growing awareness of manipulation around him. The impulse to propose to Lydia signals a desire for a simple, conventional life, yet his refusal indicates he is not ready to abandon his quest or his complexity.
Mrs. Humphrey: Her addiction to laudanum is explicitly confirmed, and her theatrical invitation hints at a fragile, performative grasp on respectability. Simon’s discovery of her theft marks a turning point in their relationship—he now knows she is capable of deception.
Dora: Though minor, her contemptuous attitude and democratic manners reinforce her role as a blunt truth-teller in the household.
Grace Marks (offstage): Though not present, she dominates Simon’s thoughts. Her mystery deepens as Simon entertains the possibility of her being a maniac with devious plausibility, or a simple soul. The chapter leaves her status ambiguous.
Themes, Symbols, or Motifs
Sleepwalking as Metaphor: The opera Sonnambula becomes a central symbol. Simon questions who “walks” when the soul sleeps, mirroring Grace’s claimed amnesia. The allegory challenges the boundary between conscious guilt and unconscious innocence.
Truth as Performance: Simon worries that Grace’s story may be a rehearsed performance, too consistent with her printed Confession. The theme of selecting and rearranging facts for a positive impression highlights the constructed nature of narrative.
Rescue vs. Control: Simon frames his work as a “rescue” from an abyss, but he also thinks of having a “hook in her mouth.” This duality suggests his desire to control and extract truth may be as strong as his benevolent intent.
Addiction and Dependency: Mrs. Humphrey’s theft of laudanum exposes hidden dependencies—both physical and emotional. Simon’s own reliance on order and scientific method is also questioned.
Illusion of Objectivity: Simon’s internal debate reveals that his judgment is clouded by personal wishes. The chapter underscores the difficulty of pure objectivity in human relationships.
Why This Chapter Matters
Chapter 37 is a pivotal episode in Simon’s psychological arc. It crystallizes his epistemological crisis: he can no longer maintain a detached, scientific stance toward Grace. The opera parable provides a literary lens for the novel’s central question—can someone be guilty while unconscious? Simon’s decision to allow Jerome DuPont’s hypnotic experiment sets the stage for the climactic scenes to come. Additionally, the revelation of Mrs. Humphrey’s theft reinforces the theme of hidden truths and the pervasive corruption of domestic spaces. The chapter deepens the reader’s understanding of Simon’s inner turmoil and foreshadows his eventual departure from the Humphrey household.
Study Questions and Answers
1. Why does Simon recall the opera Sonnambula at the beginning of the chapter?
Simon uses the opera as a parable for Grace’s situation. The sleepwalking heroine, Amina, is vindicated because her unconscious actions prove her innocence. Simon wonders if Grace, like Amina, is truly unconscious during her crimes, or if she is awake and self-aware. The memory reflects his desire to see Grace as innocent, yet his analytical mind distrusts the easy parallel.
2. What does Simon discover about Mrs. Humphrey, and how does he react?
He finds that she has been diluting his laudanum bottles, stealing the drug. He chooses not to confront her because accusing a lady of theft would be “brutal and vulgar.” This discovery confirms his earlier suspicions about her afternoon headaches and reveals her addiction. His reaction shows his awareness of social propriety even when he has been personally wronged.
3. Why does Simon consider proposing to Lydia, and why does he decide against it?
Simon sees Lydia as “normal and healthy,” and marriage to her could “propitiate his mother” and “settle his own hash”—a way to escape his uncertainties. He rejects the idea because he is “not that lazy, or weary; not yet,” indicating he still feels compelled to pursue his investigation and cannot settle for a conventional life.