William Shakespeare Character Analysis

As he stands at Hewlands’ window, the need to leave, to rebel, to escape is so great that it fills him to his very outer edge: he can eat nothing from the plate the farmer’s widow left for him, so crammed is he with the urge to leave, to get away, to move his feet and legs to some other place, as far away from here as he can manage.

[…] He is just about to turn and face his pupils when he sees, from the trees, a figure emerge.

For a moment, the tutor believes it to be a young man […who] moves out of the trees with a brand of masculine insouciance or entitlement, covering the ground with booted strides. There is some kind of bird on his outstretched fist […]. It sits hunched, subdued, its body swaying with the movement of its companion, its familiar.

“It’s a kestrel, not a hawk,” he says, in a rush. “She trained it herself. A priest taught her. She has a gauntlet and the bird takes off, like an arrow, up through the trees. You have never seen anything like it. It is so different when it flies—it is almost, you might think, two creatures. One on the ground and another in the air. When she calls, it returns to her, circling in these great wheels in the sky, and it lands with such force upon the glove, such determination.”

When she had taken his hand that day, the first time she had met him, she had felt—what? Something of which she’d never known the like. Something she would never have expected to find in the hand of a clean-booted, grammar-school boy from town. It was far-reaching: this much she knew. It had layers and strata, like a landscape. There were spaces and vacancies, dense patches, underground caves, rises and descents. There wasn’t enough time for her to get a sense of it all—it was too big, too complex. It eluded her, mostly. She knew there was more of it than she could grasp, that it was bigger than both of them. A sense, too, that something was tethering him, holding him back; there was a tie somewhere, a bond, that needed to be loosened or broken, before he could fully inhabit this landscape, before he could take command.

She thinks […how] a glove covers and fits and restrains the hand. She thinks of the skins in the storeroom, pulled and stretched almost—but not quite—to the tearing or breaking point. She thinks of the tools in the workshop, for cutting and shaping, pinning and piercing. She thinks of what must be discarded and stolen from the animal in order to make it useful to the glove-maker: the heart, the bones, the soul, the spirit, the blood, the viscera. A glover will only ever want the skin, the surface, the outer layer. Everything else is useless, an inconvenience, an unnecessary mess. She thinks of the private cruelty behind something as beautiful and perfect as a glove. She thinks that if she took his hand […] she might see the landscape she saw before but […also a] dark and looming presence there, with tools to eviscerate and flay and thieve […]

But his mother is not in the least frightened. The physician and Hamnet’s mother regard each other for a moment, through the hatch, from which his mother sells cures. Hamnet realises, he sees, with the cutting clarity of a child poised to enter manhood, that this man doesn’t like his mother. He resents her: she sells cures, she grows her own medicines, she collects leaves and petals, bark and juices and knows how to help people. This man, Hamnet suddenly sees, wishes his mother ill. She takes his patients, trespasses on his revenue, his work. How baffling the adult world seems to Hamnet, at that moment, how complex, how slippery. How can he ever navigate his way in it? How will he manage?

“Something about rain. And branches. But I couldn’t properly make it out.”

Bartholomew regards him for a second or two, turning these words over and over in his mind. Rain and branches. Branches. Rain. Then he lifts his crook and tucks it into his belt.

“Get up,” he says.

The husband is still speaking, more to himself than anyone else. “She was here this morning and then she wasn’t,” he is saying. “The Fates have intervened and swept her away from me, as if on a tide, and I have no idea how to find her, no idea where to look and—”

“I do.”

“—I shall not rest until I find her, until we are—” The husband stops short and raises his head. “You do?”

“Yes.”

“How?” he demands. “How can you know her mind so quickly and yet I, who am married to her, cannot begin—”

Suddenly she knows two things. She doesn’t know how she knows them: she just does. Agnes never questions these moments of insight, the way information arrives in her head. She accepts them as a person might an unexpected gift […]

She is with child, she feels. There will be another baby in the house by the end of winter. Anges has always known how many children she will have. She has foreknowledge of this: she knows there will be two children of hers standing at the bed when she dies. And here is the second child now, its first sign, its very beginning.

