Essay: Character Foils of Horatio
Through out the years, writers have used character foils to explain the traits of their characters. Foils are usually very obvious, although the more strategic ones are sometimes harder to see. William Shakespeare’s plays are filled with character foils, and Hamlet is no exception. Within the large cast of characters, there are many different examples. Amidst the obvious ones are those of Horatio. Horatio is a character perhaps overlooked sometimes, but through his own foils of Polonius, Rosencrantz and Guildenstern, and even Hamlet, we see that he is more than just a good friend of the Prince of Denmark.
In order for a foil to be workable, there must be some similarities between the two characters, and, regrettably, there are very few between Horatio and Polonius. In fact, the biggest similarity between the two seems to be that each of them is present in important scenes in the play. As the plays goes on, it becomes evident that Polonius is rather dimwitted. Hamlet often makes a fool of him without Polonius ever catching on. Polonius gives himself a superficial, dignified air, especially when he tells the king that he would never allow Ophelia to be with Hamlet because she is not good enough for a prince (II, ii, 131 - 150). Horatio is ever the modest one, never overstepping his boundries. Also, if Polonius was right when he said “brevity is the soul of wit”, it can be concluded that Horatio is an intelligent man. His lines are often laconic, and he doesn’t beat around the bush as often as Polonius. When the subject of the ghost comes up, Horatio allows himself only a few lead-in lines (“My lord, I think I saw him yesternight.”) before explaining what happened.
Another foil for Horatio is that of Rosencrantz and Guildenstern. All three are friends of Hamlet; however, Rosencrantz and Guildenstern are more than willing to betray this friendship when the king proposes to them “to draw [Hamlet] on to pleasures, and to gather, so much as from occasion as you may glean …” Of course, they readily agree. Their conversations with Hamlet are often light and witty, with little substance, and even in their attempts to be subtle they are still found out by Hamlet. Guildenstern manages to involuntarily insult Hamlet. He says he doesn’t have the skill to play the flute, and Hamlet takes offence to it. The prince calls Guildenstern out, saying: “’Sblood, do you think I am easier to be played on than a pipe? Call me what instrument you will, though you can fret me, you cannot play upon me.” It is also made obvious by Hamlet that both Rosencrantz and Guildenstern are only trying to get in good favour with the King (IV, ii, 15-18). Horatio is far different, showing that he is indeed a true friend and loyal. His faithfulness to Hamlet is demonstrated often in the play, especially when he swears to Hamlet that he won’t speak about the ghost of Hamlet Sr. (I, v) and he never goes back on his word. Another excellent example of Horatio’s loyalty is right at the end of the play, when he proclaims, “I am more an antique Roman than a Dane.” Thus, he would rather kill himself than go through life without Hamlet. There is also never a mention that Horatio cares about Hamlet’s status as prince.
Perhaps the best indication of Horatio’s character is his foil with the Prince of Denmark himself, Hamlet. Both men are students at the same university and have an obviously close relationship. Hamlet sees Horatio as an equal; in act one, scene two, they have an exchange in which Horatio says he is Hamlet’s “poor servant ever.” Hamlet’s reply (“Sir, my good friend; I’ll change that name with you.”) implies that he would readily be Horatio’s servant instead. From this, an audience can interpret that Horatio is a man who can be easily admired and respected. Horatio’s reactions to situations in comparison to Hamlet’s are another clue to his personality. Despite his hesitation over murdering Claudius, Hamlet’s actions are ruled by his emotions. Hamlet makes the immediate decision to follow the ghost in act one, not caring if it poses any threat to him. Horatio, on the other hand, has more caution; he reasons out that it could very well be the ghost of the dead king, but he doesn’t dare do anything but speak to it. Even at the end of the play, Hamlet accepts Laertes’ challenge of a duel with quick confidence. He seems very sure that his practice has been enough to make him an equal match for the other man, but Horatio is ever reasonable. He blatantly states: “You will lose this wager, my lord.” Horatio even tried to convince Hamlet further, saying that he will tell the others Hamlet isn’t fit to duel should he feel that way (V, ii, 218-219). Obviously, Horatio thinks things through and has a strong sense of what would be a better idea. We can even look at when Hamlet interrupts Ophelia’s funeral. While the prince causes a scene, Horatio stays in the background and only comes forward when he must calm down Hamlet.
