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Hamlet - The Ghost on the Castle Wall

William Shakespeare

Hamlet

The Ghost on the Castle Wall

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Summary

The Ghost on the Castle Wall

Hamlet by William Shakespeare

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On the castle walls of Elsinore, guards Francisco and Barnardo are changing shifts when something extraordinary happens. Barnardo and Marcellus have seen a ghost that looks exactly like Denmark's recently dead king, but their friend Horatio doesn't believe them. They convince the skeptical scholar to join their watch, and sure enough, the ghost appears again. This time, Horatio sees it with his own eyes and is shaken to his core. The ghost looks exactly like the dead king in his battle armor, but it won't speak to them and vanishes when the rooster crows at dawn. Horatio explains the political backdrop: the dead king had defeated Norway's king in combat, winning his lands. Now Norway's son is gathering mercenaries to take back what his father lost, which explains why Denmark is frantically preparing for war. The ghost's appearance seems connected to this brewing conflict. By the end, Horatio is convinced they need to tell Prince Hamlet about his father's ghost, believing it will speak to the son even though it remained silent with them. This opening scene establishes that something is deeply wrong in Denmark's royal court, and supernatural forces are at work. The guards represent ordinary people caught up in events beyond their control, while Horatio shows how even skeptics must eventually face uncomfortable truths when the evidence becomes undeniable.

Coming Up in Chapter 3

The scene shifts from the cold castle walls to the warm throne room, where we'll meet the new king Claudius and see how Denmark's royal court operates. We'll also get our first glimpse of Prince Hamlet himself.

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An excerpt from the original text.(complete · 1407 words)

S

CENE I. Elsinore. A platform before the Castle.

Enter Francisco and Barnardo, two sentinels.

BARNARDO.
Who’s there?

FRANCISCO.
Nay, answer me. Stand and unfold yourself.

BARNARDO.
Long live the King!

FRANCISCO.
Barnardo?

BARNARDO.
He.

FRANCISCO.
You come most carefully upon your hour.

BARNARDO.
’Tis now struck twelve. Get thee to bed, Francisco.

FRANCISCO.
For this relief much thanks. ’Tis bitter cold,
And I am sick at heart.

BARNARDO.
Have you had quiet guard?

FRANCISCO.
Not a mouse stirring.

BARNARDO.
Well, good night.
If you do meet Horatio and Marcellus,
The rivals of my watch, bid them make haste.

Enter Horatio and Marcellus.

FRANCISCO.
I think I hear them. Stand, ho! Who is there?

HORATIO.
Friends to this ground.

MARCELLUS.
And liegemen to the Dane.

FRANCISCO.
Give you good night.

MARCELLUS.
O, farewell, honest soldier, who hath reliev’d you?

FRANCISCO.
Barnardo has my place. Give you good-night.

[Exit.]

MARCELLUS.
Holla, Barnardo!

BARNARDO.
Say, what, is Horatio there?

HORATIO.
A piece of him.

BARNARDO.
Welcome, Horatio. Welcome, good Marcellus.

MARCELLUS.
What, has this thing appear’d again tonight?

BARNARDO.
I have seen nothing.

MARCELLUS.
Horatio says ’tis but our fantasy,
And will not let belief take hold of him
Touching this dreaded sight, twice seen of us.
Therefore I have entreated him along
With us to watch the minutes of this night,
That if again this apparition come
He may approve our eyes and speak to it.

HORATIO.
Tush, tush, ’twill not appear.

BARNARDO.
Sit down awhile,
And let us once again assail your ears,
That are so fortified against our story,
What we two nights have seen.

HORATIO.
Well, sit we down,
And let us hear Barnardo speak of this.

BARNARDO.
Last night of all,
When yond same star that’s westward from the pole,
Had made his course t’illume that part of heaven
Where now it burns, Marcellus and myself,
The bell then beating one—

MARCELLUS.
Peace, break thee off. Look where it comes again.

Enter Ghost.

BARNARDO.
In the same figure, like the King that’s dead.

MARCELLUS.
Thou art a scholar; speak to it, Horatio.

BARNARDO.
Looks it not like the King? Mark it, Horatio.

HORATIO.
Most like. It harrows me with fear and wonder.

BARNARDO
It would be spoke to.

MARCELLUS.
Question it, Horatio.

