Horatio’s relationship with Prince Hamlet is a genuine friendship in an Elsinore where other relationships are poisoned by deception and betrayal.
Three 1,500-word model essays on the relationship of Prince Hamlet and Horatio in Shakespeare’s Hamlet.
Horatio is Hamlet’s trusted companion in life and vows to remain the keeper of his memory after the prince’s death.
“What brings you from Wittenberg?”
Horatio’s report to Hamlet about the Ghost is their first meeting at Elsinore since Wittenberg.
“More things in heaven and earth”
Hamlet disregards Horatio’s advice against speaking with the Ghost: “What if it … draw you into madness?”
“Observe mine uncle”
Asked earlier by the guards to confirm the Ghost’s reality, Horatio is later recruited by Hamlet to test the spirit’s truthfulness.
“Thieves of mercy”
Hamlet’s heroic if improbable tale to Horatio about his rescue by benevolent pirates—is it actually true?
A dying Hamlet asks a despairing Horatio to “tell my story … more and less” to “unknowing world.”
Horatio’s relationship with Prince Hamlet is a genuine friendship in an Elsinore otherwise poisoned by deception and betrayal. Their companionship evokes the advice offered to Laertes: “Those friends thou hast, and their adoption tried, / Grapple them unto thy soul with hoops of steel” (1.3).
Horatio’ tranquil attitude (“As one, in suffering all, that suffers nothing”, 3.2) represents a blend of Stoic acceptance (“not a pipe for Fortune’s finger”, 3.2) from the classical world that the scholar Horatio loves and Christian forbearance (“not passion’s slave”, 3.2) that reflects world in which the play is set.
But does Horatio’s “sweet prince” (5.2) exploit his friend’s loyalty with his heroic if improbable tale of divinely-inspired rescue by pirates with which the prince hopes to be remembered?
Horatio: the first major character to appear in #Hamlet - and the only one to survive until the end.
In the same 1.2 scene when we learn that Horatio has been at Elsinore for old King Hamlet’s funeral (“He was a goodly king”) and afterward attended the wedding of Claudius and Gertrude (“Indeed, my lord, it followed hard upon”) we also discover that his encounter with Hamlet is their first meeting since their time together at Wittenberg.
Hamlet’s greeting suggests the prince is surprised to see his fellow scholar (“Horatio—or do I forget myself?”) and is puzzled at his presence (“What, in faith, make you from Wittenberg?” and “But what is your affair in Elsinore?”). Hamlet’s genuine welcome, however, is without the suspicion with which the prince later greets Rosencrantz and Guildenstern (“Were you not sent for? … Come, come, deal justly with me”, 2.2)
The prince who will bemoan Denmark’s reputation for excessive drinking (“They clepe us drunkards”, 1.4) cordially insists Horatio join him for a boozy reunion: “We’ll teach you to drink deep ere you depart.”
Horatio has been at Elsinore for two months before he and #Hamlet actually meet.
In the first scene of 1.1, Horatio confirms that “this thing” (1.1) witnessed by the two guards is no mere hallucination. As Marcellus complains to Barnardo: “Horatio says ’tis but our fantasy / And will not let belief take hold of him.” But the evidence of “Mine own eyes” convinces the skeptical scholar that “this dreaded sight” is real and “usurpest” the “form” of “Our last King.”
With the two guards’ agreement, it is not to King Claudius but Prince Hamlet that Horatio decides to report the ghostly visitation: “As needful in our loves, fitting our duty.”
Hamlet disregards Horatio’s advice against speaking with the Ghost (“What if it … draw you into madness?”, 1.4), just as he also does later before the rigged fencing duel (“You will lose this wager, my lord.”, 5.2).
The scholarly, skeptical Horatio confirms that the Ghost of 'Our last King' is no mere hallucination.
As he was earlier asked by the guards to confirm the Ghost’s reality (“He may approve our eyes”, 1.1), Horatio is recruited by Hamlet in 3.2 to test the spirit’s truthfulness by observing King Claudius’ reaction to The Murder of Gonzago: “Observe mine uncle.” The prince has confided in Horatio that the play will include a scene that “comes near the circumstance / Which I have told thee of my father's death.”
