67 pages • 2 hours read
Gary L. BlackwoodA 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.
Widge and the stranger arrive at their destination, “a substantial house surrounded by a high hedge” (25). The stranger passes off his horse to a stable boy named Adam, then he enters the kitchen where he requests food from Libby, the girl working there. Libby shows Widge to his room in the garret. Instead of staying awake to eat or wash, he immediately blows out the candle lighting the room and falls into a deep sleep.
When Widge awakes, he hurriedly eats and dresses, surprised by the lateness of the morning. Emerging from his room, he encounters Libby, the servant girl he met the night before. She offers to wash his clothes then tells him that “the master said to bring you to him as soon as you were up” (28). Widge thinks that his master is the gruff stranger who purchased him from Dr. Bright. However, upon entering his master’s study, he is met by a “mild-looking man with a well-trimmed beard and a balding head of hair of an odd, reddish hue” (29). The chapter ends with the man, Simon Bass, introducing himself and telling Widge that he is his new master.
Chapter 5 opens with Widge in Simon Bass’s study, getting acquainted with his new master. Widge learns the mysterious stranger’s name from Bass—Falconer—and discovers the reason for his hire. Bass describes Widge’s primary duty to him: attending a performance of William Shakespeare’s play The Tragedy of Hamlet, Prince of Denmark and copying the script via Dr. Bright’s charactery. Bass presents Widge with a small tablebook that can be easily concealed on his person during the copying mission, and Widge presses his new master for details about the purpose of transcribing the play. Bass discloses to Widge that he has a company of players, or actors, who could stage Hamlet and “double their box,” or their earnings (32). This would, in turn, benefit Bass financially since he is the playing group’s investor.
Widge remains at the house for only two nights, setting out for London with Falconer the next morning. Widge is inwardly excited to be traveling to London for the first time: “Ever since I could remember, I had heard Dr. Bright and others speak of London in tones usually reserved for the Heavenly City” (34). On the way, however, a hare runs across the path of Widge and his mount, signifying, for him, a bad omen.
It takes Widge and Falconer a full two days to reach London. Widge is immediately overwhelmed by the city, and, stumbling on a cobblestone street, he falls into a ditch that functions as the city’s sewer. Finally, with Widge covered in waste, the two reach their lodgings, an inn called The George. Once there, Widge learns that he is to sleep in the stables, while Falconer sleeps in a room at the inn.
The two remain at the inn for three days, waiting for the next performance of Hamlet by the Lord Chamberlain’s Men. Widge amuses himself by continuing to take in the newness of London, though his excitement transforms into queasiness on the day he is supposed to copy the play. Falconer beckons Widge into a boat—the first boat that Widge has ever boarded—and the two set off across the river toward the theatre. The chapter closes with Widge, who does not know how to swim, falling overboard into the water.
Chapter 7 opens with Widge struggling in the water before Falconer pulls him back into the boat. When Widge thanks Falconer for saving his life, the older man remarks, “I saved your master’s investment, that’s all” (45). The two then disembark from the boat and walk toward the theatre while Widge is still dripping from his watery mishap.
When they arrive at the theatre, Widge discovers that Falconer will not attend the performance with him. Falconer pushes Widge forward into the crush of theatregoers, and Widge is soon seated among a noisy, jostling group of penny-ticket playgoers. The play begins without Widge realizing it, and he hurries to set up his tablebook and pen so that he can begin copying down the script in charactery. By the time Widge creates a system for assigning numbers to players to keep their lines organized on the page, a new problem presents itself: He begins to get caught up in the action of the play and forgets to copy portions of the speeches. According to Widge’s narration, “My petty mission no longer seemed to matter. All that mattered was whether or not Hamlet would take action to avenge his father” (50). As the play closes, Widge realizes his mistake and begins to dread facing Falconer. The chapter closes as Widge ponders what plausible lie he could deliver to Falconer in lieu of the completed script.
Chapters 4-7 introduce new themes and expand on previous ones. The concept of intellectual property rights is broached as Simon Bass informs Widge that his primary duty as an apprentice will be to copy William Shakespeare’s newest play, The Tragedy of Hamlet, Prince of Denmark. Intellectual property is central to the premise of the plot. In the setting of Shakespearean England, the term “intellectual property” does not exist, yet standards of integrity and honor are still important in society, particularly among players and playwrights. At this time, plays remain unpublished for as long as possible because there is little that playwrights such as Shakespeare could do in retaliation if a competing troupe of players decided to stage one of his plays and undermine the Globe Theatre’s profits.
Unlike the concept of intellectual property, the idea of appropriation is explicitly stated in the text. Simon Bass remarks to Widge that “if his [Shakespeare’s] work is going to be appropriated, it ought to be done well” (33). Through this, one can identify a glimpse of Bass’s own standards of character. Although he does not consider it wrong that he has hired Widge to copy the play, Bass would consider it wrong if a pirated version of the play were staged less skillfully than his troupe could perform it.
Dialect and class become important in Chapter 6, as when Falconer implores Widge to “stop saying aye” and to instead say “yes,” as is the practice among London’s upper class. Widge thinks to himself that he would do “anything that would make [him] appear more like a Londoner and less like a green country woodcock” (39). Throughout the text, characters remark on Widge’s regional dialect, often negatively. Class distinctions are stark in Widge’s England, and dress, speech, and culinary taste all indicate class. As an apprentice, Widge ranks the lowest in English society, particularly as an apprentice from the country who is unfamiliar with the customs of London society.
Chapter 7 considers women’s roles in the theatre—and in society. Widge remarks, “because many considered the world of the theatre immoral, women were forbidden by law to act upon the stage. All women’s roles were played by men and boys” (49-50). This topic becomes important later in the text when it is discovered that one of Lord Chamberlain’s Men is actually an adolescent girl masquerading as a boy. There are several instances of gendered responsibilities up to this point in the novel. For instance, the minor character Libby is assigned to kitchen and laundry duties, whereas her male counterparts are assigned to outdoor and stable work. Moreover, every powerful figure Widge encounters is male except for his orphanage’s caretaker, Mistress MacGregor. In Mistress MacGregor’s case, she is still fulfilling a role in society that is typically associated with females: caretaking. Similarly, Libby and Dr. Bright’s wife also tend to the home, and Widge’s mother is only mentioned in relation to her giving birth to him. No details are ascribed to his mother’s character other than her motherhood.
By Gary L. Blackwood