46 pages • 1 hour read
Maggie O’FarrellA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Agnes and Mary are by Judith’s bedside as her condition worsens. Mary, who already lost three daughters of her own, braces herself for the worst. She permits Eliza to write to the child’s father that he should return from London, as Judith likely does not have many hours to live.
Hamnet awakes feeling sore and achy all over. He rushes to Judith’s bedside, where everyone is asleep. He sees that Judith is looking at him and that she appears far worse. He implores her to get better and wishes that he could die in her place. Given that they look so similar, he considers it “possible to hoodwink Death, to pull off the trick he and Judith have been playing on people since they were young: to exchange places and clothes, leading people to think that each was the other” (168). He vows that Death will take him in Judith’s place, and that she should be the one to live, and he to die.
Mary is furious that her son is going to London. She is convinced that some harm with come to him because he is so absent-minded. She is especially angry with Agnes for not taking her side; now more than ever, Mary sees Agnes as a forest-dwelling interloper who seduced her son. Agnes, meanwhile, is heavily pregnant with what she believes to be one baby of an indeterminate sex.
Although she is reluctant to have her husband go, she does not want to keep him against his will. Although he is eager to get going, he promises that he will send for Agnes, Susanna, and the new baby as soon as he is settled.
Mary delivers Eliza’s letter to her brother to a boy, who takes it to the posting inn. The innkeeper then hands it to a merchant, who is going some of the way to Banbury. Eliza’s brother is in Kent because, due to the plague, the theaters in London are shut down to prevent the gathering of large crowds. In Kent, however, people are still permitted to gather. The letter passes through several hands before it reaches Eliza’s brother, who at the time is occupied with encouraging his colleagues to deliver a good play, even though they are unused to the smaller dimensions of the stage. When he opens the letter and finds that his daughter is ill, he is devastated and determined to get to Stratford as quickly as possible.
Agnes experiences labor pains a month before she expects them. While she tries to go and give birth in the forest, Mary catches up with her and prevents her from doing so. Throughout the labor, she thinks about the letter her husband wrote from London, which she asked Eliza to read aloud to her twice. Her husband said he was outfitting actors from the playhouse with gloves, but Agnes finds that “there is something in the way he has written […] the long passage about these gloves for the players” that signals “some alteration” in him (188). The alteration is that he seems happy, enthusiastic, and more like himself away from the family. Agnes feels as though her husband is very far off and has a premonition of dread.
Assisted by Mary and the midwife, Agnes gives birth to a boy. The midwife then has an intuition that Agnes has a second baby to deliver. The next baby, a girl, is born with her umbilical cord around her neck. While they assume that the baby is dead, she is eventually revived. The girl, Judith, is half the size of her brother Hamnet and very frail. Although Agnes has plans to move the family to London to join her husband, she keeps putting them off to ensure Judith’s survival. Agnes toils to “push back, fight against, undo the foresight she always had, about having two children” and vows to do everything to protect them (202). Agnes and the children do not move to London, and the husband continues to live apart from his family.
Upon waking at Judith’s bedside, Agnes makes the astonishing discovery that Judith and Hamnet appear to have swapped clothes and bodies. Judith dressed as Hamnet is the healthy one, while Hamnet dressed as Judith is grievously ill. Agnes feels as though fate has played a trick on her; she should have been showering Hamnet, not Judith, with medical attention. None of her cures work on Hamnet. Hamnet meanwhile envisages a snowy landscape and prepares himself for rest. He dies surrounded by his grieving mother, sisters, and grandmother.
Themes of doubling, scarcity, and changing places preside over the third section of the novel, which continues to alternate between the narratives of the events leading up to Hamnet’s death with those following his parents’ meeting. Right up until the moment that she gives birth to twins, Agnes clings onto the premonition that she will only have one other child, totaling two and not three. Whereas she was certain that her first baby would be a girl, during her second pregnancy “she is receiving no definite signs” (178). According to the superstitions known to her, a knife pointing toward the fire, dry and crackling, and a female pheasant hair indicate a girl; while the crisp taste of an apple, soft skin, and a male peewit, suggest a boy. These rustic symbols send out mixed messages, and despite the enormous size of her belly, Agnes’ inability to conceive of opposite sex twins before they arrive, feeds into Hamnet’s later superstition that “there is not enough life, enough air, enough blood for both of them. Perhaps there never was” (169).
The notion of insufficient air and blood suggest the image of a mother’s womb that is not adequately equipped to deal with more than one life. While Judith, who was frail from birth and susceptible to illness, was deemed the twin with a more fragile hold on life, in the end, Hamnet proves to be the truly vulnerable one. O’Farrell shows this vulnerability in the mixed clues of Hamnet’s sickening aspect and his extraordinary generosity in handing his life over to his twin. Hamnet’s act opposes his society’s patriarchal norms, which dictate that as a hearty male his life is more valuable than that of his sister. The sleep that follows Hamnet and Judith’s exchange of clothes, and which engulfs previously watchful Agnes as well, augments the mystery around the mortal sickness leaving Judith’s body and entering Hamnet’s. The sleep, which temporarily paralyzes the human actors and makes a mockery of their vigilance, acts as a metaphor for their helplessness in the face of death.
As Agnes experiences a loss of certainty in this section, her previously drifting husband becomes endowed with power and status as a result of his burgeoning career as a playwright in London. The moment in Chapter 16, when Agnes receives her husband’s enthusiastic letter, is crucial. While her husband has found his tribe and is on the ladder to success, Agnes, who is on the verge of labor, has her power taken away from her when her mother-in-law insists that she give birth in the traditional way, and not in the forest as she would have wished.
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