After a “marvelous distempered” Claudius has fled the performance, the prince tells Horatio: “I’ll take the ghost’s word for a thousand pound.” But Horatio seems unconvinced, remarking only of the king’s reaction that: “I did very well note him.” It seems just as likely that it was the prince’s public threat to Claudius’ life through the character of Lucianus (“nephew to the king”) that prompted his uncle’s panicked response.
To Horatio at the play-within-a-play, #Hamlet reveals his love for the life of an actor in theater.
Hamlet’s choice of Elsinore graveyard as his meeting venue with Horatio suggests his fatalistic acceptance that Claudius “will work him / To an exploit” (4.7) the prince is unlikely to survive. As he tells his trusted confidant: “thou wouldst not think how ill all’s here about my heart. But it is no matter” (5.2).
Hamlet’s improbable tale to Horatio of his rescue by pirates portrays the prince as a figure who was preserved by the “divinity that shapes our ends” so that he might complete a “heaven ordinant” mission set out by “providence” (5.2).
But is this pirate tale actually true? Or is the prince, who in life admitted to being “indifferent honest” (3.1), seeking to be remembered by his appointed biographer in a story that while, heroic, is just another “forgery of shapes and tricks” (4.7) with which the play abounds?
#Hamlet looks to Horatio as his biographer just as the Ghost regarded the prince as his avenger.
In his opening soliloquy, a dejected Hamlet considered “self-slaughter” (1.2). At the play’s end, it is the dying prince who urges Horatio not to yield to despair but to live on so he may restore Hamlet’s “wounded name” and “tell my story … more and less” to the “unknowing world” (5.2).
Hamlet’s plea to Horatio (“If thou didst ever hold me in thy heart”, 5.2) echoes the Ghost’s request to the prince (“If thou didst ever thy dear father love”, 1.5).
Horatio began the play by recounting the story (“At least the whisper goes so”, 1.1) of a fatal duel between two kings from two countries. He survives to tell another tale: of two kings from the same country—two brothers; one undead, one alive—who competed for the loyalty and ultimately doomed the life Horatio’s “sweet prince” (5.2).
Horatio's tale will be of two kingly brothers who fought each other through the son of one and nephew of the other.
Born a prince, parented by a jester, haunted by a ghost, destined to kill a king rather than become one, and remembered as both the tragic hero and victim of a story he did not want to be in.
His “ambition” for Denmark’s throne leads him to commit one murder only to find that he must plot a second to cover up the first. When this plan fails, his next scheme leads to the death of the woman he loves.
“Have you eyes?”, Prince Hamlet demands of his mother. Gertrude‘s “o’erhasty marriage” dooms her life and the lives of everyone around her when her wished-for, happy-ever-after fairytale ends in a bloodbath.
Ophelia’s sanity is overwhelmed by Elsinore’s maddening world of deception and betrayal. Her “self-slaughter” is her revenge against everyone who dismissed, silenced and humiliated her.
By surrendering Denmark to his rival’s son, Hamlet grants to the angry Ghost of his “dear father” the forgiveness his suffering soul needed more than the revenge he demanded.
The relationship between uncle and nephew begins with mutual suspicion and dislike, escalates into a psychological battle of wits and ends with defeat for both and victory for the rival kingdom of Norway.
Gertrude’s marriage to Claudius and her collusion with the prince’s confinement at Elsinore creates a barrier between mother and son who are as different from one another as is humanly possible.
Begins in uncertainty, descends into mutual deceit and rejection, and ends with their double surrender to death: she to the water, he to Claudius’ rigged fencing duel.
A marriage of practical interest. Claudius wanted something (the kingship) he did not have; Gertrude had something (the role of queen) she wanted to hold onto.
Deception, revenge, madness, corruption, decay and death—all shaped by destiny. A prince is left with an impossible choice when his uncle chooses murder and his mother chooses self-delusion.
Two young men journey from revenge, through madness and anger, to forgiveness. An opportunist claims an empty throne. And a restless Ghost is granted atonement for his sins by his kingdom-surrendering son.
‘Seems’ and ‘is’ are as far apart as Rosencrantz and Guildenstern are similar in a play-long triple pun on the verb ‘to act’: to take action, to play a false role, and to perform in theater.