Friendship in "Hamlet"
Author(s): Robert C. Evans
Source: Comparative Drama, Vol. 33, No. 1, Tragedy's Insights: Identity, Polity, Theodicy
(Spring 1999), pp. 88-124
Published by: Comparative Drama
Stable URL: http://www.jstor.org/stable/41153960 .
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inHamlet
Friendship
RobertC. Evans
In 1958,HarryLevin reportedthatin theprevioussixtyyears
had been issuedeverytwelve
a new itemof Hamletcommentary
closerto a new item
must
be
now
the
rate
something
days.1By
foradding
everytwelvehoursor minutes.My chiefjustification
fact
one more strawto the camel's back restson the surprising
- a crucial concernof classical and Renaissance
thatfriendship
- has notreceivedmuchexplicitor systematic
attention
thinkers
and pervasivethemein Shakespeare'sgreattragas an important
edy. Inevitablythe topic is raised- usually in passing- in disbut it
cussionsof Horatioand of Rosencrantzand Guildenstern,
has not received much sustainedexploration.2My immediate
does run
purposeis merelyto show thatthethemeof friendship
the entireplay- thatit appearseven whereit might
throughout
seem presentonly slightly.While tryingto establishits general
I also hope to focuson a fewscenes and characters
importance,
in some detail, as well as to discuss in broadertermshow
help enrichhis tragedy.3
Shakespeare'sconcernswithfriendship
Hamlet seems at least in part a play thatis verymuch about
friendship:a play about finding,making,losing, and keeping
one of themost
friends.It explores,fromnumerousperspectives,
- a
of
human
and
relationships
inherently
complex
significant
for
to Renaissancethinkers,
fascinating
relationshipparticularly
Davidson) "is
(in thewordsof Clifford
manyofwhomfriendship
notonlya radiantideal butis also an expressionof a mostnecessarykindof good will thatmakessocietycohesive."4
I
The play's concern with friendshipis sounded at once:
Barnardowantsto know
"Who's there?"(1.1. 1).5Quite literally,
unseen
the
not only who is there(whether
figureis a friendor
are friendly).
his
intentions
there
he
is
also
but
(whether
foe)
why
HamThis openingepitomizesthe entireplay and particularly
let's position at court: surroundedby darkness,a lone figure
needs to recognizehis friends.Most humanscan relateto this
88
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RobertC. Evans
89
need, and theplay probablyexercisessuch strongpsychological
appeal partlybecause we all, to one degreeor another,resemble
Barnardoand Hamlet in wantingto know whetherthe persons
one's friendsis
nearestus are personswe can trust.Determining
but it
and
dilemma
the
one
confronts,
tragedyportrays
only
relevantto
seems to be a dilemmaimmediatelyand forcefully
mosthumanlives.6
Barnardo's nervousquestionis answeredby an apparently
and certainlyformalchallenge(1.1.2), whichin turn
unfriendly
elicits an equally formal,impersonalresponsethat is also a
(1.1.3). Only
pledge of public allegiance or politicalfriendship
whenFranciscouses a familiarpersonalname(1.1.4) do tensions
relax:we realize,preciselywhentheydo, thatthesemenalready
know each otherand perhapsare even friends.This intuition
whenBarnardosolicitouslyurgesFranciscoto
seems confirmed
thus
to peace, quiet,and comfort).Like so much
to
bed
(and
get
else in thisplay,however,theseapparently
caringwordscan also
in anotherway: as a calculatedmaneuverto disbe interpreted
miss Franciscobeforethe ghostappears.Neitherreadingneed
hereas elsewherein Hamlet,ex(or perhapscan) have priority:
changesevenbetweenapparentfriendscan have multiplesignifito interpret
cations,andjust as it is sometimeshardbutimportant
the precisenuances of our own friends'speech,so it is usually
in Hamletforeitherus or the charactersto make absodifficult
lutelyunambiguoussense of anythingsaid, not said, or implied.
The play fascinatespartlyforthisreason.
Furtherevidenceof friendship
betweenBarnardoand Francisco comes in the latter'sresponseto the suggestionthathe
head to bed (1.1.8-9). Francisco's immediatewillingness(once
he knowshe is speakingto a friend)to sharenotonlyhis physical but especiallyhis deepestemotionalfeelingsseems significantin a play whosecentralcharacterfindsit so difficult
to share
true feelingsopenly,except in soliloquy. Francisco is lonely,
cold, and sick at heart,buthe at leasthas a comradeto whomhe
can confess these thoughts.Hamlet, at first,has no one with
whomhe can openlyspeak exceptthecrowdof strangers
who sit
or standoff-stage.
As Franciscoleaves, Barnardobids him a solicitous"good
night"(1.1.12) and asks himto urgehis "rivals"to "makehaste"
(1.1.13-14). Here, withnice irony,theword"rivals"meansnot
- just one of manysubtletouchesof para"foes" but "partners"
dox in an immenselyparadoxicalplay. Havingbrieflyprovided
friendlyreliefto Francisco,Barnardonow seeks such comfort
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90
FriendshipinHamlet
the play, the fearand dangerof being left
himself:throughout
alone is stressed.In thiswork,many
literallyor metaphorically
will eventuallyfindthemselvessuddenlyisolated.
characters
HearingHoratioand Marcellusapproaching,Francisconow
repeatsBarnardo'searlierdemand:"Who is there?"(1.1.15). It
hardlyseems an accident that Horatio's very firstwords are
"Friendsto thisground"(1.1.16). Horatiowill laterproveone of
his firstwordthusquite
the play's best examplesof friendship;
thispoint,though,he
At
character.
his
essential
reflects
literally
uses the word "friends"morein a politicalthanpersonalsense,
therebyhelpingto remindus how the connotationsof the term
have evolved since the Renaissance.Today thewordmainlyrefersto an inherently
personalrelation.In Shakespeare'stime,
associationsof politicalor social alleit
often
carried
however,
his "friends"were
was
If
a
politicallyimportant,
person
giance.
oftenhis allies or followers,his dependentsor entourage,his
loyal citizens.Horatio,however,is a "friendto thisground"in
more ways than one. Throughoutthe play, he seeks not only
whatis best forHamletas a personand princebut also whatis
best forDenmark.His openingwordshelp makeit seem entirely
thatat theveryend oftheplayhe becomesthedesigappropriate
natedspokesmannotonlyforHamletbutalso fortheentireDanishnation.
Marcellus echoes and endorseshis friend'sexplanationby
announcingthat he and Horatio are "liegemen to the Dane"
thathe (not Horatio)is
(1.1.16), althoughit seems subtlyfitting
the firstto mentionClaudius,the greatrival of Horatio's future
theprince.It seemsappropriate,
too,thatMarcellususes a
friend,
word ("liegemen") whose connotationsare subtlyformaland
legalisticratherthan intenselypersonal,forby the end of the
play Claudius, althoughsurroundedby friendsin a superficial,
politicalsense,will finallybe abandonedby themall. BothHamlet and Claudius lose friendsduringthecourseoftheplay,butin
thefinalanalysisClaudius is by farthemorelonelyand isolated
figure.
The mutualsolicitudeall fourmen show in this opening
that
scene helps establishan air of comradeshipand community
theveryopeningemphasison isolation
notonlyhelps counteract
and fearbut thatalso helps prepare,by contrast,forour later
no
sense of Hamlet's isolationat court.Yet thesmallcommunity
Franciscois eagerto
soonerformsthanit beginsto disintegrate:
be gone,and his firstwordsto Horatioand Marcellus(1117) are
at once a greetingand farewell.Even as he leaves he is bid adieu
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RobertС. Evans
91
words(1.1.18), whiletheheavyemwithconspicuouslyfriendly
phasis here on what seem to be firstnames also helps enhance
Marcelluscalls for"Barnardo,"and Barthetone of friendship.
also
seems
nardo
alreadyfamiliarwiththeman he addressesas
"Horatio" (1.1.20-21). Horatio, in turn,adds to the friendly
joke: to a questionby
atmosphereby makinga self-deprecating
- he responds,"A piece of him,"
- "is Horatiothere?"
Barnardo
his sense of
therebytelegraphingimmediatelyhis informality,
humor,his tendencynot to take eitherhimselfor situationstoo
seriously,and also his abilityto express personal discomfort
on himself(1.1.21-22). AH
withoutfocusingexcessiveattention
himan excellentfriend,
make
thesequalitieswould(and do) help
not onlyto thesemen but also, later,to Hamlet.Barnardo'senthusiasticgreetingof thevisitors,moreover,expressesmorethan
merelyformalcourtesy:obviouslyhe is sincerelyglad thathis
friendshave now arrived.
Horatio's firstreferenceto theghostas "thisthing"(1.1.24)
can be read in several complementary
ways, all relevantto the
friendshiptheme.The word "thing"already implies,perhaps,
some gentleteasingand chidsome slightlyhaughtyskepticism,
Marcellus
and Barnardo,buthe
know
ing. Horatiomay already
is clearlynotso close a friendthathe is willingto taketheirmere
as absoluteproofof the ghost'sexistence.His skeptitestimony
cism implieshis mentaldistance,but his slightlymockingtone
also suggests,paradoxically,thathe feelscomfortable
enoughto
tease them.His question,then,establisheshimas an outsiderto
theirpresentbond,but also as someonecapable of bonding.By
callingthe ghosta "thing,"moreover,he suggests(unintentionally,perhaps)thatitis theultimateoutsider,theultimate"other":
ofnormal
non-human,
alien,and incapable(almostby definition)
friendship.
For the moment,then,HoratiostandsapartfromMarcellus
theirsis rootedin a shared
and Barnardo.Like manyfriendships,
- one Horatioknowsonlyby report.Perhapsthereis
experience
woundedrebukein Marcellus's commentthat"Horatiosays 'tis
butourfantasyJAnd willnotletbelieftakehold ofhim,/Touching this dreadedsighttwiceseen of us" (1.1.26-28). It is as if
Horatioeven doubtedtheirrationality,
perverselyrejectingtheir
even
have
twice
witnessedthe ghosttotestimony
thoughthey
Thus
the
even
here
the
doublerole it fulfills
ghostplays
gether.
throughoutthe play: it simultaneouslyunites and divides. It
bindsMarcellusand Barnardobut separatesthemfromHoratio,
just as it will laterbond Horatioand Hamletwhile separating
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92
FriendshipinHamlet
themfromthe courtat large.The ghostprovesa potentcatalyst
ofbothfriendship
and enmity.
Barnardo's invitationto sit (1.1.33) partlysignals a relaxationoftension,an opportunity
forphysicalcomfort
and psychoThe
to
tell
Horatio
their
logical bonding.
guards' willingness
their
trust
and
does
his
storyalreadyimplies
respect(as
willingness to listen).Even as the triorelax,however,an undercurrent
of probably gentle enmitypervades Barnardo's request that
Horatioshould"let us once again assail yourears,/That are so
fortifiedagainstour story,/Whatwe have twonightsseen" (1.1.
34-36). BarnardoimpliesthatHoratiowillfullyrejectsreliable
testimony.Horatiorespondswithpatientdiplomacy:"Well, sit
we down. And let us hear Barnardospeak of this"(1.1.36-37).
His willingnessto listen once more to a storyhe knows but
doubtsshows thathis friendsare moreimportant
thanhis comfort,time,or sleep; by merelylistening,he affirmsand repairs
bond.
theirslightlythreatened
Barnardo's leisurely,painstakingopening itselfpresumes
patient,well-disposedlisteners,but his narrativesoon crumbles
whenthe "thing"appears.Here as elsewhere,theghostintrudes
a previouslydefinedcommuon genuineexchange,shattering
Marcellus's
of Barnardo(1.1.43) might
nity.
abruptinterruption
here
and
seem
but
it
rude,
normally
signalsbothreal friendship
narrowself-concern.
