The Ghost in Shakespeare's Hamlet

The Ghost in Shakespeare’s Hamlet

The Ghost is one of the most unconventional and mysterious characters in William Shakespeare’s Hamlet. Thus, the logic in appearance of King’s Ghost and its real function has been an unsolved Shakespearean puzzle in literature. Moreover, the Ghost has enormous effect on Hamlet’s action and over all his plans. In fact, it puzzles his already confused mind due to his father’s unexpected death and surprising marriage of his mother, Gertrude with his uncle, Claudius. There are two major spiritual arguments which may briefly explain the Ghost’s appearance: “The evil Ghost” and “The Ghost in Purgatory”. Besides these two theories, I will bring a challenging, philosophical argument which indicates the Ghost as the “alter ego” of Hamlet.

It is necessary to analyze the background of King Hamlet before discussing any arguments over his spiritual appearance. The information about him is unfortunately limited as Shakespeare wanted the readers to focus on the image of the Ghost. However, Horatio and later Hamlet show some identical clues about his intentions and his character’s features as he is the King of Denmark. Like any other kings in his time, he is a majestic military commander and he does not fear wars. In fact, he fights for honor and for the pride of his name. Thus his name is Denmark and Denmark is himself. (The symbolic meaning in King’s murder reveals the connection and oneness of The King and The State of Denmark: “Tis given out that, sleeping in my orchard / A serpent stung me; so the whole ear of Denmark / Is by a forged process of my death / Rankly abused”. (1. 5. 85-88) When the poison is dropped into King Hamlet’s ear, whole Denmark has become deaf. Therefore, people in Denmark can not hear the truth after King’s death.) The King fights with Fortinbras of Norway and he defeats him with the cost of thousands of young men’s lives.

The first argument of the Ghost depicts it as a sinister, devil image or the devil, himself. Supernatural beliefs of the characters, actual conditions of Denmark and the symbolism in Shakespeare’s words indicate convincing points in this argument. Dominant meaning in many dialogs through whole play reflects a gloomy, depressive and even demonic atmosphere after the King’s death. The King’s Ghost first appears to the officers, Marcellus and Bernardo in the dark battlement set. When Horatio hears their story he takes it with skepticism, and he decides to wait for the Ghost with them. Shakespeare often used breaks and pauses in order to provide strong ambiance effects in the scenes. As Bernardo starts narrating his story his words are suddenly interrupted by the entrance of the Ghost: “When yond same star that’s westward from the pole / Had made his course to illume that part of heaven / Where now it burns, Marcellus and myself, -The bell then beating one then the Ghost enters,” (1. 1. 36-38). The Ghost does not make a coincidental entrance as Bernardo speaks of hell. Its appearance is commonly marked by the words of heaven and hell. Horatio: “And prologue to the omen coming on.” (1. 1. 123) The omen implies the dreadful events of doomsday in Christianity. According to Lewis Theobald in his Shakespeare Restored, prologue and the omen are merely synonymous and these strange phenomena are forerunners and prologues of the approaching Judgment Day.

Besides the theological implications in Hamlet, ancient superstition also has a big role as we accept the Ghost as a doomed, evil being. The Ghost appears-it rises from the ground- only during night time and it disappears when the cock crows. As Horatio and Marcellus state that the cock awakes the God of the day while the bad spirits and ghosts hides and fades into disappearing night. Furthermore, only the dawning bird stays awake to praise for the birth of Jesus. No good spirit (in Hamlet’s case, no “good ghost”) can disturb the wholesome of the night, but only the evil and cursed ones.

It is significantly important that the next scene after the Ghost’s first appearance is the coronation of the new King of Denmark, Claudius and the celebration of his marriage with newly widowed Gertrude. In fact, these sinful, immoral and evil events only erupt in the state of Denmark. The use of opposite meanings, such as death and marriage, heaven and hell, day and night, war and peace in Hamlet is a very peculiar to Shakespearean literature.

There has been no major literal hypothesis on Devil’s transformation into Ghost’s image. However the very complex and contradictory characterization of the Ghost is open to any theories. According to Roy W. Battenhouse, the writer of Discerning the Ghost in Hamlet, the Ghost may be used by Devil to corrupt Hamlet’s soul and his faith. Moreover, the madness of Hamlet may be the curse of Devil within his interaction with the Ghost. Horatio’s concerns over the Ghost’s intentions indicate the foul tricks of Devil: “And there assume some other horrible form, / Which might deprive your sovereignty of reason / And draw you into madness? Think of it: / The very place puts toys of desperation, / Without more motive, into every brain.” (1. 4. 72-76) Indeed, Hamlet also shows skepticism and fear when he first encounters with the Ghost: “Angels and ministers of grace defend us! / Be thou a spirit of health or goblin damn’d, / Bring with thee airs from heaven or blasts from hell,” (1. 4. 39-41) Hamlet’s uncertain thoughts about the Ghost’s status continue in Act III: “I know my course. The spirit that I have seen / May be the devil: and the devil hath power / To assume a pleasing shape; yea, and perhaps / Out of my weakness and my melancholy, / As he is very potent with such spirits, / Abuses me to damn me:” (3. 2. 635-640) However, his desperation and his curiosity make him follow the Ghost into darkness. He assumes that, the Ghost can reveal the secrecy behind his father’s death.

The last possible proof of the Ghost’s evil personality is its vindictiveness and rage that ultimately guides Hamlet to avenge his father’s murder. Hamlet’s confusion and his anger grow rapidly after the Ghost’s appearance. Thus, his passion and desires are driven by only revenge. Moreover, his father’s remembrance turns into a personal obsession for Hamlet. So far I know there is no place for personal vindictiveness