She also knows this smell, this rotten scent, is not a physical thing. It means something. It is a sign of something—something bad, something amiss, something out of kilter in her house. She can feel it somewhere, growing, burgeoning, like the black mould that creeps out of the plaster in winter.

And now the moment has arrived. Agnes conjugates it: he is going, he will be gone, he will go. She has put these circumstances together; she has set it all in motion, as if she were the puppeteer, hidden behind a screen, gently pulling on the strings of her wooden people, easing and guiding them on where to go. She asked Bartholomew to speak to John, then waited for John to speak to her husband. None of this would have happened if she hadn’t got Bartholomew to plant the idea in John’s head. She has created this moment—no one else—and yet, now it is happening, she finds that it is entirely at odds with what she desires.

So much to mull over in this letter. It has taken Agnes days to absorb all the detail; she has run the words over and over inside her head, she has traced them with a finger, and now she has them down to memory. Jewels and beads. Scenes in court. The hands of young stage boys. And soft gloves for ladies. There is something in the way he has written all this, in such lingering detail, in the long passage about these gloves for the players that alerts Agnes to something. She is not yet sure what. Some kind of change in him, some alteration or turning. Never has he written so much about so little: a glove contract. It is just a contract, like many others, so why, then, does she feel like a small animal, hearing something far off?

Agnes’s concept of death has, for a long time, taken the form of a single room, lit from within, perhaps in the middle of an expanse of moorland. The living inhabit the room; the dead mill about outside it, pressing their palms and faces and fingertips to the window, desperate to get back, to reach their people. Some inside the room can hear and see those outside; some can speak through the walls; most cannot.

The idea that this tiny child might have to live out there, on the cold and misted moor, without her, is unthinkable. She will not let her pass over.

When the twins were very small, perhaps around their first birthday, he had turned to his wife and said, Watch.

Agnes had lifted her head from her workbench.

He pushed two slivers of apple across the table to them. At exactly the same moment, Hamnet reached out with his right hand and gripped the apple and Judith reached out with her left.

In unison, they raised the apple slices to their lips, Hamnet with his right, Judith with her left.

They put them down, as if with some silent signal between them, at the same moment, then looked at each other, then picked them up again, Judith with her left hand, Hamnet with his right.

It’s like a mirror, he had said. Or that they are one person split down the middle.

Their two heads uncovered, shining like spun gold.

He will never come again. There is a part of her that would like to wind up time, to gather it in, like yarn. She would like to spin the wheel backwards, unmake the skein of Hament’s death, his boyhood, his infancy, his birth, right back until the moment she and her husband cleaved together in that bed to create the twins. She would like to unspool it all, render it all back down to raw fleece, to find her way back, to that moment, and she would stand up, she would turn her face to the stars, to the heavens, to the moon, and appeal to them to change what lay in wait for him, to plead with them to devise a different outcome for him, please, please. She would do anything for this, give anything, yield up whatever the heavens wanted.

To him, it is the best place to be, before a performance: the stage below him, the audience filling the circular hollow in a steady trickle, and the other players behind him, transforming themselves into sprites or princes or soldiers or ladies or monsters. It is the only place to be alone in such a crowd. He feels like a bird, above the ground, resting on nothing but air. He is not of this place but above it, apart from it, observing it. It brings to mind, for him, the wind-hovering kestrel his wife used to keep, and the way it would hold itself in the high currents, far above the tree tops, wings outstretched, looking down on all around it.

On all sides, bodies and elbows and arms press in. More and more people are pouring through the doors. Some on the ground are gesturing and shouting to others in the higher balconies. The crowd thickens and heaves, first one way, then the next; Agnes is pushed backwards and forwards but she keeps her footing; the trick seems to be to move with the current rather than resist it. It is, she thinks, like standing in a river: you have to bend yourself to its flow, not fight it.

Hamlet, here on this stage, is two people, the young man, alive, and the father, dead. He is both alive and dead. Her husband has brought him back to life, in the only way he can. As the ghosts talks, she see that her husband, in writing this, in taking the role of the ghost, has changed places with his son. He has taken his son’s death and made it his own; he has put himself in death’s clutches, resurrecting the boy to his place. […] He has, Agnes sees, done what any father would wish to do, to exchange his child’s suffering for his own, to take his place, to offer himself up in his child’s stead so that the boy might live.