There are, perhaps,touchesof bothtriumphant sarcasm and genuine respectin Marcellus's injunction,
"Thou arta scholar,speak to it, Horatio"(1.1.45), just as there
seem bothsmugassuranceand profoundwonderwhenBarnardo
asks,"Looks a notlike theKing? Markit,Horatio"(1.1.46). The
two friendsare havingboththeirworstfearsand theirpersonal
and theycannothelp feelingsatisfiedterror.
veracityconfirmed,
Horatio,meanwhile,cementsa new and deeperbond withthem
by confessinghis own terror(1.1.47). Such abilityto share so
openlyan emotionone mightnormallyhide is oftenthe sign or
relations.
startof friendly
When Barnardoand Marcellusurge Horatioto addressthe
ghost,theyacknowledgetheirfear,confesstheirown incapacity,
and show respectfortheireducatedfriend.At the same time,
Horatio's promptwillingnessto challengethe ghostshows that
he deservestheirrespect;this is one of the bravestacts in the
one
play- an act soon repeatedby Hamlethimself,and therefore
thathelps establishHoratio's fitnessas Hamlet's futurefriend.
theghostbePerhapsHoratiofeelsspeciallyobligedto confront
cause he had previouslydoubtedhis companions'word:his will-
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RobertC. Evans
93
his earlier
ingnessto speakhelpshimmakeamendsby retracting
skepticism.Likewise, his speech may also help alleviate his
to standbetweenthemand
friends'fear:he dares,quiteliterally,
"thisthing"(1.1.24), whomhe now addresseswiththe respectful, familiar"thee" and "thou" (1.1.49, 52). Such potentially
phrasingis balanced,though,by his implicationthatthe
friendly
is
"thing" lawless {"What artthouthatusurp'st . . ." [1.1.49]),
while his finalwords can be read eitheras an invocationof a
command:"By heaven,I charge
sharedideal or as a threatening
thee speak!" (1.1.52). Horatio(like Hamlet later)cannotknow
whetherthe ghostis a friendor foe, and so he addressesit (to
some degree)as both.In thissense the ghostsymbolizesone of
issues: the difficulties
of interpreting
the play's most important
a questionwe
and conduct.Horatioconfronts
others'intentions
face:
what
are
the
motivesof
like
Hamlet,repeatedly
all,
exactly
this otherbeing standingbeforeme? Is this"other"a potential
friendornot?
As so oftenhappensin life,Horatio(like Hamletlater)must
wait foran answer.The ghoststalksoff.Marcellusthinksit "offended"(1.1.53)- a remarkwhichmayreflecteithertheghost's
or both.Horatiorespondswith
Horatio'slack thereof,
sensitivity,
wounded
wordsperhapsmotivatedby fear,courage,desperation,
at
once:
or
all
these
"Speak,
feelings
pride,apologetichumility,
speak,speak,I chargetheespeak!" (1.1.54). As elsewhere,such
as a commandand/ora plea. Alphrasingcan be interpreted
thoughBarnardocannothelp teasingand chidingHoratioforhis
presentfear and earlierskepticism(1.1.56-57), such mockery
amongthe
actuallysignalsthebeginningsof a deeperfriendship
astonishedtrio.
Horatio is now part of the fellowshipof Barnardo and
Marcellus because he has now shared the strangeexperience
In a sense,his expewhichearlierboundtheothermentogether.
rience is also ours, and, just as he now feels tied to the two
guardsin a way he didn't earlier,so do we. Here as so often,
Horatiofunctions(in BertStates' cleverphrase)7as "our man at
Elsinore"- as a surrogatememberof the audience,whose reactionsguide and mirrorour own. We trusthimalmostas muchas
Hamletdoes, and so do manyothers.Barnardo,forinstance,no
soonerchidesHoratiothanhe earnestlyseeks thelatter's honest
opinion(1.1.58), and Horatio,like a truefriend,answerswithout
equivocation,in effectconfessinghis earliererroras he moves
fromreal skepticismto totalbelief(1.1.59-67).
As Horatiorecollectsold King Hamlet(whose ghosthas ap-
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94
FriendshipinHamlet
parentlyjust appeared),he emphasizeshow the deceased monarch had once "th'ambitiousNorway combated"and how he
once "smotethesleddedPolacks on theice" (1.1.64, 66). Here as
references
to politicalalliancesand nationalwarfare
throughout,
reinforce
the
and
help
play's parallelfocuson privatefriendship
because
of
their
neither
personalenmity.Indeed,
politicalroles,8
old nor youngHamletwas (or is) capable of enjoyingtrulyprivate relationships.All their connectionsare tinged by politics- whichis one reasonwhyHoratio,who seemsalmosttotally
in courtlypoweror largeaffairsof state,will attract
uninterested
Hamletso much.He seems to treatHamletless as a princethan
as a person.LittlewonderthatHamletwill findHoratiohimself
so appealing.
The modestyof bothHoratioand Marcellus(1.1.70-82) once
and thefriendship
again showstheircapacityforreal friendship,
themeis indirectlyreinforcedas Horatio recountsthe foreign
conflictsfaced by "our last King" (1.1.83), who had been challenged to combatby the Norwegianmonarch,Fortinbras.Such
an open challengemeanttreatingeven an enemywitha certain
honor(and therefore
contrastsstronglywiththe secret,
friendly
treacherousdeath King Hamlet later sufferedat the hands of
Claudius). Once again Shakespearesubtlylulls bothhis charactersand us intoa relaxed,comfortable
mood,even whilemaking
Horatio describe such serious and open conflict.As Horatio
ends,we knowmuchnot onlyabouttheold kingbut also about
the currently
relationsbetweenyoungFortinbras
and
unfriendly
theDanes. Whentheghostsuddenlyreappears,he seems(thanks
to Horatio's exposition)a less alien, more sympathetic
figure,
and Horatioaddresseshimas such.He offersto treattheghostas
a friend(1.1.133-35) and seemswillingto assumethatthespirit
itselfmaybe motivatedeitherby friendly
intents(1.1.136-38) or
a
troubled
conscience
by sincerely
(1.1.139-42). Yet when the
ghostfailsto respondand beginsto leave, he shouts(in eithera
commandor a plea), "Stop it, Marcellus"(1.1.142), and when
Marcellus asks whetherhe should strikethe ghost,Horatiorespondswithpoised,balancedreason:"Do ifit willnotstanď (1.
of theghosthas gone fromhos1.144). In seconds,his treatment
tile (1.1.130) to solicitous(1.1.131-42) to a complexblend of
both(1.1.142-44).
Horatio does not disagreewhen Marcellus says, "We do it
wrong,beingso majesticai,/To offerittheshowofviolence"(1.
1.148-49). This commentcan be read eitheras an implicitrebuke of Horatioforhavingurgedhimto strikeor as thekindof
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RobertC. Evans
95
frank,unembarrassedself-criticism
(implicatingthem all) of
whichgood friendsare capable. Marcellus'stroubledconscience
in factshowsanotheraspectof his capacityforfriendship,
while
his commentalso revealshow much(in his mind)theghostnow
seems sympathetic.
Horatio,typically,reassertsbalance by sugthat
it
gesting
may yet prove a "guiltything"(1.1.53), while
Marcellus's subsequentreferenceto "our Saviour's birth"sug- thatbindsthesefriends(1.1.
gests anothertie- commonfaith
As
the
in
scene
closes,
fact,
164).
Shakespearestronglyemphasizes theirnew bond. Horatiourges,"Break we our watchup,
and by myadviceJ Let us impartwhatwe have seen tonight,/
Unto youngHamlet"(1.1.173-75). He speaks of themas a trio,
advises (ratherthandictates)theirnextstep,and even asks explicitlywhethertheothersapprovehis suggestion(1.1.177-78).
the play, Horatiodemonstrates
his caHere, as throughout
as
a
true
friend.
the
same
token,Shakespearein this
pacity
By
scene
has
oftenquite subtly,many
opening
alreadyintroduced,
nuancesof the friendship
themethatwill laterbecome farmore
explicit.In thisscene we have witnesseda lone, lonelyman approachedfirstby one friendand thenby two others.We have
witnessedthe newly assembledgroupbegin to bond and then
watchedtheirdisturbed,
distressedreactionwhensurprised
by an
alien "thing."We have witnessedone of the men bravelyconfrontthe thing,seen the thingdepart,and then seen how the
sharedexperiencebindsthegroup(and particularly
two of them)
even more tightlytogether.We have witnessed,in short,a detailedpreviewofwhatwill happenwhenthesemenseek and find
Hamlethimself.
II
Our own firstglimpseof the princeoccurs at the courtof
Claudius,who clearlyholds centerstage.Havingjust witnessed
an old kingwho seemedsilent,lonely,isolated,offended,
frightwe now see a new kingwho
ening,and perhapseven frightened,
seems confident,
and surroundedby personal
voluble, friendly,
and politicalfriends.Here is theconsummate
politician,theman
skilledat compliments,
thanks,and heartyfarewells(1.2.15-16,
41), an imposingglad-handerwho knows all the social graces.
But here,too, is Hamlet- standingaside, dressedin black, and
immediatelyspeakingthe sardonic,biting,ambiguouslanguage
one neveruses withtrulyfriendly
intent(1.2.65, 66, 74). Hamlet
but who cannotlash
speaks like a personwho feels threatened
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96
FriendshipinHamlet
out; his ambiguitybothconcedes and mockshis enemy'spower.
He speaks a privatelanguage,its truemeaningsknownonly to
- a dialectat odds withthe frank,friendly
conversations
himself
of theplay's firstscene. Thatscene openedwithourglimpseof a
in the literaldarkness;the present
man alone and frightened
scene shows Hamlet isolated in metaphoricaldarkness,though
presumablysurroundedby much literal light. His very first
wordsmaybe an aside (1.2.65)- a techniquethatestablisheshis
distancefromthe courtwhile implyinga connectionwith us.
thegreatsoliloThis aside (if thatis whatit is) thusforeshadows
quies, in whichhe will seem to speak to himselfbutwill in fact
withthe
bindhimselfevermoretightlyin sympathetic
friendship
his
soul.
our
concern
audience,winning
baring
byprivately
theword
It is Hamlet'smotherwho firstexplicitlyintroduces
"friend"hereby urgingHamletto "cast thynightedcolouroff,/
And let thineeye look like a friendon Denmark"(1.2.69-70).
Here as so often,Shakespearesqueezes maximummeaningfrom
a fewwords,particularly
(in thiscase) "like." The effectwould
differif Gertrudehad asked Hamletto "be" a friendto Claudius;
all she is asking,instead,is thathe be "like" a friend.And even
that,of course,is not the limitof herwords' complexity.If she
had asked Hamletto "be" Claudius's friend,she wouldbe implyingthatshe knowshe now isn't such a friend;instead,by asking
him to look on Claudius "like" a friend,she may be suggesting
she
thathe merelyneeds to show moreobviouslythe friendship
words
are
Yet
her
feels.
and
he
open
expects inwardly naturally
sincein saying"look likea friendon
to stillotherinterpretations,
Denmark"she can be taken to mean, "look upon Claudius as
- realize that he is friendlytowardyou." And, if
your friend
"Denmark"is takento refernot simplyto the king but to the
whole country,her words can be understoodto suggesteither
thatHamletshouldtreathis nationwithfriendship
(by abandonthe
realize
he
should
or
that
his
friendship
self-absorption)
ing
feel forhim,or bothof thesemeaningstogether.
his countrymen
Ironically,all thesepossiblemeaningsonlyhelpemphasizeHamtowardsClaudius
let's bitterisolation.He feels neitherfriendly
norgenuinelybefriendedby him;and at themomenthe feelsno
greataffectiontoward(or from)his fellowDanes, who have so
eagerlyembracedthe new king.Gertrude'ssoothingwords(especiallycoming^rowGertrude)onlyenhancehis profoundalienation.This feeling,in turn,is intensified
by his realizationthat
thetruedepthof
he cannoteven fullyexpress,at leastoutwardly,
his emotions(1.2.76-86).
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RobertC Evans
97
Paradoxically,afterdeliveringone of themostfamous,powHamerful,and eloquentsoliloquiesin all of Westernliterature,
let cautionshimselfto "hold [his] tongue"(1.2.159), and he says
thisjust beforetheentranceof themanwho will shortlybecome
his closestfriendand confidant,
thefutureboon companionwith
whomhe will finallybe able to sharesome of his deepestconcernsand most thoughtful
ruminations.
When Horatiodoes arhe
with
Hamlet
decorous
and althoughthe
rive, greets
formality,
he
isn't
at firstsure
princereplies magnanimously,
obviously
whetherhe correctly
remembers
Horatio'sidentity
(1.2.160-61).
We firstwitnessthepair,then,beforetheirreal friendship
properlybegins,and,just as theplay will tracethe steadygrowthof
theirconnection,so it will tracetheparalleldeclineof Hamlet's
linkswithmucholderfriends.
It is Hamlet,in fact,who firstcalls Horatiohis "good friend"
(1.2.163), butthewordshereimplyjust abouteverything
except
theirusual meaning.Horatiois not,at thisstage,Hamlet's"good
friend":he seems at mostan acquaintance.Yet Hamlet'swillingness to call Horatiohis "good friend"reflectswell on theprince:
in one deftphrasehe cutsthroughlayersof rank,reachingoutto
the humbleinferiorwho has just called himselfHamlet's "poor
servant"(1.2.162) and therebyshowinggenuineconcernforthe
other'sfeelings.If the precedingsoliloquyshowed Hamlet depressed and self-absorbed,his conducthere seems graciously
His gestureof friendship
to Horatio- thoughperhaps
thoughtful.
