Hamnet

by

Maggie O'Farrell

Hamnet: Chapter 14 Summary & Analysis

Summary
Analysis
Just shy of her second birthday, Susanna sits in a basket, pretending to row herself down the river with a pair of spoons. In her imagination’s eye, she sees Mary’s parlor filled with ducks and swans. Her father crosses the room, and she wants to warn him against falling in. He stops in front of Agnes, whose needle leaps like a silvery fish in and out of her sewing. Susanna watches her father and grandmother argue. She looks toward Agnes, her belly full with a brother or sister just for her. A squirrel perches on Agnes’s arm. Susanna longs to touch it, but she knows it will not allow her too close. Quick as a flash, Agnes turns and lets the squirrel out the open window. 
Filtering key plot points through witnesses who can’t hear or understand what’s happening respects the gaps in the historical records of Shakespeare’s life—there is no agreement about how and why he ended up in London. Moreover, filtering the arguments through Susanna’s consciousness allows the book to focus on the emotional impacts of the coming separation, which Mary clearly does not want. Readers also get a glimpse of Susanna’s innate imagination, which connects her with her parents even though the book presents her teenage self as practical rather than imaginative. The fact that the squirrel will engage with her mother but not with her hints that she will grow up to be a far more conventional person than her parents.
Themes
Loss and Grief Theme Icon
As Mary listens to the husband eagerly discuss John’s plan to send him to London, she grows furious, especially because she thinks that Agnes, cooing stupidly at the half-tame squirrel she allows into the house, isn’t listening. But Mary knows Agnes is far more astute than she seems; she believes that Agnes enticed and seduced her son into an unsuitable marriage. She loses her temper and shouts at her son about irresponsibility. But what she really wants is to unwind time, undo his marriage to Agnes, and keep him far away from crowded, disease-ridden London. She appeals to Agnes, who maddeningly says that there’s no reason to keep her husband in Stratford against his will. Mary wants to hit Agnes. Instead, she throws her own needlework to the floor and storms out, further enraged to hear her son and daughter-in-law laughing at her retreat.
The book’s perspective shifts and readers find themselves privy to Mary’s thoughts now. These betray key characteristics of Shakespeare's mother, including her desire to control and direct the events—and people—around her. And, importantly, she reveals her fear that London will take another of her children from her; remember she's already lost two infant daughters and Anne. The fact that she focuses most of her anger on Agnes, secretly the author of this plan, even though John takes credit for it, suggests that she may intuitively understand more than she realizes about Agnes’s agency.
Themes
Loss and Grief Theme Icon
Fate and Fortune Theme Icon
Freedom, Restraint, and Genius Theme Icon
Quotes
Weeks later, Agnes walks arm-in-arm with her husband to the edge of town. He struggles to walk slowly enough for her, since the weight of the baby makes her slow. She can tell that he is impatient to be gone. Although she herself engineered this moment, she doesn’t really want it. She wants him to stay with her. But what she wants doesn’t matter, she tells herself. He is going. He will be gone. She casts a sideways glance at her beloved husband, his boots shiny with polish, his beard glossy, his pack filled with glove samples and more than a few of his books. She asks him questions about London to which she already knows the answers, just to hear his voice and delay the inevitable.
The earlier chapters of the book introduced Agnes’s kestrel, a magnificent animal who can only show its full power when it is unhooded, released from confinement in the apple shed, and allowed to fly free. Agnes’s husband in this moment plays the part of that bird, tied to her side by bonds of loyalty and affection, yet still wild and anxious to fly. Agnes doesn’t want him to leave, but exercising her own agency and the fact that this was a choice she made for them (even if he doesn’t know it) comforts her.
Themes
Loss and Grief Theme Icon
Freedom, Restraint, and Genius Theme Icon
The Power of Love  Theme Icon
Quotes
The husband talks and talks about nothing. He asks again if Agnes knows what their baby will be—John hopes for a grandson, but he doesn’t care. But she doesn’t; all the signs have been ambiguous. He kisses her and makes one final offer to stay, which she refuses. She only asks that he fetch her as soon as he can. She refuses to watch him walk away; he promises to walk backwards all the way to London if it lets him keep her in his sight for a second more. As she retraces her steps, Agnes can hardly believe how little has changed in the outside world when her life has been cut into two halves: the part before her husband left and the part after. Inside her, the baby moves, and she places her hand on her belly to return its touch.
Since the book has been toggling back and forth between 1596 and the events of the 1580s, readers understand the simple answer to Agnes’s ambiguous signs: she carries twins, not one child. But, because her vision of two children guides her, she cannot imagine what fate has in store for her. Her sense that her life has been cleft in two confirms for readers what she hid from her husband: the choice to engineer his departure, while evidently necessary to save him from his melancholy and to help him to reach his full potential, costs her dearly.
Themes
Loss and Grief Theme Icon
Fate and Fortune Theme Icon
The Power of Love  Theme Icon
Get the entire Hamnet LitChart as a printable PDF.
Hamnet PDF