Horatio is clearly more than the minor character people assume him to be. Through character foils we see the many sides of his personality, which is something Shakespeare most likely intended. After all, Horatio was important enough to be placed in both the beginning and final scene of the play and his foils can be used inversely to analyze other characters.
In order for a foil to be workable, there must be some similarities between the two characters, and, regrettably, there are very few between Horatio and Polonius. In fact, the biggest similarity between the two seems to be that each of them is present in important scenes in the play. As the plays goes on, it becomes evident that Polonius is rather dimwitted. Hamlet often makes a fool of him without Polonius ever catching on. Polonius gives himself a superficial, dignified air, especially when he tells the king that he would never allow Ophelia to be with Hamlet because she is not good enough for a prince (II, ii, 131 - 150). Horatio is ever the modest one, never overstepping his boundries. Also, if Polonius was right when he said “brevity is the soul of wit”, it can be concluded that Horatio is an intelligent man. His lines are often laconic, and he doesn’t beat around the bush as often as Polonius. When the subject of the ghost comes up, Horatio allows himself only a few lead-in lines (“My lord, I think I saw him yesternight.”) before explaining what happened.
Another foil for Horatio is that of Rosencrantz and Guildenstern. All three are friends of Hamlet; however, Rosencrantz and Guildenstern are more than willing to betray this friendship when the king proposes to them “to draw [Hamlet] on to pleasures, and to gather, so much as from occasion as you may glean …” Of course, they readily agree. Their conversations with Hamlet are often light and witty, with little substance, and even in their attempts to be subtle they are still found out by Hamlet. Guildenstern manages to involuntarily insult Hamlet. He says he doesn’t have the skill to play the flute, and Hamlet takes offence to it. The prince calls Guildenstern out, saying: “’Sblood, do you think I am easier to be played on than a pipe? Call me what instrument you will, though you can fret me, you cannot play upon me.” It is also made obvious by Hamlet that both Rosencrantz and Guildenstern are only trying to get in good favour with the King (IV, ii, 15-18). Horatio is far different, showing that he is indeed a true friend and loyal. His faithfulness to Hamlet is demonstrated often in the play, especially when he swears to Hamlet that he won’t speak about the ghost of Hamlet Sr. (I, v) and he never goes back on his word. Another excellent example of Horatio’s loyalty is right at the end of the play, when he proclaims, “I am more an antique Roman than a Dane.” Thus, he would rather kill himself than go through life without Hamlet. There is also never a mention that Horatio cares about Hamlet’s status as prince.
Perhaps the best indication of Horatio’s character is his foil with the Prince of Denmark himself, Hamlet. Both men are students at the same university and have an obviously close relationship. Hamlet sees Horatio as an equal; in act one, scene two, they have an exchange in which Horatio says he is Hamlet’s “poor servant ever.” Hamlet’s reply (“Sir, my good friend; I’ll change that name with you.”) implies that he would readily be Horatio’s servant instead. From this, an audience can interpret that Horatio is a man who can be easily admired and respected. Horatio’s reactions to situations in comparison to Hamlet’s are another clue to his personality. Despite his hesitation over murdering Claudius, Hamlet’s actions are ruled by his emotions. Hamlet makes the immediate decision to follow the ghost in act one, not caring if it poses any threat to him. Horatio, on the other hand, has more caution; he reasons out that it could very well be the ghost of the dead king, but he doesn’t dare do anything but speak to it. Even at the end of the play, Hamlet accepts Laertes’ challenge of a duel with quick confidence. He seems very sure that his practice has been enough to make him an equal match for the other man, but Horatio is ever reasonable. He blatantly states: “You will lose this wager, my lord.” Horatio even tried to convince Hamlet further, saying that he will tell the others Hamlet isn’t fit to duel should he feel that way (V, ii, 218-219). Obviously, Horatio thinks things through and has a strong sense of what would be a better idea. We can even look at when Hamlet interrupts Ophelia’s funeral. While the prince causes a scene, Horatio stays in the background and only comes forward when he must calm down Hamlet.
Horatio is clearly more than the minor character people assume him to be. Through character foils we see the many sides of his personality, which is something Shakespeare most likely intended. After all, Horatio was important enough to be placed in both the beginning and final scene of the play and his foils can be used inversely to analyze other characters.