- shows himcapable of a warmth,
at thispointmerelya gesture
kindness,and fellowshiphithertolackingin our sense of him.
Immediatelyafterexpressinghis own deep pain in his bittersoliloquy,he can nonethelessreach out to others,puttingthemat
ease when he himselfis in turmoil.His words,moreover,may
also suggesthis own deep need at thispointer friendship;
perto Horatiobecause he
haps he can reach out so magnanimously
now feelsso totallyisolated.
It is also possible, however,thatHamlet is so graciousto
Horatiopreciselybecause he knowsthatHoratiois bothhis social inferiorand a relativestranger.Horatio,in short,poses no
presentor even potentialthreat;he can be welcomedas a friend
because he is nota possibleenemy.His distancefromClaudius's
to theprince.All in
court,in fact,probablymakeshimattractive
all, then,when Hamletoffersto exchangethe "name" of "good
friend"withHoratio (1.2.163), we cannotbe sure whetherthe
princeis motivatedby mere courtesyor by potentiallydeeper
feelings.Here as so oftenelsewherein theplay (and in our own
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98
Friendshipin Hamlet
social relations),we are leftwithpossibilitiesto interpret,
with
ambiguousclues and unclearsignalswhichwe muststruggleto
read correctly,
even whenno single"correct"readingis probably
possible.
The friendship
themeis soundedexplicitlyagain whenHamlet says he would be unwillingto hear even Horatio's "enemy"
accuse him of a "truantdisposition"(1.2.169-70). Both Horatio's humilityand Hamlet's solicitouscomplimentshow their
potentialas friendsto themselvesand others,while Horatio's
briefand tactfulcommentabout Gertrude'squick remarriage
(1.
2.179) shows at once his intelligence,discretion,moderation,
- all qualities valuable in a good friend.
and reasonableness
the
themeis reiterated
whenHamletmenMeanwhile, friendship
tions the possibilityof confronting
his "dearestfoe" in heaven
(1.2.182), whileour sense of Horatio'sfitnessas a friendis reinforcedwhenhe recountshow Barnardoand Marcelluswerewilling to sharewithhim "In dreadfulsecrecy"theiroriginalvision
of the ghost(1.2.207). Similarly,Hamlet's requestthatall three
of themkeep the vision a secret(1.2.248) suggeststhathe has
yetonce againthisrequest
alreadybegunto treatthemas friends,
also illustratesthe uncertainstatusof numerousspeech-actsin
theplay. Hamletseems to speak as a friend,butsincehe is their
princehis requestalso amountsto a command.Yet the factthat
he does request(ratherthanorder)theirsilencemightseem,once
This rosyinterpretation,
again,to showhis magnanimity.
though,
is complicatedby thefactthatHamletis now dependenton these
men- who may be potentialfriends,who are certainlysocial
butwho also possess secretinformation
thatgivesthem
inferiors,
power over him. His request for theirsilence, therefore,
may
bothgraciousnessand dependence,
demonstrate
just as his promise to "requite[their]loves" (1.2.251) mayindicatebothgenerosand
ityand power (includingperhapshis financialsuperiority)
vulnerableneed. Hamletexplicitlyseekstheir"loves" ratherthan
the "duty"theyoffer(1.2.253-54), therebysuggestinga desire
foran intimateratherthanmerelylegalisticbond.He wants(and
has apparentlyalreadyto some degreeachieved)theirfriendship
ratherthantheirsimplepoliticalloyalty,and in less thanthree
hundredlines we have seen himmove frompainfulisolationto
of seemsecretcomradeship.He now heads a small community
trusted
friends.
inglytrusting,
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RobertC. Evans
99
III
sortis emphasizednext.Laertesand
Friendshipof a different
so
attractive
seem
partlybecause theyseem as much
Ophelia
friendsas brotherand sister.Apparentlytheyunderstandone
anothercompletely:they amiablytease, showinglittlesibling
rivalry(1.3.1-52). Laertes shows real concernfor Ophelia by
warningher thatHamlet,because of his status,can neverbe a
truefriendor lover in the usual sense (once again underscoring
Hamlet's special isolation). This advice also increasesour rekindof brother
mightseek to profit
spectforLaertes:a different
fromhis sister'sclosenessto the prince,but Laertesapparently
values Ophelia more than any personalambition.Meanwhile,
advice to his son (1.3.52-87) introduces
Polonius's own friendly
on the friendship
some of the play's most explicitcommentary
so
theme.Indeed,the factthatthe fatheremphasizesfriendship
muchin thesepartingcommentsimpliesits crucialimportance.
He warnsLaertesto bewareof enemieswho twistone's words;
he counselshimto behave (as we have just seen Hamletbehaving) in ways thatare familiarbutnotvulgar,sincetheexcessive
designedto win friendscan oftenturnthemaway; he
familiarity
urgesLaertesto be loyal to old and trustedfriendsand notabanrootedin merepleasure;and he
don themfornew friendships
about
his
son
advises
properways to conducta quarrel(ironic
advice in lightof Laertes's laterconflictwithHamlet).Nearly
everythingPolonius says here is relevantto dealings with
also impliesthe potentialdanger
friends,and nearlyeverything
inherentin those relations.Ironically,even (or perhapsespecially) the son of a powerfulman needed to fearwhat and to
whomhe mightspeak and how he mightbehave,and Polonius's
speechmerelyarticulatesmanytruismsof standardRenaissance
friendship doctrines. (This fact makes it unlikely that
ShakespeareintendedPolonius here to seem merelyridiculous,
as is sometimessuggested.)Much of his wisdomboils down to
thestandardteachingthatone mustfirstbe a good friendto oneselfin orderto attractgood friendsand be one to others.As his
son departs,Poloniusimplicitlyconcedeswhatanyparentmust:
thata child's welfaredependsas muchon his friendsas on his
family.
AfterLaertes leaves, Polonius turnsto Ophelia, seconding
her brother'sadvice about becomingtoo friendlywith "Lord
Hamlet"(1.3.89, 123). Someone(a friend?)has warnedPolonius
of theirconnection.ThatHamletreachesout to this(non-threat-
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100
FriendshipinHamlet
ening) woman just afterhis father'sdeath and his mother's
remarriageonce again emphasizeshis special need now forintiand if Poloniuswere indeedan arch-courtmacy and affection,9
to
as a splendidopportunity
ier,he mightsee Hamlet'sattentions
his
he
like
his
fortunes.
own
son,
Instead,
speaks to
promote
her
to
mistrust
friend
as
a
deceptiveapmight,warning
Ophelia
amiableovertures.
Here,as in
pearancesand Hamlet'sapparently
he
stresses
the
with
Laertes,
potentialdangerof apparspeaking
to him
Personalambitionseems less important
ent friendships.
- althoughhere,as so often,we can never
thanOphelia's welfare
be sureof the fullcomplexityof a character'smotives.Polonius
may realize the dangersof too close a connectionwith royal
power, especially given the currenttensionsbetweenClaudius
and Hamlet.His advice, in some ways so apparently
non-political, may also be quite politic indeed. His concernforanother
- a paradoxwhichwouldonlymake
mayalso implyself-concern
himtypicallyhuman.
When Hamlet soon reappears,he is accompaniedby his
friendsMarcellusand Horatio.The trio'srelativeisolationis embutby thenoise made by
phasized not onlyby theirdiscomfort
Claudiusand his abundantfriendsofpleasure,whoserevelstrouhe feels,
ble Hamletfarmorethanthe cold. Such carryings-on,
will not win respectforDenmarkbut will damage the nation's
reputation,
just as an individualmay failto win friendsbecause
of a single private(but publiclyknown)defect.As Hamletexplains thispoint,however,the ghostappears,althoughit seems
not to trustthe friendlyintentionsof Hamlet's companions
enoughto shareits secretswiththem.It seeks,through"courteous action,"a privateconference(1.4.60), and althoughthe atseem
temptby Hamlet's friendsto restrainhimmightordinarily
in thiscase theirwillingness
and disrespectful,
highlyunfriendly
Horatio's
to risksuch млcourteousactionsignalsdeep affection.
words"You shallnotgo, mylord"(1.4.80) can seembotha commandand plea, whileHamlet'sreply(1.4.84) can seemthesame.
His words are polite but forceful,while his willingnessto
threatenthemshows not genuineenmitybutratherhis desperation to satisfyboth his curiosityand the demandsof a relation
than friendship.
even more important
By the same token,their
decisionto disregardhis explicitorder(1.4.88) showsno lack of
respectbutthedepthoftheiraffection.
themeappears again when Hamlet finally
The friendship
conferswiththeghost,who revealshow he was poisonedwitha
potionholding"an enmitywithblood of man" (1.5.65). Hamlet
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RobertС. Evans
101
seems particularly
disgustedthatClaudius can pervertan obvi- whileactingwithsuch
- smiling
ous tokenof friendly
feelings
hypocriticalhatred(1.5.106-08). When Horatio and Marcellus
eventuallyfindtheprince,he shows himselfhis father'sson by
being unwillingto trustthem with his newly discoveredse- such trustbeing a conventionalsign of truefriendship.
crets
Ironically,and withtypicalambiguity,Hamlettwice addresses
Horatioand Marcellusas "friends"(perhapswitha tingeof sarcasm?) preciselywhile refusingto trustthem(1.5.145-46) but
also while requestingthattheynot revealthe littlethattheydo
now know.
Here again Hamletis paradoxicallymorepowerfulthan,but
actuallyquite vulnerableto, his new friends.Both his real need
and his probablygenuineaffection
help explainwhyhe humbles
himselfby making"one poor request"of them(1.5.148), butthe
factthathe swearsthemto secrecyalso showsa lack of trust.He
to himself,each other,God, and
wantstheirpublic commitment
even the ghost,knowingthatto breaksuch a publicvow would
one of thechiefprivatevirrevealtheirunfitnessforfriendship,
tues. His use of his swordto confirmthevow is nicelyambigutherelious, foralthoughit resemblesa cross(thussymbolizing
gious dimensionsof theiroath),it is a sword,thussymbolizing
an implicitlyviolent punishmentif the oath is broken.The
of hatred,herebetokens
sword,oftenan emblemand instrument
one of the deepest possible bonds: violatingthis oath would
makeone an enemynotonlyto Hamletbutto God.
Ironically,althoughHamlethimselfplans to be (and already
is) ambiguousin his own language,he makeshis friendsswearto
avoid ambiguoushintingat courtaboutwhattheyalreadyknow
(1.5.181-88). In short,he paradoxicallyurgesthemto be deceptiveby actingand speakingas iftheyhad nothingto hide. After
theyhave swornto all his conditions,he again tendersthemhis
"love," but he immediatelyfollowsthisemotionalgesturewith
the promise of perhaps more practicalrewards(1.5.191-94).
Once morehis complexpositionas a friendis implied:he is, afterall, not "poor" or powerless,and so can handsomelyreward
these friendsif theydo remainloyal. If, however,one of them
violatestheirvows and tells Claudius abouttheghostand about
Hamlet's plans, thenthe princewould indeed suddenlybe far
more vulnerable(or "poor"). Because of his relativeisolation,
Hamlet desperatelywants friends,but now he also desperately
- factswhichgive added resonanceto suchwordsas
needsthem
"Let us go in together.!And still your fingerson yourlips, I
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102
Friendshipin Hamlet
pray" (1.5.194-95). Hamletneedsthesefriendsto considerhima
friendifhe hopes to keep his secret,and forthatreasonhe needs
to convincethemofhis own sincerelyfriendly
feelings.Thusthe
word "pray"may be simultaneously
a subtlecommand,a superior's magnanimousrequest,and a needy man's genuinehope.
Similarlycomplicatedare the famouslines,"The timeis out of
joint. О cursedspite,/Thatever/ was bornto set it right./Nay,
come, let's go together"(1.5.196-98). Once again Shakespeare
withhis political,
juxtaposesHamlet's desireforcompanionship
social, and metaphysicalisolation.These lines show both his
need for friendsand his realizationof being, in the deepest
alone.
senses,utterly
IV
The friendship
themeseems especiallyprominent
in act 2. It
is emphasized,forinstance,whenPoloniustalkswithReynaldo
about Laertes's Parisian friends (2.1.6-15). He instructs
Reynaldoto portrayLaertesas attractedby frivolouspleasures,
hopingtherebyto detectwhetherLaertes is indeed associating
withthe wrongpeople. Concernswithfriendship
become even
moreprominent,
though,whenwe meetRosencrantzand Guildenstern,two of Hamlet's oldestand dearestchums(2.2.10-18).