HORATIO.
What art thou that usurp’st this time of night,
Together with that fair and warlike form
In which the majesty of buried Denmark
Did sometimes march? By heaven I charge thee speak.

MARCELLUS.
It is offended.

BARNARDO.
See, it stalks away.

HORATIO.
Stay! speak, speak! I charge thee speak!

[Exit Ghost.]

MARCELLUS.
’Tis gone, and will not answer.

BARNARDO.
How now, Horatio! You tremble and look pale.
Is not this something more than fantasy?
What think you on’t?

HORATIO.
Before my God, I might not this believe
Without the sensible and true avouch
Of mine own eyes.

MARCELLUS.
Is it not like the King?

HORATIO.
As thou art to thyself:
Such was the very armour he had on
When he th’ambitious Norway combated;
So frown’d he once, when in an angry parle
He smote the sledded Polacks on the ice.
’Tis strange.

MARCELLUS.
Thus twice before, and jump at this dead hour,
With martial stalk hath he gone by our watch.

HORATIO.
In what particular thought to work I know not;
But in the gross and scope of my opinion,
This bodes some strange eruption to our state.

MARCELLUS.
Good now, sit down, and tell me, he that knows,
Why this same strict and most observant watch
So nightly toils the subject of the land,
And why such daily cast of brazen cannon
And foreign mart for implements of war;
Why such impress of shipwrights, whose sore task
Does not divide the Sunday from the week.
What might be toward, that this sweaty haste
Doth make the night joint-labourer with the day:
Who is’t that can inform me?

HORATIO.
That can I;
At least, the whisper goes so. Our last King,
Whose image even but now appear’d to us,
Was, as you know, by Fortinbras of Norway,
Thereto prick’d on by a most emulate pride,
Dar’d to the combat; in which our valiant Hamlet,
For so this side of our known world esteem’d him,
Did slay this Fortinbras; who by a seal’d compact,
Well ratified by law and heraldry,
Did forfeit, with his life, all those his lands
Which he stood seiz’d of, to the conqueror;
Against the which, a moiety competent
Was gaged by our King; which had return’d
To the inheritance of Fortinbras,
Had he been vanquisher; as by the same cov’nant
And carriage of the article design’d,
His fell to Hamlet. Now, sir, young Fortinbras,
Of unimproved mettle, hot and full,
Hath in the skirts of Norway, here and there,
Shark’d up a list of lawless resolutes,
For food and diet, to some enterprise
That hath a stomach in’t; which is no other,
As it doth well appear unto our state,
But to recover of us by strong hand
And terms compulsatory, those foresaid lands
So by his father lost. And this, I take it,
Is the main motive of our preparations,
The source of this our watch, and the chief head
Of this post-haste and rummage in the land.

BARNARDO.
I think it be no other but e’en so:
Well may it sort that this portentous figure
Comes armed through our watch so like the King
That was and is the question of these wars.

HORATIO.
A mote it is to trouble the mind’s eye.
In the most high and palmy state of Rome,
A little ere the mightiest Julius fell,
The graves stood tenantless and the sheeted dead
Did squeak and gibber in the Roman streets;
As stars with trains of fire and dews of blood,
Disasters in the sun; and the moist star,
Upon whose influence Neptune’s empire stands,
Was sick almost to doomsday with eclipse.
And even the like precurse of fierce events,
As harbingers preceding still the fates
And prologue to the omen coming on,
Have heaven and earth together demonstrated
Unto our climatures and countrymen.

Re-enter Ghost.

But, soft, behold! Lo, where it comes again!
I’ll cross it, though it blast me. Stay, illusion!
If thou hast any sound, or use of voice,
Speak to me.
If there be any good thing to be done,
That may to thee do ease, and grace to me,
Speak to me.
If thou art privy to thy country’s fate,
Which, happily, foreknowing may avoid,
O speak!
Or if thou hast uphoarded in thy life
Extorted treasure in the womb of earth,
For which, they say, you spirits oft walk in death,
Speak of it. Stay, and speak!

[The cock crows.]

Stop it, Marcellus!

MARCELLUS.
Shall I strike at it with my partisan?

HORATIO.
Do, if it will not stand.

BARNARDO.
’Tis here!

HORATIO.
’Tis here!

[Exit Ghost.]

MARCELLUS.
’Tis gone!
We do it wrong, being so majestical,
To offer it the show of violence,
For it is as the air, invulnerable,
And our vain blows malicious mockery.