As he stands at Hewlands’ window, the need to leave, to rebel, to escape is so great that it fills him to his very outer edge: he can eat nothing from the plate the farmer’s widow left for him, so crammed is he with the urge to leave, to get away, to move his feet and legs to some other place, as far away from here as he can manage.

[…] He is just about to turn and face his pupils when he sees, from the trees, a figure emerge.

For a moment, the tutor believes it to be a young man […who] moves out of the trees with a brand of masculine insouciance or entitlement, covering the ground with booted strides. There is some kind of bird on his outstretched fist […]. It sits hunched, subdued, its body swaying with the movement of its companion, its familiar.

“It’s a kestrel, not a hawk,” he says, in a rush. “She trained it herself. A priest taught her. She has a gauntlet and the bird takes off, like an arrow, up through the trees. You have never seen anything like it. It is so different when it flies—it is almost, you might think, two creatures. One on the ground and another in the air. When she calls, it returns to her, circling in these great wheels in the sky, and it lands with such force upon the glove, such determination.”

When she had taken his hand that day, the first time she had met him, she had felt—what? Something of which she’d never known the like. Something she would never have expected to find in the hand of a clean-booted, grammar-school boy from town. It was far-reaching: this much she knew. It had layers and strata, like a landscape. There were spaces and vacancies, dense patches, underground caves, rises and descents. There wasn’t enough time for her to get a sense of it all—it was too big, too complex. It eluded her, mostly. She knew there was more of it than she could grasp, that it was bigger than both of them. A sense, too, that something was tethering him, holding him back; there was a tie somewhere, a bond, that needed to be loosened or broken, before he could fully inhabit this landscape, before he could take command.

She thinks […how] a glove covers and fits and restrains the hand. She thinks of the skins in the storeroom, pulled and stretched almost—but not quite—to the tearing or breaking point. She thinks of the tools in the workshop, for cutting and shaping, pinning and piercing. She thinks of what must be discarded and stolen from the animal in order to make it useful to the glove-maker: the heart, the bones, the soul, the spirit, the blood, the viscera. A glover will only ever want the skin, the surface, the outer layer. Everything else is useless, an inconvenience, an unnecessary mess. She thinks of the private cruelty behind something as beautiful and perfect as a glove. She thinks that if she took his hand […] she might see the landscape she saw before but […also a] dark and looming presence there, with tools to eviscerate and flay and thieve […]

But his mother is not in the least frightened. The physician and Hamnet’s mother regard each other for a moment, through the hatch, from which his mother sells cures. Hamnet realises, he sees, with the cutting clarity of a child poised to enter manhood, that this man doesn’t like his mother. He resents her: she sells cures, she grows her own medicines, she collects leaves and petals, bark and juices and knows how to help people. This man, Hamnet suddenly sees, wishes his mother ill. She takes his patients, trespasses on his revenue, his work. How baffling the adult world seems to Hamnet, at that moment, how complex, how slippery. How can he ever navigate his way in it? How will he manage?

“Something about rain. And branches. But I couldn’t properly make it out.”

Bartholomew regards him for a second or two, turning these words over and over in his mind. Rain and branches. Branches. Rain. Then he lifts his crook and tucks it into his belt.

“Get up,” he says.

The husband is still speaking, more to himself than anyone else. “She was here this morning and then she wasn’t,” he is saying. “The Fates have intervened and swept her away from me, as if on a tide, and I have no idea how to find her, no idea where to look and—”

“I do.”

“—I shall not rest until I find her, until we are—” The husband stops short and raises his head. “You do?”

“Yes.”

“How?” he demands. “How can you know her mind so quickly and yet I, who am married to her, cannot begin—”

Suddenly she knows two things. She doesn’t know how she knows them: she just does. Agnes never questions these moments of insight, the way information arrives in her head. She accepts them as a person might an unexpected gift […]

She is with child, she feels. There will be another baby in the house by the end of winter. Anges has always known how many children she will have. She has foreknowledge of this: she knows there will be two children of hers standing at the bed when she dies. And here is the second child now, its first sign, its very beginning.

She also knows this smell, this rotten scent, is not a physical thing. It means something. It is a sign of something—something bad, something amiss, something out of kilter in her house. She can feel it somewhere, growing, burgeoning, like the black mould that creeps out of the plaster in winter.