Justas Polonius seeks to monitorhis son by deceivinghis son's
abouthis nephewby
companions,so Claudius seeks information
friends
of
Hamlet's
Yet
whereasPolonius is
employing
youth.
motivatedby genuineconcernforhis son,Claudius's motivesare
farless benign.Incapableof genuinefriendship,
Claudiusinstead
seeks "to use" othersas instruments
constantly
(2.2.3). He urges
Rosencrantzand Guildensternto "draw [Hamlet] on to pleasures" and thus solicit information
(2.2.15), but such phrasing
the
standard
Renaissancedistinction
already(ironically)suggests
betweentruefriends(joined by a love of good) and temporary
friends(united by an ephemerallove of pleasure). Gertrude,
meanwhile,speaks with similarlyunintendedironywhen she
says she is "sure" that"two men thereis not living/To whom
[Hamlet] more adheres" (2.2.20-21). She cannot know, of
course, thatby this point his main allegiance is not to these
friendsofhis youthbutto an elderlydead man- theghost.
are oftencriticized
AlthoughRosencrantzand Guildenstern
as ambitious,time-serving
lackeysincapableof truefriendship,
such a reading seems too simplistic.Shakespeare,afterall,
makes even his obvious villain- Claudius- exhibitsome real
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RobertС. Evans
103
in theprayerscene [3.3.36-98]),
moralcomplexity(particularly
and his depictionof Rosencrantzand Guildenstern
is arguably
farmore subtle and sympathetic
than is oftensupposed. Even
theirtendencyto speak(and be spokento) as a unit(e.g., 2.2.2634) can be read not as mockerybut as evidenceof theirclose
bond and mutualcomfort:theyknow each other's minds and
Neitherlordsit overtheother(as
willinglysharethespotlight.10
if
be
ambition
were theirmain motive).Instead
might expected
and capable of servingas Hamlet's
theyseem genuinelyfriendly
truefriends.One minortragedyof thisgreattragicplay,in fact,
is thattheirancientfriendship
withhimis soon ruined.
Rosencrantzand Guildenstern
are anotherpair (like Barnardo and Franciscoin 1.1, or Opheliaand Laertesin 1.3,or Horatio
and Marcellus in 1.4, or Voltemandand Corneliusin 2.2, or
Claudius and Gertrude
whoseverypairinghelpsemthroughout)
Hamlet's
isolation.
would
need to be scheming
phasize
They
if
indeed
Guildenstern'
s
hypocrites
closing words to Claudius
are self-consciously
ironic:"Heavensmakeourpresenceand our
practices/Pleasant and helpfulto [Hamlet]"(2.2.38-39). Such
words(like Rosencrantz'
s latercommentto Polonius,"God save
you, sir" [2.2.221]) suggestinsteadtherelativesincerityof this
pair in a play in whichsincerity,
ironically,is a traitHamletespeciallyprizes. Of course,the factthattheirmotiveshave been
so muchdisputedillustrates
a centralproblemtheplayraisesand
confronts:
the problemof ever being able to interpret
another's
intentionsand behaviorprecisely,even when (or perhapsespecially when) thatperson seems to be a friend.Hamlethimself
neverquite seems sure of his old friends'trueintents,although
he eventuallychooses- wrongly,it would seem- to treatthem
as enemies(or at least as dispensablyinconvenient).
Paradoxically,one ofthemostunsettling
aspectsofHamlet'sown characteris his easy dispatchof his two old friendsand especiallythe
relishwithwhichhe regardstheireternalsuffering
(5.2.47). It is
his
former
that
makes
his
final
hatredso
precisely
friendship
- butto say this,of course,is tojumptoo farahead.
intense
Hamlet's firstencounterwithRosencrantzand Guildenstern
is one of the longestand most interesting
scenes in the entire
theme.11
play,especiallyin itsbearingon thefriendship
Already
Shakespeare begins to distinguish subtly between them:
Rosencrantzseems closerto Hamlet,a distinction
impliedby the
first
words.
Guildenstern
calls
Hamlet
his
"honoured
pair's
lord,"whereasRosencrantztermstheprincehis "mostdearlord"
(2.2.222-23). Hamletimmediately
greetsthemas his "excellent
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104
FriendshipinHamlet
good friends"and as "Good lads," words echoed when Rosenchildrenof the earth"
crantz describes them as "indifferent
(2.2.224-27). Such language not only subtlyunderscorestheir
childhoodconnectionswiththeprincebutalso becomesincreasreally are ambiingly ironic. If Rosencrantzand Guildenstern
tious hypocrites,then emphasizingtheirchildhoodlinks with
Hamletmakes themseem trueschemerswho betrayboththeir
friendand theirformerinnocence.If, on the otherhand,their
motivesare sincereand theythusretainsome of theiryouthful
idealism, then Hamlet's own later treatmentof them seems
withhimwill
shockinglybrutal.In eithercase theirrelationship
now no longerbe whatitonce was, as soon becomesclear.
banterimpliestheage and intiThe trio'seasy, light-hearted
but
their
of
their
jokes about Fortunealready
friendship,
macy
introducea darkernote. Meanwhile,theirbawdry(2.2.228-36)
rootedin ephemeralpleasuresand
ultimately
impliesa friendship
thuslackingthe serioussubstanceof Hamlet's new connection
allusionto therarityof honesty(2.2.
withHoratio.The off-hand
237-38) helps remindus thathonestyis especiallyprized in a
is
friend,but the referencealso seems ironicsince ¿//¿honesty
preciselywhatHamletwill come to suspectin (and even display
toward) his old friends.Meanwhile, Hamlet's descriptionof
Denmarkas a "prison"(2.2.241) helps stresshis isolation,since
notonlyof freedom
a prisondeprivesone (almostby definition)
butoftruefriends.Once again Hamlet'salienationis emphasized
by the closeness of the pair he addresses:theirintimacyis imwithan opinion
s simpledisagreement
plied even in Rosencrantz'
Hamlethas just expressed:"We thinknotso, mylord"(2.2.248).
assumethathe knowshis companRosencrantzcan confidently
ion's mind;Hamletcan rarelyfeel confidentenoughto assume
thisaboutanyone(except,perhaps,Horatio).
Hamlet's growingseparationfromhis erstwhilefriendsis
subtlyemphasizedby his pronounswhen he respondsto the
commentjust cited: "Why, then 'tis none to you; forthereis
nothingeithergood or bad but thinkingmakes it so. To me
[Denmark]is a prison"(2.2.249-51). Rosencrantz'srejoinder
for
narrow
your
"Why,thenyourambitionmakesit one; 'tis too
mind,"2.2.252])- triesplayfullyto echo Hamlet's syntaxand
phrasing,but it introducesthe topic of ambitionin a way that
inevitablyseems ironic.Ambition,afterall, is the flaw Hamlet
latersuspectsin them.If his suspicionis wrong,thenit seems
doublyironicthatRosencrantzshouldhere falsely(if jokingly)
accuse Hamlet of the fault.If, however,Hamlet's suspicionis
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RobertС. Evans
105
correct,thenit seems ironicallysmug,daring,and/orfoolhardy
forRosencrantzto accuse Hamlet.Indeed,the factthatRosenof ambitionsuggests
crantzcan accuse anotherso comfortably
thatambitionis notone of thispair's majormotives.Thereis, of
course,anotherpossibility:thatby raisingthe issue,he seeks to
- in whichcase
trapHamletintoconfessinghis own aspirations
his own amRosencrantzwould paradoxicallybe demonstrating
bitiousness.(The multipleways in whicheven thisone briefexof makingclear,
changemightbe read illustratesthe difficulty
- a difficulty
of others' motives
unambiguousinterpretations
quite relevantto the friendshiptheme.) In any case, this exchangehelps remindus thatalthoughshared ambitionscan ceones can helptearitapart.
menta friendship,
conflicting
By playfullydebatingHamlet,Rosencrantzand Guildenstern
and conflictthatoften,
seek the kind of amiable disagreement
Their
bantershows how
or
reveal
build
friendship.
ironically,
well theyknowhim- how mucholderfriendstheyare withhim
thanis Horatio.It is almostas if (in thisscene) we witnessthem
reenactold routines.Of course,the visitorscompletelymiss (at
least at first)the more seriousimplicationsof Hamlet's words:
while theyplay an old game,he has leftsuch play behind.The
and althoughHamtrioconversebutdo notreallycommunicate,
"servants"
and
insistson calling
them
his
let rejectsconsidering
themas truefriendsis prethem"friends"(2.2.267-74), treating
ciselywhathe refusesto do.12Indeed,his claimthathe is "most
attended"mayeven be a sarcasticgibe,in whichcase
dreadfully
his claim to speak "like an honestman" is itselfa bit dishonest,
and perhapsalso sarcastic(2.2.267-70). Sarcasm,of course,is
butperhapsalso fear,supericomplicated:it expressescontempt
oritybut perhapsalso weakness,hostileaggressionbut perhaps
also a hope forreform.It may insult(by mockingthe target's
tributeto the
dull imperception)but may also pay understated
to
take
a
subtle
hint.
Sarcasm
can
target'sability
pricka target
withoutseveringa relationshipcompletely.Once again, the
problemof correctlydetermining
precisemotivesin ostensible
friendsbecomesapparenthere.
This problemsurfacesagain when Hamletbluntlyasks his
visitorsto tell him,"in thebeatenway of friendship,
whatmake
you at Elsinore?"(2.2.269-70). Rosencrantzblatantlylies (2.2.
271), althoughhis responseis less easy tojudge or condemnthan
itmightat firstseem.It raisesthedifficult
issue ofwhetheritcan
everbe rightto lie to a friend,especiallyifmotivatedby sincere
concernforthefriend'swelfare.Hamlet's visitorsmaytrulybe-
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106
FriendshipinHamlet
lieve, after all, that they can help him by discoveringhis
- althoughtheyobviouslyknow,too,thatsuch a discovsecret13
will
also please Claudius and Gertrude.Once again Shakeery
refuses
to simplify,especiallywhendealingwithfriends.
speare
Particularlyresonant,for instance,is Hamlet's responseto the
lie: "BeggarthatI am, I am even poorin thanks,butI thankyou.
And sure, dear friends,my thanksare too dear a halfpenny"
(2.2.272-74). If this is sarcastic,thenhis truemeaningis preciselythe oppositeof whathe seemsto say. The claim of inferiorityand povertywould then mask his strongsense of moral
and of greaterpoliticalpower,and his apparentgrasuperiority
ciousness would barely disguise his growingfrustration
and
anger.
Hamlet'selaborateself-depreciation
is immediately
followed
words
that
by blunt,plain
may simultaneously
expressa hostile
and
a
even
challenge,impatientcontempt,
genuinelyheartfelt,
to
beloved
comrades:
"Were
not
sent
for?
Is
old,
painedplea
you
it yourown inclining?Is it a freevisitation?Come, come, deal
justlywithme. Come, come. Nay, speak" (2.2.274-76). Critics
as practiced,hypocritical
who see Rosencrantzand Guildenstern
attention
to Hamlet'sown immediately
courtierspay insufficient
ensuingadmissionthat"thereis a kind of confessionin your
looks, which yourmodestieshave not craftenoughto colour"
(2.2.279-80). He seems to concede thattheyare too innately
to a friend.The visitorsseem richer,
honestto lie effectively
truercharacters(and less like cardboardstereotypes)if we see
themas truebut corneredfriends:do theycontinueto lie (thus
with
seekingto help Hamlet)buttherebydestroytheirfriendship
him,or do theyconfessand thusjeopardizeassistinghim(while
also betraying
theirobligationsto thekingand queen)? Theyare
and,to complicatematters
trappedbetweendutyand friendship,
even more,theirown self-interests
are inevitablyinvolved.If
theyalienatetheprince,theylose notonlya friendbuta powerfulally; if theydisappointthekingand queen,theynotonlyfail
in a seriousobligationbutalso riskangeringtheroyalcouple.As
- or rather,he imialways, Shakespearemakes thingsdifficult
tatesthecomplexitiesof realhumandilemmas.It is preciselythis
refusalto simplify
thatmakeshis plays- and his treatment
ofthe
theme
so
rich.
friendship
In a momentthatechoes Horatioand Marcellus'searlierbeing forcedto swear secrecyon Hamlet's sword,theprincenow
forces Rosencrantzand Guildensternto swear openness by
"conjur[ing]"them "by the rightsof our fellowship,by the
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RobertС. Evans
107
consonancyof ouryouth,by theobligationof ourever-preserved
love, and by whatmore dear a betterproposercan chargeyou
withal,[to]be even and directwithme whether
youweresentfor
or no" (2.2.283-88). The anaphorais ringinglyeffective,and
and vulnerability,
both
Hamlet's wordscan implybothstrength
to:
weakness.
