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38 pages 1 hour read

Josephine Tey

The Daughter Of Time

Fiction | Novel | Adult | Published in 1951

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Character Analysis

Alan Grant

Alan Grant is an inspector with Scotland Yard. After breaking his leg while chasing a criminal, he’s forced to recuperate in a hospital. Because Grant is a physically and mentally active man, he finds his forced confinement intolerable. Since all he can do is exercise his mind, he throws himself wholeheartedly into solving the case of the murdered princes. In doing so, he reaches some startling conclusions about who the killer really is.

Grant can discern an individual’s character by studying their face and expression. This is what inspires him to investigate Richard’s case, as Grant cannot reconcile historical accounts of Richard’s crimes with the face depicted in Richard’s portrait.

An advocate of the truth above all else, Grant harbors strong distaste for historical relativism and “Tonypandy history,” or false historical accounts that become entrenched in popular mind. His determination to exonerate Richard even though the case is centuries old stems from this trait.

The Woolly Lamb (Brent Carradine)

Brent Carradine is a young American doing research at the British Museum. He follows his girlfriend overseas to be near her while she’s acting in Marta’s play. Brent is also trying to escape the reach of his father, who wants him to work in the family furniture business. He jumps at the chance to help Grant with his research. Marta calls him “the wooly lamb” because of his soft, curly hair and horn-rimmed spectacles. He delights in debunking historical errors as much as Grant does.

Marta Hallard

Marta Hallard is a London stage actress and Grant’s friend. She’s attractive and flamboyant. Marta stops by to visit Grant during his recovery and takes an interest in keeping his mind occupied. She’s instrumental in finding a fit subject for his detective skills and enjoys discussing the case with him.

Mrs. Tinker

Mrs. Tinker is Grant’s dowdy landlady. She always wears the same hat. Grant believes she owns one other that she calls “‘me blue’” (20), but she only wears this for historic royal functions. Since she was once a dresser in the theater, she is in awe of Marta and other theatrical folk.

Sergeant Williams

Sergeant Williams works with Grant at Scotland Yard. He’s a large, stolid young man who lacks imagination. He possesses a good heart and goes out of his way to visit Grant and bring him news from the Yard. Despite his inability to understand the nuances of Grant’s pet project, he’s happy to fetch books when the invalid asks for them.

The Midget (Nurse Ingham)

Nurse Ingram is physically petite but quite strong. She has no difficulty managing the six-foot-tall Grant. This is a fact he finds humiliating. She possesses a no-nonsense attitude toward her charges. Her tone is brisk and businesslike. She isn’t particularly interested in Grant’s quest for the truth and quickly decides that Richard the Third is dreary.

The Amazon (Nurse Darroll)

In contrast to Nurse Ingham’s brisk, petite efficiency, Nurse Darroll is quite tall. The smallest exertion leaves her short of breath. She lapses into sentimentality and offers unsolicited consolation to her patients. Grant finds her irritating for this reason.

The Matron

The Matron runs the nursing operation of Grant’s hospital. She always appears composed and is careful in forming an opinion. Grant describes her as a person of “unshakeable poise” (48). She makes brief appearances in Grant’s room and offers occasional opinions about Richard the Third. Grant admits she may have been the person who came “nearest to the heart of the matter” (198) in her understanding of the face in the portrait.

The Surgeon

Like the Matron, the Surgeon is an indistinct figure who isn’t described in much detail. He occasionally visits Grant to assess the invalid’s condition. When Grant asks his opinion about Richard, the Surgeon says Richard looks like a polio victim. He also says he never found history books very interesting in school, suggesting that “[p]erhaps more portraits might help” (110).

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