The Whipping Boy

At the start of the section, Jemmy and Prince Horace are rescued by unconventional heroes: Betsey and Petunia. Petunia the bear subtly reinforces the novel’s exploration of the gap between appearance and reality. Whenever Petunia appears, she frightens characters because they assume she’s dangerous—however, Betsey reassures the boys that Petunia is actually as “gentle as a kitten” (60). Since the novel is intended for younger readers, Petunia’s gentle nature relieves some tension, similar to how the two antagonists are relatively incompetent. The close bond between Betsey and Petunia also reinforces the importance of friendship and trust; Prince Horace is so isolated that he doesn’t even have an animal companion to rely on.

This section continues the novel’s pattern of conflict-interlude-conflict; after Petunia scares off Billy and Cutwater, Jemmy and Prince Horace experience a period of peace until they must flee to the sewers. During this interlude, which takes place primarily at the fairgrounds, both Jemmy and the prince undergo reflection and transformation (connecting to the theme of Transformation Through Adversity). The fairgrounds is a particularly apt setting because it is a space where characters from various social classes and life experiences mingle freely. In this space, Prince Horace’s worldview continues to expand; he notes with delight that “I’ve never been allowed to carry anything!” (64). The prince’s lack of purpose contrasts with other characters who derive meaning and identity from their respective occupations—including catching rats, selling hot potatoes, and training bears to dance. None of these jobs are particularly glamorous, but they do provide structure and shape.

While Prince Horace is initially delighted with his newfound freedom to navigate the world anonymously, he also ends up being confronted with harsh truths he’d previously been shielded from. When the prince hears an elderly woman describe his bad reputation, he finally reassesses his behavior. Jemmy observes that “learn[ing] that his subjects dreaded the day he’d grow up and become king had deeply shaken him” (68-69). The prince is selfish and short-sighted, but not malicious; in fact, as he begins to form bonds with different individuals, he seems quite invested in building genuine relationships. As a young boy, the prince has likely not thought about the consequences of his behavior beyond himself, but the old woman reveals the responsibilities that come with privilege. The prince realizes that a good ruler is conscientious and responsible; the fate of the kingdom rests on his ability to make good decisions.

While Prince Horace is learning about the consequences of his behavior, Jemmy is also confronted with his own changing identity. Although he’s stubbornly insisted on wanting to return to life on the streets, he now knows that “he’d lost his taste for ignorance” (66). While the story is critical of wealth and social status, it does suggest that education and learning are valuable and transformative. Jemmy comes to value “the shelves of books he’d left behind in the castle” (66) so much that he is willing to reorient his life rather than return to his earlier lifestyle. Ironically, while Jemmy has become annoyed with Prince Horace’s resistance against returning to the castle, he has been just as fixated on one outcome (i.e., returning to the streets). By this point in the novel, both boys are realizing that they may have to rethink their futures.

Prince Horace and Jemmy’s reflections are interrupted by the return of Billy and Cutwater, as the criminals pursue the boys once more. A final confrontation takes place in the sewers below the city, an appropriately frightening setting. The setting leads to an admission of vulnerability from the prince, who clings to Jemmy and openly admits to being frightened. While a friendship has been slowly blossoming between the two boys, it is solidified during their time in the sewers. The prince even says that “I won’t go back to the castle unless you go with me” (77), showing that he’s formed a strong and surprising attachment to someone who is “beneath” him in social status.

Two details confirm the equalized relationship between Prince Horace and Jemmy: The prince refers to Jemmy by name, leading Jemmy to marvel at being referred to “like we was old knockabout friends of the streets” (76), and later, the prince reaches out and clasps Jemmy’s hand. This physical contact echoes an earlier encounter where the prince shook hands with a commoner at the fair; both moments inspire mutual trust and equality. These moments mark a culmination of the prince’s evolution as a character and leave Jemmy reflecting that “this wasn’t the same Prince Brat who’d run away the night before” (77). Prince Horace also plays a significant role in securing safety for him and Jemmy: He throws a birdcage to lure Billy and Cutwater in the direction of the sewers’ most vicious rats. Once again, the criminals are attacked by animals, echoing their encounter with Petunia.

Prince Horace’s newfound confidence and integrity are solidified by the action he takes after Billy and Cutwater flee the sewers. He ensures that Captain Nips and Betsey receive the monetary reward for Jemmy’s return, an act of altruism. Being part of a community, and seeing other people come to his aid, has given the prince a genuine sense of connection. Inspired, he uses his power and privilege to help others, which speaks to the type of leader he may become. Prince Horace also makes good on an earlier promise to Jemmy, to protect him from punishment; his action reveals that the prince is indeed reliable.

This change in Prince Horace’s behavior leaves Jemmy to conclude “if it’s a friend you ran off looking for, it’s a friend you found” (88). This quote is revealing as it relates to the novel’s coherence with the quest narrative, or the voyage and return narrative. Initially, the plot doesn’t seem to fully align with the quest narrative, as Prince Horace seems to run away on a whim. However, this quote hints that the prince’s quest may have been friendship; interestingly, while Jemmy and the prince were living in the same place, they couldn’t truly appreciate each other. The plot partially conforms to a voyage and return narrative because Jemmy and Prince Horace end the story changed from their adventure. They have developed and matured as characters and have a much deeper understanding of themselves.

Overall, the novel’s resolution is positive; while the king is not a prominent character, there are hints that Prince Horace’s perception of his father as uncaring has been incorrect. The king gives his son and Jemmy “a smile you could warm your hands over” (88) and tells them “if you boys decide to run away again, take me with you” (88-89). This response shows that the king may also feel stifled and trapped by the responsibilities of life in the castle, and that he wants to see his son happy. While the various characters who help the prince during his adventure are rewarded, the two criminals are appropriately and ironically punished. Billy and Cutwater think they are fleeing the land, but they are sailing toward a convict island, which reinforces their incompetence one last time. The novel ends with a just and fair system of rewards and punishments, which provides a counterbalance to Jemmy’s unfair suffering as a whipping boy.