And now the moment has arrived. Agnes conjugates it: he is going, he will be gone, he will go. She has put these circumstances together; she has set it all in motion, as if she were the puppeteer, hidden behind a screen, gently pulling on the strings of her wooden people, easing and guiding them on where to go. She asked Bartholomew to speak to John, then waited for John to speak to her husband. None of this would have happened if she hadn’t got Bartholomew to plant the idea in John’s head. She has created this moment—no one else—and yet, now it is happening, she finds that it is entirely at odds with what she desires.

So much to mull over in this letter. It has taken Agnes days to absorb all the detail; she has run the words over and over inside her head, she has traced them with a finger, and now she has them down to memory. Jewels and beads. Scenes in court. The hands of young stage boys. And soft gloves for ladies. There is something in the way he has written all this, in such lingering detail, in the long passage about these gloves for the players that alerts Agnes to something. She is not yet sure what. Some kind of change in him, some alteration or turning. Never has he written so much about so little: a glove contract. It is just a contract, like many others, so why, then, does she feel like a small animal, hearing something far off?

Agnes’s concept of death has, for a long time, taken the form of a single room, lit from within, perhaps in the middle of an expanse of moorland. The living inhabit the room; the dead mill about outside it, pressing their palms and faces and fingertips to the window, desperate to get back, to reach their people. Some inside the room can hear and see those outside; some can speak through the walls; most cannot.

The idea that this tiny child might have to live out there, on the cold and misted moor, without her, is unthinkable. She will not let her pass over.

When the twins were very small, perhaps around their first birthday, he had turned to his wife and said, Watch.

Agnes had lifted her head from her workbench.

He pushed two slivers of apple across the table to them. At exactly the same moment, Hamnet reached out with his right hand and gripped the apple and Judith reached out with her left.

In unison, they raised the apple slices to their lips, Hamnet with his right, Judith with her left.

They put them down, as if with some silent signal between them, at the same moment, then looked at each other, then picked them up again, Judith with her left hand, Hamnet with his right.

It’s like a mirror, he had said. Or that they are one person split down the middle.

Their two heads uncovered, shining like spun gold.

He will never come again. There is a part of her that would like to wind up time, to gather it in, like yarn. She would like to spin the wheel backwards, unmake the skein of Hament’s death, his boyhood, his infancy, his birth, right back until the moment she and her husband cleaved together in that bed to create the twins. She would like to unspool it all, render it all back down to raw fleece, to find her way back, to that moment, and she would stand up, she would turn her face to the stars, to the heavens, to the moon, and appeal to them to change what lay in wait for him, to plead with them to devise a different outcome for him, please, please. She would do anything for this, give anything, yield up whatever the heavens wanted.

To him, it is the best place to be, before a performance: the stage below him, the audience filling the circular hollow in a steady trickle, and the other players behind him, transforming themselves into sprites or princes or soldiers or ladies or monsters. It is the only place to be alone in such a crowd. He feels like a bird, above the ground, resting on nothing but air. He is not of this place but above it, apart from it, observing it. It brings to mind, for him, the wind-hovering kestrel his wife used to keep, and the way it would hold itself in the high currents, far above the tree tops, wings outstretched, looking down on all around it.

On all sides, bodies and elbows and arms press in. More and more people are pouring through the doors. Some on the ground are gesturing and shouting to others in the higher balconies. The crowd thickens and heaves, first one way, then the next; Agnes is pushed backwards and forwards but she keeps her footing; the trick seems to be to move with the current rather than resist it. It is, she thinks, like standing in a river: you have to bend yourself to its flow, not fight it.

Hamlet, here on this stage, is two people, the young man, alive, and the father, dead. He is both alive and dead. Her husband has brought him back to life, in the only way he can. As the ghosts talks, she see that her husband, in writing this, in taking the role of the ghost, has changed places with his son. He has taken his son’s death and made it his own; he has put himself in death’s clutches, resurrecting the boy to his place. […] He has, Agnes sees, done what any father would wish to do, to exchange his child’s suffering for his own, to take his place, to offer himself up in his child’s stead so that the boy might live.