1998-English 102
Third Place
Hamlet & Horatio: The Many Faces of Love
By Michael I. Kaplan
When reading Shakespeare's Hamlet, one becomes involved with a number of relationships involving Hamlet (the tragic protagonist) and the main characters supporting the play. The characters involved include, but are not limited to, Hamlet (the ghost), former King of Denmark and deceased father to the protagonist; Horatio, friend to Hamlet; Gertrude, Queen of Denmark and mother to Hamlet; and Ophelia, daughter of Polonius and romantic interest to Hamlet. Although all of the relationships are complex, encompassing a wide range of varying emotions as the plot advances, there is a recurring theme of love threaded throughout the play. This theme of love takes on a number of faces which we may observe through the relationships Hamlet experiences during the production. We see Hamlet's filial love for his mother, Gertrude, and romantic love for Ophelia, daughter of Polonius. However, it is Hamlet's platonic bond with Horatio, his best friend, that proves to be the strongest tie of all and commands the most attention as it relates to the theme of love. While emotions, relationships and loyalties are constantly changing, it is the platonic love of friendship and loyalty, shared by Hamlet and Horatio, that remains unchanged and unchallenged.
Hamlet does enjoy some degree of loving relationships with other characters-although none so profound as the love he has for Horatio. The two strongest relationships Hamlet shares, outside of his relationship with Horatio, is his filial love for Queen Gertrude and his romantic love for Ophelia. Hamlet's love for Queen Gertrude comes into question upon the death of his father and her marriage to King Claudius. Hamlet's romantic love for Ophelia is in a constant state of flux and is contingent upon a number of political, ideological, and social factors beyond Hamlet's control. Hamlet's emotions are so varying that at times one questions whether or not Hamlet really feels love for either Gertrude or Ophelia. Unlike these relationships-which experience constant changes and re-evaluations by Hamlet-the love for Horatio seems to be continual, and never seems to come into question.
In Act I, Scene II, one is first made aware of the strength of Hamlet's relationship with Horatio when the latter informs Hamlet that he has seen what he believes is the ghost of the former King Hamlet. This introduction to the relationship between Horatio and Hamlet demonstrates the strong bonds of trust and confidence they share. Unlike the other characters who have seen the apparition and would choose to shrink away from it, Horatio, recognizing the ghost for who it might be, tries to make contact with it, albeit unsuccessfully. After this initial contact, and recognizing the significance of what he has witnessed, it is Horatio that takes Hamlet into his confidence to relate what he has seen. "As I do live, my honored lord, 'tis true, / And we did think it writ down in our duty / To let you know of it" (1.2. 220-222). Horatio gives Hamlet a very detailed account of the sighting, answering Hamlet's questions with the honesty and insight of a concerned friend. It is obvious by Horatio's candor that he is neither fearful of Hamlet's response, nor is he concerned that Hamlet will not believe his accounting of the event.
Horatio-unlike any of the other characters in the play-never lets his personal agenda impose on his relationship with Hamlet. In Act I, Scene IV, Hamlet, Horatio and Marcellus are convened on a guard platform when the ghost of Hamlet's father again appears. The ghost beckons to Hamlet to follow, and even though both Marcellus and Horatio implore Hamlet not to, their motivations for doing so are observably different. Marcellus, who had been with Horatio during the first sighting of the ghost, is once again afraid and tries to stop Hamlet from following. "Look with what courteous action / It waves you to a more removed ground. / But do not go with it" (1.4. 60-62). Unlike Marcellus, who is apparently afraid of the ghost, Horatio, while attempting to stop Hamlet as well, does so out of concern for his friend. "What if it tempt you toward the flood, my lord, / Or to the dreadful summit of the cliff / …" (1.4. 69-70). Horatio does not appear to be concerned for his own welfare, as is Marcellus, only for that of his friend, Hamlet. After Hamlet leaves with the ghost, Marcellus wants to follow and see what transpires. But Horatio, believing this to be a divine experience best left to the judgment of his friend, Hamlet, does not wish to impose on his friend's privacy. "Have after! To what issue will this come / … / Heaven will direct it" (1.4. 89-91). Horatio does end up accompanying Marcellus in pursuit of Hamlet, but one has to feel that his concerns are genuine, more for the safety of Hamlet than for general curiosity as is the case with Marcellus. Rarely do we hear Horatio think or pass judgment, or encourage what is so excessive in Hamlet. Except for emergencies (this second ghost scene, for example), he does not detail his reasons or emotions-conclusions fall from his lips, as if he had already arrived at the point, or, as in the case above-had privately troubled about it (States 48).
