Hamlet’s inaction and hesitation to kill Claudius is justified in his own mind and to the audience. Hamlet’s initial disbelief in the reliability of the ghost’s claim, Hamlet’s belief in religion, and the fact that Hamlet is trained in thought rather than in action, all lead to Hamlet’s inaction, and ultimately, Hamlet’s downfall. The ongoing duel between Hamlet’s procrastination and his final action begins with Hamlet’s perception of the ghost. The ghost appears in form, as Horatio describes it, "a figure like your father, armed at point exactly" (1.2.209-210). When Hamlet first meets the ghost, he immediately calls the ghost by his father’s name and follows it to where the ghost beckons him.
A taste of the conflict is expressed in the dialogue between Hamlet and his mother, Gertrude. Here Hamlet forcefully declares his pain and adds a discerning remark that defines seems as "actions that a man might play." (I.2 ln 84) By acknowledging Hamlet's comprehension of the separation between appearances and truth, Shakespeare gives the audience a reasonable belief in Hamlet's eventual success despite the obstacles he creates for himself. Developing a convincing scheme by which to determine the goodness of the ghost and to achieve revenge is Hamlet's first action. Hamlet asks his friend Horatio to refrain from commenting on any strange behavior he may exhibit in the future.
Hamlet even goes as far as to instruct the actors appropriately. He will prove that the ghost is truthful by the reaction on Claudius' face. The play appears to be harmless but it has a close parallel to what really happened to the late King Hamlet. Rosencrantz and Guildernstern, who are the king's spies, pretend to be friends to Hamlet. The king has sent for them to investigate Hamlet's madness and what he suspects about his father's death.
Early on in the play Hamlet sees the ghost of his father’s spirit and it beckons him to follow if he wishes to speak to it. Hamlet being encouraged not to follow by his comrades says, “It will not speak, then I will follow it” (Shakespeare 1.4). Almost without thinking Hamlet makes the decision to follow the ghost, this will later prove totally uncharacteristic of him. Thinking they can still convince him, his friends, Horatio and Marcellus, try once again to stop him only to hear, “Hold off your hands; my fate cries out; by heaven I’ll make a ghost of him that let’s me” (Shakespeare 1.4). Hamlet lets it be known here that he has made his mind up and anyone who tries to stop him, he will make a ghost out of, heaven willing.
Hamlet could soliloquize to no end, but it is his conversations with Horatio that ground the play in reality. Horatio believes Hamlet and thus we have permission to believe. He sees the Ghost and so we can believe that Hamlet has seen the Ghost. If Horatio were not there, Hamlet's sanity would truly be in doubt. Horatio's second purpose is to be Hamlet's one true confidant.
Hamlet says, “It will not speak. Then I will follow it” (1.4.70). This impulsive decision gives the reader the mental image that Hamlet is immature and rash. However when he returns to Horatio and Marcellus, he acts prudently and makes them swear to keep silent about the incident with the ghost, wanting to keep it a secret. Hamlet now acts wisely and this contradicts his earlier actions of following the ghost.
Horatio is Shakespeare's utilitarian character. Horatio serves as a foil to Rosencrantz and Guildenstern, prompts Hamlet to disclose his feelings, gives vital information in the form of exposition (verbal or in a letter) or verification of Hamlet's reality, and helps to build the suspense of the play. The only emotional aspect of his character is that he remains alive, and serves as a vehicle for Shakespeare's moral of Hamlet. Works Cited and Consulted Berman, Allison. "We Only Find Ourselves."
For Shakespeare, Horatio serves as a utility tool. Whenever an issue requires a specific perspective, or the truth of it needs to be shown to the audience, Shakespeare just introduces Horatio and his unfaltering credibility. Moreover, Hamlet’s admiration of Horatio demonstrates to the audience the aspects of man Hamlet considers most important. Friendship is an idea that is easily forgotten and difficult to conceptualize. It is one thing to call another a friend, but a true friend is a completely different matter.
Moreover, the speculation regarding Hamlet's madness serves only to convince the king that Hamlet is not mad, and th... ... middle of paper ... ...nnate guilt and paranoia will not let him view Hamlet any other way. This facet of Claudius' character is integral to the resolution of the tragic sequence: while, in the end, Claudius' paranoia is not enough to save his life, it is certainly sufficient to ensure that no one else escapes the conflict unscathed. Works Cited Bevington, David, ed. The Complete Works of Shakespeare. 4th ed.
Hamlet is questioning how can a player, who acts out false emotions, can truly “catch the conscience of the King”(II.ii.622). However, he believes that the creativity exuded from the soul(II.ii,568), can effectively allow a player to perform as if they are real emotions. Hamlet’s only concern is seeking revenge for his father’s death done at the hands of his uncle, Claudius, who now has the throne. The plot of the play to parallel to the real death of King Hamlet, allowing Hamlet to make Claudius feel uncomfortable and guilty(II.ii.578). Also, in this monologue, Hamlet states that the ghost of his father may have actua... ... middle of paper ... ... instance, the speech in Act II can be seen as Hamlet’s concern with killing Claudius.