This last notice is captivating, and raises questions. It seems that Charles had already been the subject of an advertisement, and that he knew about it either directly or indirectly, as he could read and write. The obvious irony of this new notice is that Charles would probably read it, finding confirmation of his acting talent and of the importance of changing roles. The notice is two-edged: it enables the narrator to have a dialogue with anyone who might arrest his slave, but it could also serve the purposes of the fugitive himself.  
One clear finding emerges from this chapter, from all these intermingled voices and life stories like that of Charles. Fugitive notices are much more than mere descriptions, unambiguous documentary sources the historian can confidently use without fear of distorting the lost reality. The notices analysed in this chapter can be seen as a series of performances, stages set for dressing-up, carnivalesque expressions and carnival identities, and above all as the polyphonic telling of multi-faceted stories, peopled with characters that are plausible but not always real. As life stories or narrative fragments (petites allures de récit), fugitive slave notices will probably retain their popularity for a long time to come. Let us hope that they will be read in future in all their richness and complexity.