In Act III, Scene II, we have the opportunity to witness the trust Hamlet has vested in Horatio. Hamlet, after speaking with the ghost, now knows that it was Claudius King of Denmark that was responsible for the death of his father. Hamlet, in league with a group of thespians visiting the kingdom, lays a trap for Claudius to gauge his guilt or innocence by orchestrating a play that mimics the circumstances of his father's death. Hamlet takes Horatio into his confidence and asks him to watch the king's face during the play, searching for emotional reactions that would indicate the presence of guilt.
Observe my uncle. If his occulted guilt
Do not itself unkennel in one speech,
It is a damned ghost that we have seen,
…Give him heedful note,
…And after we will both our judgments join
In censure of his seeming. (3.2. 83-88)
Not only does Hamlet entrust Horatio with the totality of his plan, he values highly Horatio's judgment and considers him an important secondary source of opinion. Realizing that Hamlet's acts against the king could be considered treasonous and thereby be punishable by death, Hamlet demonstrates his great loyalty to his friendship with Horatio by taking such a monumental risk. Likewise, Horatio takes an equal risk by assisting Hamlet with his plot to ensnare the King. Without any hesitation, he assures Hamlet: "If 'a steal aught the whilst this play is playing, / And scape detecting, I will pay the theft" (3.2. 90-91). Not only is Horatio pledging his loyalty to Hamlet's cause, but he goes above and beyond to put his reputation on the line, making himself personally responsible if he should be unsuccessful in his dutiful obligation to Hamlet.
In the midst of all that is happening, it is still Horatio that commands Hamlet's greatest confidence and respect, as shown in Act IV, Scene VI. Horatio is summoned to the castle of the king by seafaring men bearing letters from Hamlet. Hamlet's ship, two days out to sea en route to England, had been overtaken by pirates. Although Hamlet's ship escaped, Hamlet, who boarded the pirate ship, was taken prisoner. Hamlet writes a letter to Horatio instructing him to deliver the sailors to the King immediately. Hamlet, who has equal access to Ophelia (his romantic interest) and his mother Gertrude (the Queen), chooses instead to trust his platonic love for his friend Horatio in making the decision of who to write letters to regarding the incident. Hamlet further demonstrates his trust for his friend when Horatio reads the letters aloud, and the audience has the chance to hear their content. Obviously, Horatio is here being played off against Rosencrantz and Guildenstern, who are repeatedly linked to fortune and fortune-hunting-whereas Horatio, the true friend-is not (States 46).
Let the King have the letters
I have sent, and repair thou to me with as much
speed as thou wouldst fly death. I have words to
speak in thine ear will make you dumb; yet they are
much too light for the bore of the matter. (4.6. 23-27)
There is no other character in Shakespeare's Hamlet besides Horatio that enjoys a genuine level of trust, love, respect and friendship with the protagonist. Upon Hamlet's safe return to the castle from the pirate ship, in Act V, Scene II, he and Horatio are in the castle when Hamlet finally confides to him the full scope of the situation. Hamlet, who has been feigning madness; harboring the torturous secret of the circumstances of his father's death; reconciling a deadly plot against him to be carried out by Guildenstern and Rosencrantz at the direction of the King; and fighting a destructive, revengeful rage throughout the play, must finally confide in his friend, Horatio.
Does it not, think thee, stand me now upon-
He that hath killed my king, and whored my mother,
Popped in between th' election and my hopes,
Thrown out his angle for my proper life,
And with such coz'nage - is't it not perfect conscience
To quit him with this arm? (5.2. 63-68)
This exchange between Hamlet and Horatio represents the apex of their trust in each other. Hamlet has done nothing short of tell Horatio why he feels the king has wronged his family, and why he needs to kill the king to avenge his family and himself.
Horatio, in turn, demonstrates his love for Hamlet in the same scene as well. When the messenger, Osric, summons Hamlet for a challenge of swordplay with Laertes, in the audience of the King, Horatio is quick to discourage Hamlet from taking part: "You will lose this wager, my lord" (5.2. 211). When Horatio sees that Hamlet must accept the challenge out of honor, but is uncomfortable with the circumstances surrounding the challenge itself, he offers to confront the King and put forward an excuse as to why Hamlet cannot take part in the event. " If your mind dislike anything, obey it. I will / forestall their repair hither and say that you are not fit" (5.2. 218-219). Knowing the totality of Hamlet's circumstances, Horatio realizes that his friend is in grave danger and is willing to do anything, even lie, to keep Hamlet from suffering any harm.
