The Shakespearean drama Hamlet shows much deception and crime. Few friendships in the play survive till the end. But Hamlet and Horatio, best of friends, are not even separated by the hero’s death. This essay will elaborate on this relationship.
A.C. Bradley in Shakespearean Tragedy notes a problem involving Horatio in Shakespeare’s Hamlet:
When Horatio, at the end of the soliloquy, enters and greets Hamlet, it is evident that he and Hamlet have not recently met at Elsinore. Yet Horatio came to Elsinore for the funeral (I.ii. 176). Now even if the funeral took place some three weeks ago, it seems rather strange that Hamlet, however absorbed in grief and however withdrawn from the Court, has not met Horatio. . . (368).
Marchette Chute in “The Story Told in Hamlet” describes Horatio’s part in the opening scene of the play:
The story opens in the cold and dark of a winter night in Denmark, while the guard is being changed on the battlements of the royal castle of Elsinore. For two nights in succession, just as the bell strikes the hour of one, a ghost has appeared on the battlements, a figure dressed in complete armor and with a face like that of the dead king of Denmark, Hamlet’s father. A young man named Horatio, who is a school friend of Hamlet, has been told of the apparition and cannot believe it, and one of the officers has brought him there in the night so that he can see it for himself.
The hour comes, and the ghost walks (35).
Horatio, frightened, futilely confronts the ghost:
What art thou that usurp’st this time of night,
Together with that fair and warlike form
In which the majesty of buried Denma…
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…Don Nardo. San Diego: Greenhaven Press, 1999. Excerpted from Stories from Shakespeare. N. p.: E. P. Dutton, 1956.
Granville-Barker, Harley. “Place and Time in Hamlet.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Prefaces to Shakespeare. vol.1. Princeton, NJ: Princeton University P., 1946.
Levin, Harry. General Introduction. The Riverside Shakespeare. Ed. G. Blakemore Evans. Boston: Houghton Mifflin Co., 1974.
Mack, Maynard. “The World of Hamlet.” Yale Review. vol. 41 (1952) p. 502-23. Rpt. in Shakespeare: Modern Essays in Criticism. Rev. ed. Ed. Leonard F. Dean. New York: Oxford University P., 1967.
Shakespeare, William. The Tragedy of Hamlet, Prince of Denmark. Massachusetts Institute of Technology. 1995. http://www.chemicool.com/Shakespeare/hamlet/full.html No line nos.
Madness and Insanity in Shakespeare’s Hamlet – Insanity in Hamlet
Insanity in Hamlet
A consideration of the madness of the hero Hamlet within the Shakespearean drama of the same name, shows that his feigned madness sometimes borders on real madness, but probably only coincidentally.
Hamlet’s conversation with Claudius is insane to the latter. Lawrence Danson in “Tragic Alphabet” describes how Hamlet’s use of the syllogism is pure madness to the king:
What Hamlet shows by his use of the syllogism is that nothing secure can rest on the falsehood that masquerades as the royal order of Denmark.
From Claudius’s point of view, however, the syllogism is simply mad: its logic is part of Hamlet’s “antic disposition.” Sane men know, after all, that “man and wife is one flesh” only in a metaphoric or symbolic sense; they know that only a madman would look for literal truth in linguistic conventions. And Claudius is right that such “madness in great ones must not unwatched go” (III.i.end). For the madman, precisely because he does not accept society’s compromises and because he explores its conventions for meanings they cannot bear, exposes the flaws which “normal” society keeps hidden (70).
Phyllis Abrahms and Alan Brody in “Hamlet and the Elizabethan Revenge Tragedy Formula” consider the madness of the hero to be completely feigned and not real:
Hamlet is a masterpiece not because it conforms to a set of conventions but because it takes those conventions and transmutes them into the pure gold of vital, relevant meaning. Hamlet’s feigned madness, for instance, becomes the touchstone for an illumination of the mysterious nature of sanity itself (44-45).
Hamlet’s first words in the play say that Claudius is “A little more than kin and less …
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…y Martin). On Some of Shakespeare’s Female Characters. 6th ed. London:
William Blackwood and Sons, 1899.
Felperin, Howard. “O’erdoing Termagant.” Modern Critical Interpretations: Hamlet. Ed. Harold Bloom. New York: Chelsea House, 1986. Rpt. of “O’erdoing Termagant: An Approach to Shakespearean Mimesis.” The Yale Review 63, no.3 (Spring 1974).
Foakes, R.A.. “The Play’s Courtly Setting.” Readings on Hamlet. Ed. Don Nardo. San Diego: Greenhaven Press, 1999. Rpt. of “Hamlet and the Court of Elsinore.” Shakespeare Survey: An Annual Survey of Shakespearean Study and Production. No. 9. Ed. Allardyce Nicoll. Cambridge, Eng.: Cambridge University Press, 1956.
Shakespeare, William. The Tragedy of Hamlet, Prince of Denmark. Massachusetts Institute of Technology. 1995. http://www.chemicool.com/Shakespeare/hamlet/full.html No line nos.