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.
When Widge discloses to Falconer that he has missed some sections of the play, Falconer grows angry and tells Widge that he will have to attend the play again. As Falconer stalks off, he knocks another man off balance in the process. The man falls into a drainage ditch, and then he bounces up and lunges after Falconer, attacking him. Falconer quickly disarms the other man and continues on his way, leaving Widge behind with his victim. The victim questions Widge about Falconer, but Widge pretends not to know Falconer, claiming to be just another theatre attendee.
The man continues conversing with Widge, and he informs Widge that he is the company’s fencing master. Widge is torn between catching up to Falconer and learning more about the theatre from the man. When the fencing master finally leaves, Widge is able to ask a “cheerful fishwife” for directions back to The George (57). Once Widge returns to the inn, he finds Falconer eating supper. Falconer questions Widge about his conversation with the fencing master. Once he is satisfied that Widge did not reveal anything important, Falconer heads upstairs to his room.
Two more days pass. On Friday, the day of the second Hamlet performance, Falconer tells Widge, “be sure you complete your work today. We’ve lost our lodgings” (58). Falconer reveals that they have been asked to leave the inn because he killed a fellow lodger during the night in a duel. When Widge asks him why he dueled the other lodger, Falconer states that the other lodger called him “a filthy Jew” (59). When Widge asks Falconer if he is actually Jewish, the man remarks, “there are no Jews in England. Only former Jews” (59).
Falconer informs Widge that he must sneak into the back of the stage and listen to the play from there. This will give Widge a better opportunity of hearing every line. Widge hides himself behind the draperies and begins transcribing the play once again, attempting to fill in the gaps from his first attempt. He is successful. While the performance continues, Widge tries to sneak back out of his hiding spot to return to Falconer, but the player manning the cannon prop spots Widge and tries to apprehend him. During their struggle, the player misfires his cannon, causing the theatre to catch on fire. As crowds begin pouring out of the burning building, Widge makes his escape along with them. Once he reaches safety, Widge realizes that his tablebook (with the copied play written in it) is missing.
Upon realizing that his tablebook has been pickpocketed out of his wallet during the chaos, Widge traces his steps back to the burning building. Widge is worried about what Falconer will do to him if he discovers that Widge has lost the play. His only hope is that the thief, upon seeing the illegible charactery, will think that the book is useless and toss it aside.
While searching for the lost tablebook, Widge is discovered by a member of the Lord Chamberlain’s Men, who escorts Widge to the rest of the theatre company. Widge learns that the brawny man’s name is Thomas Pope. He is initially worried that Pope or one of the other company members found his tablebook, especially when they call him a “criminal.” However, Widge quickly convinces them that his only crime is sneaking into the theatre to see the performance for free. In fact, Widge takes his story one step further and tells Pope that he has come to London alone because he wants to become a player, or actor, too.
At first, the other players do not believe Widge. Then the fencing master, whom Widge met in the street, speaks up for him. He tells the other men, “I believe him […] You’ve felt that hunger, every mother’s son of you. Would you refuse to let him satisfy it?” (71). Upon the fencing master’s recommendation, the company votes to allow Widge to stay on as an apprentice with the Lord Chamberlain’s company.
The players determine that Mr. Pope will be in charge of Widge, so Widge sets off for supper with him and a boy named Alexander Cooke, whom everyone calls “Sander.” At Mr. Pope’s home, Sander lends Widge a change of clothes and informs him that they will be roommates. Widge asks Sander if he has a copy of Hamlet, and Sander laughs at him, explaining that “no one gets a copy of the whole play” (75). Sander then tells Widge about “sides,” the small sheets of paper that each player receives to learn the lines of his individual part. According to Sander, only the book keeper gets a complete copy of the play, which is always locked away. Widge realizes that he is stuck between two dangerous problems: returning to Falconer and Bass with a copy of Hamlet or being exposed as a fraud by the Lord Chamberlain’s players.
The next day, Widge and Sander set out for “The Globe,” which is what the players call the theatre. Sander introduces Widge to other players such as Will Sly, a former apprentice who is now a member of the company, and two boys named Samuel and James. Samuel and James are “hopefuls,” which means that they are “hopeful of staying on as prentices” (80).
Widge and Sander spend the next hour doing lowly apprentice work for the theatre, which includes sweeping, loading, and cleaning. After this work, Sander tells Widge that it is time for their lessons, though Widge does not know what type of lessons Sander is referring to since they already know how to read and write. The chapter ends with Widge standing outside of the lesson room, listening to the cries of students who are being whipped with a willow switch. Widge concludes that his new life at the theatre will be just as harsh as his life before joining the theatre.
