Halverson, John. The Importance of Horatio.
Hamlet Studies 16 (1994): 57-70.
AUDIENCE RESPONSE / HAMLET / HORATIO
By analyzing the role of Horatio, this essay attempts to show that
Shakespeare had a much clearer and fuller conception of the part
than is usually granted and that he developed the character with care
and skill, though by extraordinarily minimal means, for a significant
purpose (57). Inconsistencies in this character receive clarification,
using textual evidence (e.g., age, knowledge, relationship with Hamlet
at Wittenburg). Although Horatio seems expendable in Hamlets
plot development, Shakespeare evidently thought him important
enough to invent the character (probably) and have him dominate both
the opening and closing scenes (62). Horatio is also invested
with the favorable qualities of learning, courage, loyalty, and candor;
he appears as the disinterested witness (63), who speaks
directly and virtually compels trust (64). The strong bond
that Horatio forms with Hamlet encourages the audience to vicariously
follow suit. Without Horatio, the audience would be suspicious of rather
than sympathetic with Hamlet. Reducing Horatio to merely Hamlets
foil/confidant belittles the importance of the role and Shakespeares
artistry. Although Horatio is more stageworthy than text
worthy due to his frequently silent-yet-important presence
as witness (67), Shakespeare created the role, and with few but
sure strokes of his theatrical brush, endowed it with complete credibility
(68).
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Pennington, Michael. Hamlet: A
User’s Guide. New York: Limelight Editions, 1996.
CLAUDIUS / GERTRUDE / GHOST / HAMLET / HORATIO / OPHELIA
/ PERFORMANCE / POLONIUS
Framed by introductory and concluding chapters that narrate
personal experience as well as insight, this monograph “is only
in the slightest sense a history of productions”—“really
imitating a rehearsal” (22). The first chapter focuses on the
action by following the script “line by line” in the style
of “a naive telling of the story” which can “often
provoke a discovery” (22). As in “most productions,”
the “script” is an “accumulated version”: a
combination of elements “from the Second Quarto and the Folio
and any number of later versions, with occasional mischievous forays
into the First (‘Bad’) Quarto” (24). Act and scene
designations are replaced by days to avoid confusion and “to draw
attention to the fact that, while five separate days of action are presented,
Shakespeare’s manipulation of ‘double time’ is so
skilled that you can believe that several months have passed by between
the beginning and the end” (23). The chapter on Hamlet’s
characters comes second because one should not “make assumptions
about character until the action proves them” (22). Characters
are approached in groups, such as “The Royal Triangle” (Claudius/the
Ghost/Gertrude) and “The Commoners” (players/gravediggers/priest).
Then attention shifts to Hamlet. After discussing the demands of casting
and rehearsing the role of Hamlet, the second chapter describes the
excitement of opening night and the energizing relationship an actor
shares with the audience. Although challenging, playing the role of
Hamlet “will verify you: you will never be quite the same again”
(193).
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Rosenberg, Marvin. The Masks of Hamlet.
Newark: U of Delaware P, 1992.
AUDIENCE RESPONSE / CLAUDIUS / GERTRUDE / GHOST / HAMLET / HORATIO
/ LAERTES / OPHELIA / PERFORMANCE / POLONIUS
Combining literary scholarship with interpretive performances, this
monograph promises "a way to listen to and grasp the complex tones
of Hamlet and the other characters" (x). Chapters follow the chronological
order of the play, pausing to "discuss the important characters
as they appear" (12). For example, the first chapter explores the
opening scene's setting and events, as well as the variations staged
in performances; the examination of this scene is briefly suspended
for chapters on Horatio and the Ghost but continues in chapter four.
This monograph clarifies dilemmas and indicates "the choices that
have been made by actors and critics," but its actor-readers must
decide for themselves (xi): "I believe this book will demonstrate
that each actor-reader of you who engages with Hamlet's polyphony will
uniquely experience the tones that fit your own polyphony" (x).
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