He
as
he
would
be
and
spoken with
speaks
power
directness.He abandonssubtlesarcasm,and althoughhis words
still seem full of suppressedanger,they may also express a
painedand deeplyinjuredplea. Whenhis visitorshesitate,Hamlethimselfsays,"Nay,thenI have an eye ofyou. If you love me,
hold not off (2.2.290-91). The firstsentencehas been read eishows
theras an aside or as directaddress,and the difference
how even slightlyalteringone apparentlysimple phrase can
especially in exchanges between
complicate interpretation,
friends.If Hamletdoes here speak an aside, thenthatdecision
alreadysuggestshis distancefrom(and even contemptfor)his
old friends.If,however,he speaksdirectlyto them,thenhe once
moreshows a friendly,
open willingnessto appeal to theirgood
naturesand "ever preservedlove" (2.2.285-86). Guildenstern's
brief,monosyllabicreply- "My lord, we were sent for" (2.2.
292)- is wonderfully,
paradoxicallyeloquent,implyingat once
and reticence.It is just thekindof
reluctance,shame,sincerity,
simplebutcomplicatedlanguageone friendmightuse to another.
Hamlet's offerto explainwhytheyhave been sentfor(2.2.
solicitous,or both,since
293-95) can be seen as contemptuous,
he anticipatestheirdiscomfortwith tellingthe reasons themhe thenshutsoffanygenuinediscussionof
selves. Significantly,
his own feelings,tellingthemhe doesn'tknowpreciselywhyhe
has losthis earliermirth(2.2.295-97)- althoughin sayingso he
obviouslylies. Havingjust urgedthemto be honest,he is now
dishonesthimself,butonlybecause he suspectsthemof possible
are comdishonesty:as always,motivesand theirinterpretation
plex, especially between friends.Paradoxically,he describes
withsupremeeffectiveness
earthlywondershe claimshe can no
even
and
his
longer
recognize,
imageof earthas a "sterilepromis
relevant
to thefriendship
theme,implying
ontory" particularly
isolationamidstvast surrounding
space (2.2.297-303). Rosenare treatedto anothersmall soliloquy:
crantzand Guildenstern
Hamlethas notyetcompletelyshutthemoutor off,and although
he refusesto sharehis chiefsecretwiththem,he does sharesome
ofhis deepest,sincerestfeelings(2.2.303-310).
The visitorseven seemcomforted
by Hamlet'swillingnessto
share his gloom. Certainlythe earliertensionnow begins to
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FriendshipinHamlet
108
subside- a change signaled by Rosencrantz'ssmile (2.2.310).
Hamletinterprets
thesmileas a reversionto theirearlieryouthful
bawdry (2.2.309-10). Rosencrantz'sinsistence,however,that
his reaction(2.2.311) simplyraises
Hamlet has misinterpreted
once more a chieftheme:whetherwe can ever reallyknow another'smotives,even a friend's.Yet thesmilingand theshiftof
topic, followingHamlet's profoundand eloquent words, may
also suggestthatRosencrantzand Guildensternsimplycannot
operateon the prince's intellectualor spirituallevel, thatthey
cannottrulycomprehendhim,thattheyhaven'treallybeen listening.Rosencrantz'svery smile, which seems to signal a rerelations,may insteadsuggest
sumptionof theirearlierfriendly
thatthesemen are now too shallow(or ratherthatHamlet,having been chastenedby his father'sdeathand the ghost'svisit,is
Alternow too deep) forthetrioeverto resumea real friendship.
some
real
the
smile
indicate
subtletyand
natively,
may perhaps
in
Rosencrantz.
Perhaps,recognizingtheprince's
perceptiveness
he
seeks
to changethesubject,to brighten
deep pain, solicitously
themood,to give his old friendhappierthingsto thinkabout.
V
whenRosencrantztellsHamletof theplayers'
Significantly,
he
approach, says thattheytravelpartlybecause theyhave been
is
abandonedby cityaudiences.Once again unstablefriendship
for
have
been
a
since
the
rejected
players
implied,especially
likens
the
children's
Hamlet
explicitly
disloyal
competing
group.
audiencesto the ficklecourtierswho once mockedbutnow flatter Claudius. All this behavior,of course, is relevantto the
- a theme also reiteratedwhen the prince
friendshiptheme
even offering
finallywelcomes Rosencrantzand Guildenstern,
themhis hands(2.2.366-71). The trio'sold friendship
seemsmoas
does
Hamlet's
but
even
this momood,
mentarilyrestored,
mentis ambiguous.Some criticssee Hamlet's gesturehere as
and his famously
just that:a gesture,not a real reconciliation,
"a hawkfroma handpuzzlingcommentthathe can distinguish
saw" (2.2.375) can be read as warning,threat,friendly
advice,or
withhis old chumsis, like so
all threeat once. His friendship
Ironimuchelse in the play, continuallyopen to interpretation.
old
friends
and
his
two
Hamlet
(now positioned
cally,however,
at each ear) do seem unitedby contemptforPolonius. Rosencrantz even joins Hamlet in mockingthe old man (2.2.376
the
the aggressionlatentin friendship,
-81) - neatlyillustrating
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RobertС. Evans
109
way friendscan bond by turningon someoneelse. The irony,of
course,is thatHamletwill eventuallyalso turnon thesetwo and
eventuallykill both themand Polonius. The trio's currentalliance will notlast.
Toward the players,however,Hamlet seems immediately
- thougheven thismomentis complex,
and unfailingly
friendly
since he had earliersaid he plannedto greetthemwitha zeal
thereforepartlyplanned (2.2.368-71). Yet there seems real
warmthin his words "Welcome, good friends"and "O, old
friend"(2.2.418-19) and in his playfuldemeanor.His warmth
seems particularlystrikingafterhis coldness towardPolonius
Indeed,
(and, beforethat,towardRosencrantzand Guildenstern).
perhapsthese encounterswithpossiblyfalse friendshelp make
his feelingforthe playersso enthusiastic.Althoughthe actors,
paradoxically,are professionaldeceivers,to Hamlettheyseem
thanalmostanyoneelse. Theirrelativepowermoretrustworthy
lessness and dependencemeans that he can also comfortably
to pose
treatthemas friends:like Horatio,theyare too impotent
most
can't
with
in
he
with
them
he
can
relax
so
threat,
ways
any
others.He can evenjoke withthemabouttheirnotbeingfriends
of them,and
(2.2.420), while his generallyfriendlytreatment
his teasingof the youngerplayers,winninglydemparticularly
onstrateshis underlying
capacityforreal affectionand generosity.In such scenes, as in thosewithHoratio,we glimpseHamlet's normalcharacter.We see who he has been (and is capable
We see a Hamletwhosecapacityfor
ofbeing)whenunburdened.
lovable.
makeshimseem,in turn,eminently
affection
AnotherreasonHamletcan relaxwiththeplayersis thatthey
are openlysuitors. Theyobviouslyseek favorand money,without hidden motives. Paradoxically,he can welcome them as
andtheir
friendspartlybecause he knowstheyneed employment,
abandonmentby theirown formerfriends(and payingcustompatrons.Given
ers) makesthemevenmoredependenton friendly
it
to thelargerfriendship
theactors'importance
theme,therefore,
deals
so
the
chief
that
seems
player's
hardly
surprising
14 speech
explicitlywith open hatred(2.2.464-514). The familiarlines
stirtearftil
compassioneven in the actor,and his empathywith
of long-dead,fictionalpersonsseems particularly
the sufferings
strikingwhen ironicallyfollowedby Polonius's smug intention
to treatthe players"accordingto theirdesert"(2.2.523). Ham- "God's bodkin, man, much better.
let's wonderfulresponse
Use everyman afterhis desert,and who shall scape whipping?
Use themafteryourown honourand dignity. . ." (2.2.524-25)
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FriendshipinHamlet
110
- memorablyencapsulatestwo chiefprinciplesof truefriendship: charityand the Golden Rule. Yet Hamlet's rebuke of
also constitutes
Polonius forbeing insufficiently
(as he
friendly
seems to realize) an implicitrebuketo himself.Thus, having
mercilesslymocked the old man earlier,he now cautionsthe
players,"look you mock him not" (2.2.539). These words,like
the explicitreferencesto friendshipwith which this interlude
concludes(2.2.530-31, 540), helpemphasizeonce morea crucial
theme.
scenes,is
2.2, one of theplay's longestand mostinteresting
to the friendship
in factparticularly
theme,whichis
significant
soon soundedagain. As Hamletcommencesanotherlonelysoliloquy,he upbraidshimselfforbeingincapable(unliketheplayer)
of truecompassionforanother'ssufferings,
especiallythose of
his own father.Yet he also revealsone reasonhe has notalready
theghostis
avengedhis father'sdeath:he is notyetsurewhether
a truefriendor a temptingfoe (2.2.594-600). Like all of us, in
theproblemof interpretation,
of tryingto deshort,he confronts
terminewhetheranother's apparentlybeneficentmotives are
or not.
trulyfriendly
VI
had surfacedexplicitlyin 2.2, so it arises
Justas friendship
in
when
the
3.3,
long-absentHoratio reenters.Signifiagain
as
he
(whom
cantly, appearsjust Rosencrantzand Guildenstern
Hamlet now considersfalse friends)are leaving (3.2.52). This
juxtapositionseems deliberate:Shakespearefaced no need to
back so briefly(especially
bringRosencrantzand Guildenstern
withPolonius,whomHamletalso considersno friend)unlessto
contrastthemwithHoratio,whomthe princegreetsenthusiastically. He is answered,in turn,withmoreobvious affectionand
less formalitythan Horatio has previouslyused (3.2.52-55).
has deepened,as Hamletconfirmsin a
Clearlytheirfriendship
to thefriendship
theme.15
Horatiohas
speechcentrallyimportant
humblyoffered"service"(3.2.53), butHamletinsteadextolshim
as being "e'en as just a man/ As e'er my conversationcop' d
withal"(3.2.54-55). "Just"can implythatHoratio is not only
personallyideal and well-balanced butis also a perfecthuman.
In all thesesenses Hamlet's praiselooks back bothto his earlier
commendation
ofmankind(at 2.2.303-08) and to themoderation
he had just been celebrating when instructingan actor
(3.2.1-45). Like theideal manHamlethad earliercalled "thepar-
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RobertС. Evans
111
agon of animals" (2.2.307) and also like the ideal actor who
neveroversteps"themodestyornature"(3.2.19), Horatiostrikes
just the rightproportionand balance- qualitiesHamlethimself
may feel he now lacks (althoughthis very speech shows how
muchhe stillpossesses themand how muchtheyremainhis ideals).
When Horatiotriesto demur,Hamletcuts him off(3.2.56),
butthe interruption
isn't rude.Instead,Hamletprotectsbothhis
and Horatio's dignityby claiminghe doesn't flatter:why,he
asks, should he flatterthe poor? The questionmightnormally
seemungracious,insulting,
or condescending,
butHamlet'smere
he feelswithHoratio,how
askingof it shows how comfortable
much he trustsHoratio's perception.That Hamletcan mention
Horatio'srelativepovertyso blatantlyshowshow littlehe prizes
such matters,how much he values Horatio forbetterqualities
thanwealthor power.Althougha cynicmightnotethatHoratio
is in factfarfromtotallypowerless(because apparently
onlyhe
knowsthefullsecret)17,
and thatHamlettherefore
has some reason to "flatter"him (3.2.56), thisexchangemainlyshows Hamlet's mutualconfidencein himselfand his friend.What might
theireasy
normallyseem awkwardor impoliteinsteadillustrates
The veryblatantnesswithwhichHamletrisksinsultfriendship.
oftheenthusiasingHoratioinsteadhelpsguaranteethesincerity
tic commendation
thatnow follows.
Hamlet's extendedpraise of Horatio amounts,in effect,to
anothersoliloquy. It thus helps intensify(almost as much by
formas content)our sense of Horatioas Hamlet'struefriend,a
man withwhom(and to whom)he can speak frankly.
