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78 pages 2 hours read

Sid Fleischman

The Whipping Boy

Fiction | Novel | Middle Grade | Published in 1986

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Chapters 1-4Chapter Summaries & Analyses

Chapter 1 Summary: “In Which We Observe a Hair-Raising Event”

Content Warning: The Whipping Boy includes physical punishment of children and uses outdated terminology for Romani people. There is also a mention of animal betting and fights in Chapter 18.

The Whipping Boy opens by introducing Prince Horace, who has a bad reputation for unpleasant behavior; he is widely disliked, and “not even black cats would cross his path” (1). Because of this reputation, he goes by the nickname Prince Brat. One night, during a feast, the prince causes mischief by tearing the wigs off the heads of the many guests. His father, the King, is furious. Because the prince cannot be beaten or whipped, a servant boy named Jemmy serves as his whipping boy. Jemmy doesn’t like his life in the castle and misses his days on the streets.

Jemmy is subjected to physical punishment on Prince Horace’s behalf. The prince becomes annoyed when Jemmy doesn’t react to the pain and complains that if Jemmy doesn’t cry the next time he is beaten, he will send him back to the streets.

Chapter 2 Summary: “Wherein the Prince Cannot Write His Name”

The next morning, Jemmy looks forward to his first beating. He hopes that he will annoy Prince Horace by refusing to cry, and then will be free to leave, happily “back in rags” (5). During the prince’s lessons, his tutor, Master Peckwit, becomes frustrated and angry. The prince is too lazy to learn to write and doesn’t care about being illiterate. Master Peckwit beats Jemmy, and Prince Horace is again annoyed that Jemmy doesn’t cry. However, the prince suspects what Jemmy is trying to achieve and doesn’t send him away. Although the prince doesn’t learn anything, Jemmy listens to Master Peckwit’s lessons and becomes good at reading, writing, and math.

Chapter 3 Summary: “The Runaways”

Jemmy serves as a whipping boy for more than a year. Prince Horace wakes him up in the middle of one night, and explains that he’s bored and running away. Jemmy is surprised and tries to explain that the prince “can’t hop off like you was common folks” (7). He also complains that the consequences of running away will be far worse for him than the prince, but the latter insists that he come along. Prince Horace and Jemmy sneak out into the night.

Chapter 4 Summary: “Containing Hands in the Fog”

Prince Horace and Jemmy ride away from the castle; by dawn, they are lost in a forest. Jemmy begins to realize that he has an ideal opportunity to escape his unhappy life as a whipping boy. He plans to run away as soon as he gets closer to a river. However, before Jemmy can slip away, two rough-looking men stumble upon the two boys. Jemmy quickly identifies the men as criminals.

Chapters 1-4 Analysis

The Whipping Boy is a historical novel but has an ambiguous setting and time period. Details such as the mention of “powdered wigs” (1) suggest that the story takes place somewhere in Western Europe (possibly England or France), in the 17th or 18th century. Interestingly, later details, such as the existence of elaborate networks of sewers, suggest a more modern setting (both London and Paris had their sewage networks significantly expanded in the 19th century). Sid Fleischman was likely less interested in depicting a specific setting than presenting a more general version of a past time governed by different social norms. This lack of precise details also creates a fairy tale or folktale-like atmosphere, priming the reader to expect an ending with a clear moral lesson.

The theme of Wealth Versus Poverty appears early in the novel, as Prince Horace and Jemmy are shown occupying vastly different social positions. Even before he is introduced by name, Jemmy is characterized as “a common boy” (2), and later, as “the son of a rat-catcher” (2). Since they are children, both Jemmy and the prince acquire their social positions through those of their fathers. Prince Horace happens to be the son of a king, poising him to inherit power and authority; on the other hand, rat-catching is a low-ranking, stigmatized position, as it involves working in unpleasant conditions and being exposed to bites and diseases transmitted by rats. However, Jemmy and the prince’s happiness are not necessarily linked to their social status. The prince’s rebellious behavior hints that he may be unhappy, while Jemmy refers to his previous “ragged but carefree life” (2) on the streets. The story will repeatedly challenge the assumption that a life of wealth and privilege is always a happier one.

Since they are young boys, Prince Horace and Jemmy would be expected to receive some form of education, which in turn would develop their morals. For many periods in history, formal education (including learning to read and write) was limited to the upper-class and a few specific professions. While Jemmy hates serving as a whipping boy and dreams of returning to life on the streets, he does end up learning “to read, write, and do sums” (6). These foundational skills serve as a baseline for social mobility; if Jemmy desired, they could help him own a business and keep accounts, write documents, and have access to information without having to rely on someone else to read them.

Jemmy and Prince Horace have different perspectives on education based on their social context. Because the prince is spoiled and pampered, he doesn’t see the value of becoming self-reliant; as he retorts to his tutor, “I can always get someone to read for me” (5). Jemmy, on the other hand, is resilient and makes the best of his situation by acquiring knowledge that he wouldn’t otherwise have access to.

The plot includes elements of a “quest” narrative and some aspects of a “voyage and return” narrative. A quest narrative typically focuses on a protagonist and one or more companions setting off to retrieve a key object or reach a specific goal, and encountering obstacles along the way. A voyage and return narrative tends to focus on a protagonist’s desire to get home (potentially from a quest), and the ways in which they change as a result of their journey. When Prince Horace wakes Jemmy in the middle of the night and demands he accompany him, he initiates a call to action. However, unlike a more classic example of a quest narrative, the prince has no specific purpose in mind; he is simply “bored” (7), revealing the shallow, self-centered nature of his life.

While Jemmy and Prince Horace don’t travel to a magical or mythical location, they do step outside of the confines of normal life once they leave the castle. Most significantly, the rigid social stratification that governs life within the castle ceases to matter. Prince Horace and Jemmy slip away under the cover of night, which the prince calls “the best time” (8). Darkness makes it difficult to see, hinting that their identities and social status will be somewhat hidden, and they will grow to become equals.

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