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Kate DiCamilloA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
In Book the Second, the narrator introduces a rat born in the castle several years before Despereaux. Chiaroscuro—whose name means the arrangement of darkness and light together—differs from other rats, who prefer darkness. One day, Roscuro (as he likes to call himself) nibbles on Gregory’s rope, and the jailer scares him off by lighting a match and burning his whiskers. Since then, Roscuro “showed an abnormal, inordinate interest in illumination of all sorts” (88). He theorizes to his friend Botticelli Remorso that the meaning of life is light. Botticelli is more focused on being a “real rat” (91), which involves activities like torturing prisoners and causing suffering.
Roscuro poises to torture a prisoner, but when the dungeon door opens and the staircase is flooded with light, he is paralyzed with awe: “The rat called Chiaroscuro did not look away. He let the light from the upstairs world enter him and fill him” (93). A soldier throws a red cloth after the prisoner, and Roscuro becomes obsessed with the beauty of it framed against the light. He wants to go upstairs where there is more light, but Botticelli warns him that upstairs is for mice. Botticelli persuades Roscuro to steal the prisoner’s red cloth as a means of torture, and the latter tries to convince himself he desires the cloth alone and not the light.
Roscuro sidles up to the prisoner and talks to him, telling him to imagine him as a consoling voice in the darkness, “a voice that cares” (99). The prisoner admits to being a cow thief, but his most regretful crime is that he traded his daughter for the red tablecloth, a hen, and a handful of cigarettes. Roscuro inches closer, questioning the prisoner before biting his cloth and scurrying away. The man yells for it back, saying the red cloth is all he has. Roscuro tries to delight in the successful trick, but quickly realizes the red cloth pales in comparison to his memory of light. He concludes that he must go upstairs, as no prize will compare to the beauty of light.
Roscuro ventures upstairs and basks in the light of every room as he wanders the castle. He sees the banquet hall fully decorated and set for a party—the royal family, jugglers, and minstrels enjoying themselves. “Suffering is not the answer. Light is the answer” (105), he concludes, and marches straight into the banquet hall.
Roscuro jumps onto a crystal chandelier and swings, enjoying the party from above. Suddenly, Princess Pea notices him and screams. He hears the ugliness of the word “rat” and feels so ashamed and insulted that he loses his grip on the chandelier. He falls into the queen’s soup bowl.
The queen loves soup, and Cook outdid herself for the banquet. When Roscuro falls into the queen’s soup bowl, she screams and flings her spoon. Roscuro says, “I beg your pardon,” and the queen’s last words are, “There is a rat in my soup” (112). She collapses from a heart attack, and Roscuro slinks away. As Roscuro leaves, he looks back at Pea and sees a look of “disgust and anger” (113)—which breaks his heart. Because of this heartbreak, Roscuro becomes bitter and vengeful.
Disheartened by the realization that since he is a rat, he will never be allowed to enjoy the light, Roscuro picks up the queen’s soup spoon and wears it as a makeshift crown. He tells himself that the spoon is beautiful, and that he will one day get revenge. The king yells to find the rat who killed his wife, and Roscuro mumbles that he will be in the darkness of the dungeon.
The narrator clarifies that since the queen died while eating soup, the king outlaws the dish out of heartbreak. When the king’s men search the dungeon for Roscuro, they get lost and perish. The king then declares rats “illegal outlaws.” Roscuro creates a cape out of the stolen red cloth and vows to Botticelli that he will make the princess suffer for her scowl. At the same time, Despereaux is listening to the king’s music and falling in love upstairs. Also, a young girl named Miggery Sow arrives at the castle on a wagon. The narrator foreshadows that Miggery Sow will be instrumental in Roscuro’s revenge plot.
Book the Second follows the parallel story of Roscuro the rat, another inhabitant of the castle. Like Despereaux, Roscuro has a similar obsession with sunlight—but his discovery came about by violent means. Whereas Despereaux had the opportunity to sneak around the bright library, absorbing beautiful stained glass windows and the privilege of knowledge, Roscuro was condemned to the darkness because he is a rat. Roscuro’s discovery came in the form of Gregory scaring him off with a match. This unconventional encounter didn’t diminish his spark, however, and he held onto the hope of a light-filled existence for a long time.
When Roscuro faces criticism grounded in reality—like Botticelli telling him sunlight is unsustainable and what he really craves is the prisoner’s red cloth—he tries to conform to rat society’s demands. He partakes in unfair tactics to steal the cloth but quickly realizes that the tablecloth is a poor substitute for the brightness of sunlight—which is reminiscent of the desire for that which eludes capture or is impossible to begin with (like Despereaux’s love for Pea). Roscuro desires revenge not because Princess Pea is allowed to enjoy light but because her judgmental look reminds him of his own social status, which bars rats from enjoying any kind of beauty upstairs.
The king outlawing soup is also an example of misidentifying one’s desire (in his and Roscuro’s case, processing one’s loss) out of overwhelming emotion. It is unrealistic to assume that outlawing a thing means that it suddenly ceases to exist. The king’s decree and the soup bowls in the dungeon represent denial of one’s emotions: Hiding dirty dishes does not mean he can forget the love and memories he once shared with the queen.
The desire for revenge is often born from a festering pile of loneliness and sadness. Only when characters recognize their own sense of loss in others can they begin to empathize and transcend differences to work together.
By Kate DiCamillo
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