To no one
else has Hamlet earlierspoken so intensely,forso long, about
- exceptto himself.His praiseof
mattersso obviouslyimportant
Horatio even recalls the soliloquy in which he had wondered
whetherit was "noblerin themindto suffer/
The slingsand arrows of outrageousfortune. . ." (3.1.57-58). 18Here he extols
Horatioas one who,"in suffringall, . . . suffers
A man
nothing,/
thatFortune'sbuffetsand rewards/hastta'en withequal thanks"
(3.2.66-68). As elsewhere,this speech links- while implicitly
- friendshipwith Fortune.True friendshipis Forcontrasting
tune'sopposite:a truefriendis as stable,trustworthy,
and certain
as Fortuneis not. A truefriendis not "a pipe forFortune'sfinger,/To soundwhatstopshe please" (3.2.70-71), and Horatiois
just sucha friend.But beforeHamletcontinues,he abruptly
stops
himself(3.2.74). Perhapshe ends so suddenlyforfearof embarthat
rassingHoratio;perhapshe stops because bothunderstand
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112
FriendshipinHamlet
deep friendshipneed not be verbalized; or perhaps he stops
partly because he realizes he is slipping into self-absorption- thateven his praise is fallinginto monologue.Whatever
his reasonforstopping,his wordsclearlyreflectwell on himself;
he winsourown respect.And thefact
by commendingHoratio,19
that he has apparentlyshared with Horatio his deepest secret- the ghost's allegationagainstClaudius- showsthatHamlet's trustis morethanmerelyverbal.
The play's tendencyto link friendshipand fortuneis reflectedalso in Hamlet's Mousetrap.Thus the PlayerKing observeshow love fluctuates
withfortune,
and how "Thegreatman
down,you markhisfavouriteflies" while "The poor advanc'd
makesfriendsof enemies" so that"who not needs shall never
lack a friend,/And who in want a hollowfrienddothtry/Directlyseasons himhis enemy"(3.2.195-204; italicsin original).
it describes,while
The tautsyntaxmimicsthe quick mutability
the suddenshiftsbetweentotaloppositesimplyhow superficial
such changes are. Similarly intriguingis the ambiguityof
"needs": in one sense thewordsuggeststhatthehighlyfortunate
will neverlack friends,but in anothersense it impliesthatwhoeverdoesn'tneed a friendwill alwayshave one. The lattermeanon both sides- as if friendship
were
ing suggestssuperficiality
Here
in
other
the
matter
of
need.
as
a
respects, language
merely
of theplay-withinseemsmoresubtlethanwe mightfirstsuspect.
Thus "hollow" nicelysuggestsan inneremptinessinvisiblefrom
without,while "seasons" pervertsthenormallypleasantassociais the topic,even the
tions of thatword. When false friendship
languageused to discussit seemsperverse.
sortariseswhen,aftertheplay upAmbiguityof a different
sets Claudius, Hamlet exults with Horatio,whom he calls his
at all,
"Damon dear" (3.2.275). Wheneditorsgloss thereference
alludes
to
a
assume
that
"Damon"
shepherdfrom
theyusually
conventionalpastoralliterature.Even this meaningwould sugbetweenHamletand Horatio,butanother
gesta close friendship
possibilityis that "Damon" mightalso suggestthe legend of
Damon and Pythias,two of the mostfamousclassical friends.20
- a detailthatgives thepossible alTheyunitedagainsta tyrant
lusion all the morerelevanceto Hamlet.21Indeed,just whenthe
princelinksHoratiowithDamon, Horatiooffersa clear (if typically subtle)criticismof Claudius by sarcasticallyimplyingthat
afterHamthenew kingis an "ass" (3.2.279). And immediately
theirbond by agreeingabout Claudius,
let and Horatioreaffirm
Rosencrantzand Guildenstern(whom Hamlet now considers
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RobertС. Evans
113
falsefriends)appear.As before,Shakespeareherejuxtaposesthe
true friendwith the alleged imposters,therebyenhancingour
awarenessofboth.
Hamlet conversesmostlyhere withGuildenSignificantly,
stern,fromwhom the princehas always seemed more distant
than fromRosencrantz.Their quick, staccato,back-and-forth
exchangeunderscorestheirmutualimpatience,and Guildenstern
soon feels Hamlet's contempt.Twice, seekingbettertreatment,
he utterseithera plea or a demandor both(3.2.300-01, 306-10).
Hamlet's mother,the
Yet because he and Rosencrantzrepresent
treatment
theyreceivealso amounts,in part,to subliunfriendly
matedrage at Gertrude.They,of course,cannotknowthis,and
s stungcomment,"My
thereseems genuinehurtin Rosencrantz'
lord, you once did love me" (3.2.326). He now (ironically)
sharesthe same emotionsas Ophelia, and his plain-spokensentencecomes withall themoreforceafterall theearlieredgyambiguity.His commentcan be read as pained,defiant,or both;it
can seem at once an assertionof dignity,dependence,and protest.AlthoughHamletoffershis hand,thisnormallyfriendly
gesturecan now seemeitheremptyor contemptuous.
Likewise,Rosencrantz's request that Hamlet share his "griefs" with his
"friend"(3.2.330) can seem either genuinelysolicitous (and
thereforeall the more generous,especially if he does feel repryingand probing.Hamjected and insulted)or as dishonestly
- but
to
share
his
is
of
let, course, willing
griefswithhis friend
thatfriendis now Horatio.
Justas Hamlet's earlierpraiseof Horatiohad echoedthe"to
echoes
be or notto be" soliloquy,so his rebukeof Guildenstern
if
the speech to Horatio.(The allusion is especiallysignificant
commendsthetruefriend
Horatiohearsit: Hamletthusimplicitly
beforetheallegedlyfalse.)The princehad earlierpraisedHoratio
fornot being "a pipe forFortune'sfinger"(3.2.70). Now, after
a recorder,Hamletaccuses himof treating
Guildenstern
offering
theprincehimselfas a pipe (3.2.355-56). Normallytheofferof
theinstrument
would seemfriendly;
here,though,it seemsmuted
that
concretizes
the verymetaphorHamlet
physicalaggression
now explains.His repeatedemphasison pronounssuchas "you,"
"me," and "my"(3.2.354-63) underscoreshis new distancefrom
his former friends, while his closing request (or command- "Leave me, friends"(3.2.378)- nicely illustratesthe
complex ambiguityof the key word, since "friends"here prebutalso
sumablyincludesnotonlyRosencrantzand Guildenstern
Horatio.Hamlet,at thismoment,is surrounded
by "friends,"but
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114
Friendshipin Hamlet
to himonlyone seemsa friendin thedeepestsense.
VII
Friendshipremains importantin the rest of act 3 and
act 4. Thus Hamletno soonerdepartsthanhis chief
throughout
flankedby Rosencrantzand Guildenstern.
Clauenters,
enemy
dius' firstwords- "I likehimnot"(3.3.1)- can referto Hamlet's
recentconduct,theprincehimself,or both,just as Guildenstern'
s
concernto "keep those many bodies safe/ That live and feed
selfupon your Majesty" (3.3.9-10) can seem public-spirited,
serving,or a combination.Rosencrantz(predictably)echoes his
friend(3.3.11-23), and althoughtheirwords can be seen as
merelyparasitic,what theysay is also simplytrue:threatsto
kings can threatencommonwealths.As usual, Shakespeare
leaves his characters'motives unclear, and Rosencrantzand
can indeed be seen as actingas sincerefriendsto
Guildenstern
- all at once. Their
Claudius,Denmark,Hamlet,and themselves
willingnessto accompanyHamletto Englandafterhis obvious
recenthostilitysuggeststhatself-concern
is not theironly monow recognizethatifHamtive,thoughof coursetheyinevitably
let defeatsClaudius theywill also likelylose. They exemplify
the peculiar instabilityof friendsto the powerful:as Hamlet's
of manyothers.
intimates,
theyonce stoodto gain thefriendship
Now, as men he deems enemies,theyrisklosingthe friendship
of many- except for Claudius and Claudius's friends.Friendship,normallythoughta bufferagainsttheworld'suncertainties,
here seems to be just the opposite,no matterwhichperspective
theyadopt.
Similarambiguitiesarise in act 4. ThereClaudius,learning
that Hamlet has killed Polonius, addresses Rosencrantzand
- as usual- it isn't
Guildensternas friends(4.1.33), although
clear whetherhe thus shows diplomacy,real certaintyof their
loyalty,desperateneed, or a combinationthereof.Likewise,
whenhe says he plansto consulthis "wisestfriends"(4.1.38), he
can seem motivatedby heartfelt
need and/orclevercunning,especiallysince,by consultingthem,he hopesto head offpotential
enemieswho may includethe "friends"themselves(4.1.40-45).
Meanwhile,further
ambiguityseems inherentin Hamlet's ensuand Guildenstern,
treatment
of
Rosencrantz
especiallywhen
ing
he calls the formera "sponge" (4.2.11). Obviouslythewordexbutin explainingit Hamletmayalso be warnpressescontempt,
ing his formerintimateabout Claudius's true motives (4.2.
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RobertС. Evans
115
14-20).22And Rosencrantz'suncertainreactionto theaccusation
orboth.
(4.2.13) can seemeitherpained,indignant,
Claudius must deal cautiouslywith Hamlet partlybecause
thelatterhas too manyfriendsamongthepeople (4.3.4), and so,
dictionto disguiseunspeakingwiththeprince,he uses friendly
motives
(4.3.40-46). Ironically,he calls Rosencrantz
friendly
Hamlet's "associates" (althoughtheyare now
and Guildenstern
morenearlyhis; 4.3.35), and he plans to relyon his friendship
(or "love") with"England"(4.3.61) to help eliminatetheprince.
Many paradoxes inherentin the friendshipthemeare implied
here:"England"is notmerelythecountrybutthebrother
kinga friendwhomClaudiushopeshe can counton. Yet theirconnecbutof intimidating
tionis notmerelyone of friendship
"power"
(4.3.62), and Claudius's hope forHamlet's death- "Do it, England" (4.3.68)- can seem both a demandand a desperateplea.
Such political dimensionsof friendshipare then immediately
- who startedtheplayas Clauwhenwe see Fortinbras
reinforced
- seekingthe Dane's friendship
so he can attack
dius's enemy
withthis,however,
thePoles, his new foes (4.4.1-6). Juxtaposed
are Rosencrantz'sgentlewordsurgingtheprinceto board ship:
"Will't please you go, my lord?" (4.4.30). This questioncan
seem tenderlysolicitous, calculatedlyingratiating,
cautiously
diplomatic,or some combinationof these.Even in such simple
words Shakespearecapturesthe complexitiesof dealings between(former?)friends.
Politicsand friendship
intersectagain nearthe end of act 4,
when Claudius fearsthat"buzzers" will "infect"the newlyreturnedLaertes' "ear" withslanderagainsttheKing (4.5.90). Although"buzzers" impliesthatsuch people are truefriendsneitherto Laertes,Claudius, nor the state,Claudius is obviously
motivatedless by concernforLaertesor Denmarkthanforhimself, and it is indeed Claudius who will soon pose as Laertes'
friendand "infect"his "ear." WhenLaertesburstsin witha mob
whom he courteouslytreatsas friends(4.5.112-15), Gertrude
and Claudius themselvesrespond with friendshipthat seems
partlygenuinethoughmostlyfake (4.5.116, 122, 125-27, 129,
137, 139). Had the King respondedwithangeror force(as he
mightif Laerteshad not come withso manyfriends),he probably would only have stirredup enmity.Instead,by responding
withapparentlycalm friendship,
he disarmshis potentialrival.
He cautionsLaertesnotto allow intendedrevengeto harm"both
friendand foe,"therebyprompting
theyoungmanto say thathe
seeks onlyhis father's"enemies"and will welcomeand reward
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Friendshipin Hamlet
116
his father's"friends"(4.5.142-47). Later Claudius asks Laertes
to put him "in your heartfor friend"(4.6.2)- words thatcan
seemdeceptivelyhypocritical
or thatmayreveala genuinedesire
and need. When Claudius appeals to Laertes' "conscience" (a
valuable quality in a friend)he implies thathe has one, too
to Hamlet'smanyfriends(4.
(4.6.1), whilehis nervousreference
seems
ironic
since
itwas (and is?) a similar
6.16-24)
particularly
concernthatdetermined
his treatment
of Laertes.Claudius now
seems to sharehis secrets,worries,and even his self-lovewith
Laertes(4.6.30-35). Normallysuch opennesswould characterize
a good friend,buthis apparentfrankness
is partof a ruse.Likewise, his willingnessto praise Hamlet as "Most generous,and
freefromall contriving"(4.6.134) seems ironicin moresenses
thanone. His praisemaybe sincere;or it maybe calculated;but
(as we will soon learnfromHamlet'sown mouth)it mayalso be
naive.
