In this important chapter, we have in pure dramatic form the apparent unraveling of most of the novel's mysteries — both great and small. Many riddles are illuminated: the resemblance between Oliver's features and the portrait in Brownlow's house; the old gentleman's unexplained absence from London and his connection with Monks; the grounds for Monks's campaign against Oliver; the significance of events relating to the prized ring.
We can see now that, although at the outset the story promised to be a chronological recital starting from the hero's birth, the chain of events leading up to the opening situation was set in motion over twenty-five years before. The flashback technique is used to supply essential details of the past, the point of view coming from various characters. All the details seem more believable thanks to the fact that now there is agreement between people with opposing interests.
It is a bit disturbing to see Brownlow taking the law into his own hands, to the extent of striking a bargain with a criminal like Monks. But once again, we can consider the audacity of Dickens's philosophy. For prompt execution of justice tempered with mercy, he would rather trust to direct action by a righteous individual than take his chances with uncertain performance of creaky legal conditions.