Chapter 12 opens with Widge scared to enter the lesson room due to the cries he heard coming from it. He states, “But just then Sander turned and beckoned to me with such a cheerful and friendly countenance that I swallowed my misgivings and followed him inside the lesson room” (82). Once in the lesson room, Widge realizes that the cries he heard were not those of apprentices being beaten but of apprentices learning to fence for the stage. The boys are practicing under the tutelage of Mr. Armin, the fencing master who vouched for Widge. For the next hour, Widge practices as well, though his initial efforts are bumbling.
Sander and another apprentice, Julian, take turns tutoring Widge in fencing until Nick, an older apprentice, approaches. Nick declares that he will make sure “that [Widge] learns his lesson,” mocking Widge and abusing him through the guise of teaching him fencing stances (86). Nick is clearly the better fencer. When the situation starts to become dangerous, Julian steps in. Nick relents but not before telling Widge to “study his footwork well” because Nick “means to hobble” him (87).
After the rest of the apprentice lessons, Widge and Sander are sent to assist with a performance of Every Man Out of His Humour. Sander is told to hold the playbook, and Widge is instructed to dress players in the tiring room. Julian retreats into a different room to change, which Widge wonders about. Sam, one of the hopefuls, tells Widge, “He’s a modest one, is all” (89-90).
During a lull in the costume room, Widge returns to the upper stage area where he was first discovered on the day that he lost his tablebook. After scouring the location, he confirms for himself that the tablebook must have been stolen. That prompts him to remember a grinning man who bumped into him that day. Widge concludes that the man was most likely the thief, who must have been frustrated when he walked away with a book full of illegible scribbles. But the thief’s frustration “could not have held a candle” to Widge’s dismay when he realizes that his tablebook is truly gone (90).
Though brief, these chapters expand upon ideas about intellectual property, social connection, and friendship. Violence also continues to affect Widge’s life. Initially, it impacts him through the callous way Falconer states that they have lost their lodgings, and then it influences him through Nick’s bullying. Up until this point, Widge’s life is marked by a mixture of violence and abuse, so much so that he assumes he’ll be beaten during his lessons. Thus, readers see how abuse affects more than just a person’s body. Widge’s past has completely altered how he is able to understand his present. In other words, because he has been violently mistreated in the past, he assumes that every relationship in his life will follow the same pattern.
Despite his past, another theme starts to emerge in Widge’s tumultuous life: friendship. All of the players except two vote to take Widge on as an apprentice thanks to Mr. Armin’s recommendation. Widge spends most of his time accompanied by Sander—another apprentice in the care of Mr. Pope—who becomes Widge’s roommate. Even as Widge apologizes for moving into Sander’s previously unshared bedroom, Sander demonstrates kindness toward Widge, saying, “I don’t mind. It’ll give me somebody to talk to—and to study lines with” (75).
Widge is consistently shocked when kindness is shown to him, even in small ways. While working at the Globe, a man accidentally bumps into Widge, and Widge cowers as he anticipates being hit. But, to Widge’s surprise, “the man was the one to offer an apology. ‘Sorry. Didn’t see you,’” he tells Widge politely (78). Similarly, while approaching the lesson room and hearing the fighting sounds coming from within, Widge assumes that the apprentices are being beaten. He is surprised to realize that they are only being trained in fencing for the stage. Throughout the novel, Widge tends to expect the worst from other people and to not trust them easily. This trait sometimes protects him, but more often than not it isolates him from healthy connections and impedes his ability to become enmeshed in the community of the Lord Chamberlain’s Men. Although enough background information about Widge is provided for the reader to be able to understand why he behaves the way that he does, one of his major character arcs is learning to love and be loved.
Finally, the concept of intellectual property continues to develop in these chapters. Sander explains to Widge that others have tried to copy Shakespeare’s work before. Unifying the idea of intellectual work with economic gain, Sander remarks, “But the worst of it is, they don’t give Mr. Shakespeare a farthing for it” (75-76). Although Chapter 12 closes with Widge confirming that his own copy of the Hamlet script was stolen, he distances himself from the idea that he is also stealing from Shakespeare and the players by copying the script. Widge never quite makes the connection that he is also trying to take advantage of and profit from someone else’s work. Although “plagiarism” is not a word used by the troupe, it becomes clear from the way they care for the playbook that they take intellectual property seriously. They understand that their livelihoods depend on the profits made at the box office, which will decrease if another troupe stole their production.
By Gary L. Blackwood