VIII
Act 5 opens with the famous exchange betweenthe two
clowns,who seem to be old friendsor at thevery
grave-digging
least old acquaintances.Their easy barbs suggest,ironically,
theiramity.Soon theyare confronted
by anotherpair of friends
(Horatio and Hamlet). As the latterinspectsa nearbyskull,he
even imaginesit as havingonce been a false friendor flatterer
(5.1.81-85). The grave-digger,
appropriately,
speakswithneither
false friendship
nor flattery;
instead,he addresseshis social superiorwiththe same insouciancehe hadjust used towardhis associate. Shakespearethusunderlinestheultimatelack of human
distinctions(a main themeof this scene): the clown treatsthe
princeas littlemore than anotherman (and thusas a potential
now also characterizesHamlet's
friend).A similarfamiliarity
relationswithHoratio(whomhe addressesfrequently
herebyhis
firstname),althoughShakespeareeffectively
contrasts
thebanter
betweenthe clowns (and betweenthe clown and Hamlet) with
themorethoughtful
conversation
betweenthisotherpairof comrades. Indeed,Horatio's willingnesshereeven to criticizeHamlet's thinking
(5.1.199) impliestheirpresentcloseness:as he will
demonstrate
repeatedlyin thisfinalact, Horatiois oftenwilling
- a willingnesswhichoftensigto disagreewithhis companion
nals truefriendship.
The ensuingfightbetweenHamletand Laertesin the grave
themein a different
emphasizesthe friendship
way: thesemen
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RobertС. Evans
117
will be) friends(5.1.217) battle
who mighthave (and ultimately
to show who bears greateraffectionforOphelia. Yet Hamletis
also angrybecause he feelswronglyaccused by theman he earlierconsidereda friend:"Hear you, sir,/Whatis thereasonthat
you use me thus?/I lov'd you ever" (5.1.283-85). For Hamlet,
theshockof Ophelia's deathis intensified
by theshockof Laertes' hatred.Oddlyenough,he cannotseemto imaginewhyLaertes is so unfriendly.
Ironically,however,the verycircumstance
thatmighthave unitedthesemen(the sharedloss of beloved fathersat thehandsofkillers)preventstheirfriendship.
WhenHamletreappearsin 5.2 withHoratio,he is recounting
- Rosencrantz
battleagainstdifferent
formerfriends
a different
He reportshow,havingstolenthesecretdeathand Guildenstern.
warranttheycarriedto the Englishking,he forgeda substitute
letter,fullof friendly
phrasing(5.2.39-42) butorderingthathis
two old chums be "put to sudden death,/Not shriving-time
- "So Guildenstern
allow'd" (5.2.46-47). Horatio'sresponse
and
Rosencrantzgo to 't (5.2.56)- is wonderfully
and
of
can,
cryptic
in varyingand contradictory
course, be interpreted
ways.23It
seems to registershock,especiallywhenwe realizethatHamlet
has now treatedhis two old friendspreciselyas Claudiustreated
his murderedbrother.Hamlet himselfseems to interpret
Horatio's commentas an implied criticism,or perhaps his conscience is botheredeven thoughhe claimsit isn't (5.2.58). If the
is correct,thenHoratioseems to be a good
firstinterpretation
friendby being willingto questionhis friend'sbehavior;if the
second interpretation
makes more sense, then Hamlet demonstratesa continuing
capacityforfriendship
by showingthathe is
not completelyruthless.Althoughhe claims his conscienceis
his veryneed to claim thismay paradoxicallysuguntroubled,
gestthe opposite.In any case, he at least feelsa need to explain
to Horatio,who in a sense functions
(hereand elsewhere)as the
embodied
conscience.
play's
Curiously,Horationeverdirectly
to
Hamlet's
butinsteadshiftssubjects
responds
self-justification
(5.2.62). Perhapshe realizesthatthereis no pointin arguing(the
deed,afterall, is done); perhapshe is afraidto argue;perhapshe
even approvesthe prince's conduct.Shakespearewisely leaves
all optionsopen: Horatio's reticenceadds to the richambiguity
of the drama. If Horatiohad openly approvedthe killings,he
mightseem less a friendthana toady.By insteadkeepinghim
relativelysilent,Shakespearehere (as usual) gives us plentyto
thinkabout.
As if to see how and why Horatiois not a toady,we now
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118
Friendshipin Hamlet
meetthe real thing:Osric. He appearsjust afterHamlethas regrettedquarrelingwith Laertes and expressed his intentto
"court"thelatter's"favours"(5.2.78). Osric,however,is a courtierin themoreobvious sense and thusservesas a foilto boththe
princeand Horatio.His pliabilityhelps emphasize,by contrast,
and Hamlet's playfullycontemptuHoratio's plain-spokenness,
ous treatment
of the fop is, in part,a show stagedto amuse his
comrade.Uncharacteristically,
Horatio even joins the mockery
(5.2.129-30, 152-53, 183), althoughhe seems ratherto tease
HamletthanopenlytormentOsric. Such intellectualand verbal
fencing(not onlyHoratio's withHamletbut also Hamlet'swith
the unarmedOsric) ironicallyprecedesthe real fencingin 5.3,
and by lampooningOsric Hamlet impliesat once his ideals of
but also his continuing
his capacityfor friendship,
friendship,
The
fact
that
courtiers
such as Osric are
for
capacity aggression.
now generallydoted on (5.2.184-91) makesHamlet's choice of
Horatioas a friendseem all themoreworthy.His own character
is impliedbythefriendhe selects.
Hamlet's decision to fightLaertes beforethe courtshows,
paradoxically,his public respectforthe otherman and willingness to treathim as an equal; theirfencingwill potentially
help
renewtheirbond.By duelingwithLaertes,Hamletseeksto make
at thesametime,of
amendsfortheirearlierpublicconfrontation;
he
also
the
course,by accepting challenge
helps displayhis selfhis
and
reputation.Disciplined
respect
protect (and repair)
swordplaywill ideally function,forbothof them,as ritualized
atonement(to each otherand the court)fortheirearlierchaotic
fight.Gertrudeeven wantsHamletto offerLaertesan open show
of friendship
beforetheyfight,and Hamlet'swillingnessto do so
- both to her and to Laertes
shows his own capacityforamity
(5.2.202-04). Horatio,meanwhile,speaks with a true friend's
bluntnesswhen he unflatteringly
predictsthatHamletwill lose
theduel (5.2.205),24buthe can have no idea, of course,just how
prophetiche is. Similarly,Hamletshowshis trustin and comfort
with his friendwhen he confessesmisgivingsabout the fight
(5.2.208-12), while Horatio's willingnessto lie for Hamlet
(5.2.213-14) shows thathe values his privatefriendmorethan
thepublictruth.
When Claudius places Laertes' hand into Hamlet's before
theduel,he pervertsone of themostsymbolicgesturesof friendmediator
ship.This act becomesan emblemofhis roleas corrupt
betweenthe youngermen. Hamlet's public apologyto Laertes,
meanwhile,sounds almosttoo glib to strikeLaertesas sincere,
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RobertС. Evans
119
howeversincerelyHamletmay have intendedit. Once morethe
even trulyfriendly
potentialformisinterpreting
gesturesarises:
we have reason to believe (from the recent exchange with
Horatio)thatHamletdoes genuinelywantto make amendswith
Laertes;butto Laertes,Hamlet's wordsmay soundeitherironic
("Was't Hamlet wrong'd Laertes?Never Hamlet") or sardonic
("Hamlet is of the factionthatis wrong'd;His madnessis poor
Hamlet's enemy,"5.2.229, 234-35). This public apology is inherently
ambiguous:by speakingbeforethecourt,Hamletcan be
seen eitheras seekingto maketrulyopen amendsor as engaging
in public relations(or both). LittlewonderthatLaertes seems
unsure about how to respond until he consultssome trusted
friends(5.2.244). In themeantime,
he is willingto receiveHamlet's "offer'dlove like love/ And will not wrongit" (5.2.24748). This whole exchange shows the complicationsthatresult
whenprivatefriendships
are negotiatedin public.
No soonerdo Hamletand Laertesreachapparentaccord,in
fact,than the lattersuspectsthe formerof mockinghim (5.2.
252-55), while the apparentlyfriendlywords betweenHamlet
and Claudius can be seen eitheras a briefcessationof hostilities
or as disguisedverbaljousting (5.2.256-60). Meanwhile,once
thereal fighting
begins,Laertes' eventualwillingnessto confess
to being hit (5.2.288) seems to show a capacityforhonorand
even in thethickof combat.This appearanceis comfriendship
plicated,though,by ourknowledgethathe is Claudius's willing
instrument,
yetwe beginto doubtour doubtswhenLaertesconfesses (in an aside) to a troubledconscience- just beforehe
nonethelessstrikesthe fatal blow (5.2.300). Shakespearethus
goes out of his way to make Laertes(and nearlyall the characto judge simply:instead,theyeasily seem as comters)difficult
plex as our own friendsor ourselves.Ironically,thefinalreconciliationbetweenHamletand Laertesis precededby apparently
real hatred(5.2.306), but in his dyingmomentsLaertesshows
himselfcapable of real friendship
not onlyby forgiving
Hamlet
(and seekingHamlet's forgiveness)butalso by accusinghimself
(5.2.332-36). His self-condemnation
paradoxicallyfunctionsas
self-praise:the more he denounceshis own "treachery"(5.2.
313), the moreworthyhe seems. One aspect of theplay's tragedy,indeed,is thattheseyoungmenfeela kindof friendship
just
whenreal friendship
betweenthembecomesimpossible.25
Meanwhile, although"friends"is almost Claudius's final
word (5.2.329), such phrasingseems wonderfullyironic.The
kingappeals to friendsto defendhim,yetno one moves:instead,
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120
FriendshipinHamlet
he is now almostcompletelyfriendless.The man who soughtto
win, keep, and manipulatefriendsdies alone, even thoughsurand erstwhiledrinkingcompanions.
roundedby fellow-revelers
Theirfinaldisloyaltyis no surprise:theyare largelyfriendsof
and recogpleasure. Openly denouncedby his co-conspirator
nized as a murdererby his dyingwife,Claudius dies suddenly,
his throatfloodedby wine,no shrivingtimeallowed.Hamlet,in
contrast,dies a slower death that allows him to speak final
wordsto Laertes,his dead mother,the court,and espefriendly
to act as a
ciallyHoratio(5.2.337-45). Horatio'sdesperateeffort
truefriendby dyingwithHamletis preventedby theprincehimself,who claims to interpetthe apparentlyselflessgestureas a
sign of selfishweakness.Ironically,one of Hamlet's last physical acts is to duel withhis friendforpossessionof thepoisoned
Horatio'swillingcup (5.2.347-48). FromHamlet'sperspective,
ness to sufferthepain of living,notanywillingnessto end pain
by death,will trulyshowhima friend(5.2.351-54).
This final conflictbetweenHamlet and Horatio paradoxically signalsthedepthof theirmutuallove,butit also showsthe
extentof Hamlet's dependence.He needsHorationow morethan
to helpHamletwin and keep
ever,and he needs himparticularly
friendseven afterthe prince is dead: "O God, Horatio,what
woundedname,/Things standingthus unknown,shall I leave
behindme" (5.2.349-50). Even as he leaves theworld,Hamletis
- with having friends,
concernedwith his worldlyreputation
imwithbeing well regardedand trulyrespected.He therefore
Horatio's
of
the
(thereby,
friendship
sincerity
challenges
plicitly
ironically,showinghis real trustin it): "If ever thoudidsthold
me in thyheart,/Absenttheefromfelicityawhile"(5.2.351-52).
Hamlet is now a totallydependentand vulnerablefriend,and
Horationow, unusually,has nearlytotal(butnottotal)powerin
theirrelationship.Even as he dies, Hamlettriesto controlhis
friend'sfuturewords,conduct,and status.He publiclyappoints
Horatiohis spokesman,just as he publiclynominatesFortinbras
(once an enemy) as the new king. Althoughphysicallyweak,
over his once and future
Hamletstillwields power,particularly
friends.
Horatio's famouswords ("Good night,sweet prince,/And
flightsof angels singtheeto thyrest";5.2.364-65) are ironically
juxtaposedwithsounds of drums.These mightnormallysignal
war but now symbolizea kind of peace. The verybrevityof
Horatio'sreactionto Hamlet'sdeathmakesit seemmorepowerand sincerethanany long,rhetoricalspeechcould
fullyheartfelt
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RobertС. Evans
121
has
be, whiletheadjective"sweet"suggestshow theirfriendship
ripenedinto love. Horatio's last image of Hamlet depictsthe
by truespiritualfriendswho will properlyapprincesurrounded
are incapapreciateand love himand who,almostby definition,
ble of doing him any harm.This image of ministering
angels,
though,is soon contrastedby Fortinbras'simage of "proud
Death" as an enemyfeastingon the scatteredbodies (5.2.36972). And thatimage is complicated,in turn,when the English
ambassadorsappear,expectingfriendly
welcome (and reward?)
forannouncingthe deathsof Hamlet's old chums,Rosencrantz
and Guildenstern.