In Act V, Scene II, the final scene of the play, Horatio demonstrates his final acts of love for Hamlet. This is the point in the play when their mutual love is brought into full focus. Hamlet's mother, Gertrude Queen of Denmark, has mistakenly taken a drink of poison from a cup provided by Claudius the King, intended not for Gertrude but for Hamlet. As Hamlet duels Laertes, he watches helplessly as his mother dies, a result of the King's treachery. Hamlet also kills Laertes, quite unintentionally, with Laertes' own sword which Laertes had poisoned to kill Hamlet. Hamlet, in a final fit of anger, kills Claudius the King in front of the entire kingdom's court. Amid calls of "Treason! Treason!" (5.2. 324) from the citizens who witnessed the King's murder, Hamlet realizes he must die or suffer the consequences of his actions with the authorities. Horatio, who recognizes this at the same time, would prefer to see his friend take charge of his own destiny as well, although the thought of losing Hamlet pains him greatly: " I am more an antique Roman than a Dane. / Here's yet some liquor left" (5.2. 342). With that, Hamlet asks Horatio for the cup of poison that killed Gertrude, stopping his friend from dying unnecessarily. Hamlet, upon taking the cup of poison from Horatio, makes one final request of his trusted friend:
If thou didst ever hold me in thy heart,
Absent thee from felicity awhile,
And in this harsh world draw thy breath in pain,
To tell my story. (5.2. 347-350)
Simply stated, "If you ever loved me, separate yourself from my death long enough to tell the world what happened here, no matter how painful it might be to you."
After Hamlet's death, the next in line for the throne by political right, Fortinbras, arrives at the palace. Horatio, true to the last for his friend Hamlet, tells Fortinbras of the circumstances surrounding the deaths of the King, Queen, Laertes and Hamlet. Not unlike Sophocles' Antigone, who was faithfully dedicated to her brother Polyneices' honor, Horatio wants to ensure that Hamlet receives the proper burial with honors that he deserves. After hearing Horatios accounting of the preceding events, Fortinbras instructs his soldiers to bury Hamlet with dignity, and Horatio's final act of dedication to his friend is complete.
In relation to the other characters in Shakespeare's Hamlet, such as Claudius, Ophelia, Polonius and Gertrude, Horatio was but a minor antagonist. However, it is Horatio's love and loyalty to Hamlet that remained constant throughout the play, and served to anchor Hamlet's emotions and actions with respect to all of the other characters and situations presented. It is interesting to note that while Hamlet dedicates himself to testing the loyalty of those around him, Horatio is never once subjected to such a test. Further, it is obvious that Hamlet doesn't feel that such a test of loyalty is even necessary. In addition to an apparently unconditional friendship ("apparently", as the basis of this friendship is never fully explained, and the reader is left to make this assumption), Horatio is the only character close to Hamlet with no relationship to the royal family. This lack of subservience to Claudius, Getrude, Polonius and Ophelia keeps Horatio out of the circle of characters that would act to cause Hamlet the most harm. In the absence of ulterior motivations (social, political and economic), Horatio's platonic love for Hamlet (and vice versa) can be shown to be truly unconditional.
Works Cited
Shakespeare, William. Hamlet. Sven Birkerts, ed., Literature The Evolving Canon, Boston: Allyn & Bacon, 1977.
States, Bert O. "Horatio-Our Man in Elsinore: An Essay on Dramatic Logic." South Atlantic Quarterly, Vol. 78, No. 1 (Winter 1979) 46-56
(Michael Kaplan is a senior at Armstrong Atlantic State University in Savannah, Georgia, where he is pursuing a major in Political Science and a minor in Philosophy. As a nontraditional student, Michael balances his time between his studies, his extracurricular activities, his wife Donna and his daughter Serena. Upon graduating from AASU, Michael intends to pursue a joint degree program at Duke University in Durham, North Carolina. Michael's graduate studies will include a Juris Doctor (law degree) specializing in International Law, and a Master of Arts in Political Science specializing in International Relations. His academic goal is to spend one year during his graduate studies at Moscow State University in Russia—where courses are conducted solely in Russian—studying Russian political philosophy. Michael's professional goal is to work in Moscow, Russia, for a multinational law firm, negotiating commercial contracts between Russian and American corporations.)