The ambassadors'arrivaland theirnews mightseem an odd
or an obvious bit of irony,but perhapsthistouchis
distraction
Shakespeare'sway of emphasizing,one last time,the themeof
and the enormouscomplexitiesthatthemeofteninfriendship
volves. The closing referenceto Rosencrantzand Guildenstern
helps complicateany simplejudgmentswe mightwish to make.
If we thinkof themas wrongedfriends,we mustalso thinkof
tools.If we thinkofthemas Hamthemas Claudius's inadvertent
let's victims,we mustalso thinkof themas victimsof Claudius
and of fate.If we thinkof themas disposablefoolswhose deaths
finallydo not matter,we probablycheapenthe play. We view
Hamlet as a victimjust as we hear of the old friendshe has
helpedvictimize.In thisplay,fewmatters(includingfriendship)
are eversimple.
Horatio,the one-timeoutsider,now takespartialchargeand
also centerstage. As Hamlet's friendand as the only survivor
who knowsthe whole truth,he is now positionedto serveas a
friendbothto Denmark(by explainingtrulywhathas happened)
and to Fortinbras(by legitimatingthe new ruler's claim to
power).By actingas Hamlet'svoice,Horatiowill winfriendsfor
the new kingand may even, ironically,become one of the new
ruler's closest Danish advisors.Fortinbras,meanwhile,speaks
wordsof friendly
tributeto Hamlet(5.2.400-05)- wordswhich,
like so manyotherfriendly
wordsin thisplay,can seem merely
or
both
at once. Even in these finallines
sincere,
politic,truly
theme.The play
Shakespearerefusesto simplifythe friendship
closes withsounds of thundering
canons- soundsof war transformedintosoundsof tribute,
soundsof powertransformed
into
sounds of love and honor,sounds of violence transformed
into
soundsof peace, soundsof hatredtransformed
intofinalpeals of
friendship.
AuburnUniversity
at Montgomery
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FriendshipinHamlet
122
NOTES
1The
Press,1959),3-4.
QuestionofHamlet(Oxford:OxfordUniversity
2
"Friendship"does not appear,forinstance,as a separatesubjectin the indicesof
eitherRandal F. Robinson,Hamletin the 1950s: An AnnotatedBibliography
(New York:
Garland,1984) or JuliaDietrich,Hamletin the 1960s: An AnnotatedBibliography(New
York: Garland,1992). Inevitablyit is discussedto one degreeor anotherbyvariousscholars whose workis cited in thesebooks. In Robinson,forexample,see entries3 17 (Leo
Kirschbaum)and 438 (Abbie Potts).In Dietrich,see such entriesas the following:103
(Curtis Watson); 651 (Heinreich Straumann);665 (Ferminde Urmeneta);and 1033
(Howard Feinstein). Even morehelpfulis Bruce T. Sajdak's ShakespeareIndex:An AnnotatedBibliographyofCriticalArticleson thePlays 1959-1983,2 vols. (Millwood,New
York: Krause International,
1992). The followingitemsin Sajdak's workare particularly
helpful:U40 (Isadore Traschen);U238 (HowardFeinstein);U272 (BridgetGeliert);U345
(James I. Wimsatt);U364 (Robert Willson); U496 (Kristián Smidt); U376 (Joseph
Meeker); U403 (Thomas Nelson); U494 (AndrewJ. Sacks); U606 (Leo Rockas); U610
(PierreSahel); U714 (Ilona Bell); U772 (Charles Haines); U793 (Michael Taylor). Alof all thesescholars,I have foundall theirideas
thoughI do notagreewiththearguments
suggestive.
Also helpfulhave been the following:JuliaLupton,"TruantDispositions:Hamlet
and Machiavelli,"Journalof Medieval and RenaissanceStudies 17 (1987): 59-82, and
HamletStudies17 (1995): 54-62.
(mostrecently)KeithDoubt,"Hamletand Friendship,"
However,noneof thestudiesmentionedin thisnote,noranyothersof whichI am aware,
undertake
thekindof detailed,almostscene-by-scene
approachto thethemeof friendship
I hopeto offerhere.
3
My originalintent,when I firstconceivedthis article,was bothto theorizeand
historicizeShakespeare'streatment
of friendship
in Hamlet,butas I workedon thepiece,
one problemkeptarising:the sheerrichnessof theplay keptintruding
on any sustained
effort
to pull back fromtheworkitself.I have optedhereinstead,therefore,
to workmy
for
on Renaissancefriendship
way minutely
throughthedrama,savingexplicittheorizing
anotherforum.I do alreadyoffersome historicaland theoretical
commentsaboutthetopic
in chapter6 ofBen Jonsonand thePoetics ofPatronage(Lewisburg:BuckneilUniversity
see J.L.
Press, 1989), 192-221. For a usefulguide to generaldiscussionsof friendship,
Barkas, Friendship:A Selected, AnnotatedBibliography(New York: Garland,1985).
Amongthe itemslistedby Barkas,thefollowinghave provenmosthelpful:9 (Aristotle);
11 (Augustine);23 (RobertR. Bell); 36 (Peter M. Blau); 41 (LawrenceA. Blum); 49
(RobertBrain); 63 (Cicero); 78 (Steve Duck); 116 and 117 (ErvingGoffman);124 (Andrew M. Greeley); 135 (George Homans); 188 and 189 (George J. McCall and J.L.
Simmons);194 (GilbertС Meilander);208 (FriedrichNietzsche);222 (Plato); 225 (Plutarch);227 (JohnM. Reisman);263 (JeremyTaylor);3 11 (Sir FrancisBacon); and 504
(Montaigne).For morerecentworksee, forinstance,Neera Kapur Bahwar,ed., FriendPress,1993); Leroy
ship: A PhilosophicalReader (Ithaca,New York: CornellUniversity
S. Rouner,ed., The ChangingFace of Friendship(Indiana: Universityof NotreDame
Press, 1994); and the special issue on friendship
(editedby PeterMurphy)of the South
AtlanticReview91'' (1998).
JacquesDerrida's book The Politicsof Friendship,trans.GeorgeCollins (London:
Verso, 1997) appearedtoo late (and seemed perhapsa bit too opaque) forme to make
muchuse of ithere.
4 See "Timon Athens:The
Library
of
Iconographyof False Friendship,"
Huntington
Quarterly43 (1980): 181-200, esp. 185. I am honoredto acknowledgehere the true
CliffDavidson has always shown,not only towardme and manyothercolfriendship
collaborator
JohnS. Stroupe),butalso towardthenumerous
leagues(such as his long-time
scholarshe has generouslyhelped over the years.Cliffs encouragement
and assistance
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RobertС. Evans
123
will be greatlymissedbutneverforgotten.
One of themostvaluable studiesof Renaissanceconceptsof friendship
remainsthe
venerablestudyby LaurensJ.Mills, One Soul in Bodies Twain:Friendshipin TudorLiteratureand StuartDrama (Bloomington:Principia,1937). Mills surveys(and quotesextensivelyfrom)all thestandardsources.One of theseis WilliamBaldwin's 1547 Treatise
and reof Morali Philosophie,whichwas subsequentlyenlargedby ThomasPalfreyman
printedin 1620. This textquicklysummarizesnearlyall the mosttypicalRenaissance
ideas aboutfriendship
These includethebe(mostlyborrowedfromclassical precursors).
liefsthatfriendship
is a "vertue"rootedin virtue;thatit involves"perfectconsentin all
things";that"thereis nothinggiuenofGod (exceptwisedome)thatis to manmorecommomakes"of two personsone"; thatit is "small pleasureto haue life
dious"; thatfriendship
in thisworldifa manmaynottrusthis friends";thatfriendship
"is to be preferred
before
all worldlythings";that"whereequalityis not,friendship
maynotlongcontinue";thata
"truefriendis moreto be esteemed,thenkinfolke";thatone shouldbe "slow to fallinto
butwhen... in [should]continue";thatone shouldnottrustfriendswon durfriendship,
that"friendslightlytaken,are likewiselightlyleftagain"; thatthe"iniury
ingprosperity;
of a friendis muchmoregrieuousthanthe iniuryof an enemy";butalso (paradoxically)
betweenour enemyand our friend"thatit is
thatthere"is so little[obvious] difference
"hardto know the one fromthe other."See the editionof Baldwin's treatiseeditedby
RobertHood Bowers(Gainesville:Scholars'Facsimilesand Reprints,1967), 174-79.
For more recentdiscussionsof Renaissance friendshipsee, for example,Lorna
Hutson,The Usurer's Daughter:Male Friendshipand Fictionsof Womenin SixteenthCentury
England(London:Routledge,1994), as well as LaurieJ.Shannon's'"Soveraigne
Amitié':Friendshipand thePoliticalImaginationin RenaissanceTexts"(Ph.D. diss.,UniversityofChicago,1996) and thesecondaryworkscitedtherein.
5 This is notthe
place to discuss the complicatedtextsof Hamlet.Sufficeit to say
that I have elected to use the Arden edition,preparedby Harold Jenkins(London:
Methuen,1982). I have also consultedothereditionsand have foundparticularly
helpful
The Three-Text
Hamlet:Parallel Textsof theFirstand Second Quartosand FirstFolio,
ed. Paul Bertramand BerniceW. Kliman(New York: AMS Press, 1991). Unless otherwise noted,anyitalicsin quotationsare mineand have beenaddedto emphasizeparticular
words.
6 In additionto theArdennotesand theworkscitedin
myfirsttwo endnotes,I have
also foundthefollowingscholarshipparticularly
abouttheplayin genhelpfulin thinking
eral and especiallyaboutthe themeof friendship:
Paul S. Conklin,A Historyof Hamlet
Criticism(London: Routledgeand Kegan Paul, 1947); ArthurG. Davis, Hamletand the
EternalProblemof Man (New York: St. John'sUniversityPress, 1964), esp. 137-66;
JohnW. Draper,TheHamletofShakespeare'sAudience(Durham,NorthCarolina:Duke
Press, 1938), esp. 17-53, 70-82, and 152-244; HaroldFisch,Hamletand the
University
Word: The CovenantPatternin Shakespeare (New York: Unger, 1971), esp. 44-57;
WalterN. King, Hamlet's Search for Meaning (Athens:Universityof Georgia Press,
of Delaware Press,
1982); MarvinRosenberg,The Masks of Hamlet(Newark:University
1992); BertO. States,Hamletand the Conceptof Character(Baltimore:JohnsHopkins
UniversityPress, 1992), esp. 147-89; and MorrisWeitz,Hamletand thePhilosophyof
of ChicagoPress,1964).
LiteraryCriticism(Chicago: University
7 See
States,Hamletand theConceptofCharacter,152.
8 See
Shannon,"'SoveraigneAmitié',"passim.
9 See
Davis, Hamletand theEternalProblemofMan, 154.
10See also
Draper,TheHamletofShakespeare's Audience,22.
11This encounteris
greatlyexpandedin thefolioversion;see Bertramand Kliman,
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FriendshipinHamlet
124
Hamlet,96-100.
eds., The Three-Text
12See
States,Hamletand theConceptofCharacter,149.
13See
Draper,TheHamletofShakespeare's Audience,19.
14For an effective
analysisof thisentirescene, see JamesI. Wimsatt,"The Player
ModernLanguage Review65 (1970): 1-6.
Kingon Friendship,"
15See
Fisch,Hamletand theWord,48.
16See
Rosenberg,TheMasb ofHamlet,559.
17See
Davis, Hamletand theEternalProblemofMan, 155.
18See
Rosenberg,TheMasb ofHamlet,560.
19But see
King,Hamlet'sSearchfor Meaning,82.
20 See
Mills, One Soul in Bodies Twain, 134-44; and Draper, The Hamlet of
Shakespeare's Audience,282.
21See
59.
Doubt,"Hamletand Friendship,"
22See JoanLarson
Klein,"HamletIV. ii.12-21 and Whitney'sChoice ofEmblems,"
Notesand Queries,n.s. 23:4 (1976): 158-61.
23See
Rosenberg,TheMasb ofHamlet,865.
24See
Draper,TheHamletofShakespeare's Audience,157.
25See
61.
Doubt,"Hamletand Friendship,"
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