BARNARDO.
It was about to speak, when the cock crew.

HORATIO.
And then it started, like a guilty thing
Upon a fearful summons. I have heard
The cock, that is the trumpet to the morn,
Doth with his lofty and shrill-sounding throat
Awake the god of day; and at his warning,
Whether in sea or fire, in earth or air,
Th’extravagant and erring spirit hies
To his confine. And of the truth herein
This present object made probation.

MARCELLUS.
It faded on the crowing of the cock.
Some say that ever ’gainst that season comes
Wherein our Saviour’s birth is celebrated,
The bird of dawning singeth all night long;
And then, they say, no spirit dare stir abroad,
The nights are wholesome, then no planets strike,
No fairy takes, nor witch hath power to charm;
So hallow’d and so gracious is the time.

HORATIO.
So have I heard, and do in part believe it.
But look, the morn in russet mantle clad,
Walks o’er the dew of yon high eastward hill.
Break we our watch up, and by my advice,
Let us impart what we have seen tonight
Unto young Hamlet; for upon my life,
This spirit, dumb to us, will speak to him.
Do you consent we shall acquaint him with it,
As needful in our loves, fitting our duty?

MARCELLUS.
Let’s do’t, I pray, and I this morning know
Where we shall find him most conveniently.

[Exeunt.]

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Let's Analyse the Pattern

Pattern: The Reluctant Believer
Some truths are so uncomfortable that we resist them even when the evidence is staring us in the face. Horatio represents the skeptic in all of us - the part that says 'there must be a logical explanation' when confronted with something that challenges our worldview. But reality has a way of breaking through our defenses, and when it does, we're forced to reckon with what we've been avoiding. This pattern operates through escalating evidence that becomes impossible to ignore. Horatio doesn't want to believe in ghosts because it upends his rational understanding of the world. But when multiple witnesses, repeated sightings, and his own eyes confirm what he's denied, his resistance crumbles. The mechanism is simple: denial works until it doesn't. Reality keeps presenting evidence until our mental defenses collapse under the weight of what we can no longer rationalize away. This exact pattern plays out everywhere in modern life. The nurse who keeps making excuses for her alcoholic husband until she finds him passed out in front of their kids. The worker who denies their company is failing until the layoff notice arrives. The parent who insists their teenager is 'just going through a phase' until they find drugs in their room. The patient who explains away symptoms until the diagnosis forces them to face their mortality. Each situation follows the same arc: initial denial, mounting evidence, and eventual forced acceptance. When you recognize this pattern, ask yourself: What am I avoiding? What evidence am I dismissing? The key is to lower your resistance threshold - don't wait for overwhelming proof to face uncomfortable truths. Create space for trusted friends to tell you hard things. Pay attention to patterns others point out. When multiple people see the same red flag, investigate rather than defend. Most importantly, remember that facing reality early gives you more options than waiting until circumstances force your hand. When you can name the pattern of reluctant belief, predict where denial leads, and choose courage over comfort in facing hard truths - that's amplified intelligence.

The human tendency to resist uncomfortable truths until overwhelming evidence forces acceptance, often when it's too late to act effectively.

Why This Matters

Connect literature to life

Skill: Reading Warning Signs

This chapter teaches how to recognize when multiple trusted sources are trying to alert you to the same problem.

Practice This Today

This week, notice when more than one person mentions the same concern about your situation - instead of defending, ask yourself what evidence you might be overlooking.

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Now let's explore the literary elements.

Key Quotes & Analysis

"Who's there?"

— Barnardo

Context: The very first line, as guards change shifts in the dark

This opening question establishes the theme of uncertainty and hidden identities that runs through the entire play. Nobody knows who to trust or what's real.

In Today's Words:

Who is that? What's going on?

"'Tis bitter cold, And I am sick at heart."

— Francisco

Context: The guard going off duty describes how he feels

The physical cold mirrors the emotional atmosphere - something is deeply wrong in Denmark. This guard feels it even before seeing anything supernatural.

In Today's Words:

It's freezing out here, and I've got a bad feeling about everything.

"Horatio says 'tis but our fantasy, And will not let belief take hold of him"

— Marcellus

Context: Explaining why they brought the skeptical scholar to witness the ghost

Shows the conflict between rational thinking and supernatural reality. Even smart people resist believing things that challenge their worldview.

In Today's Words:

Horatio thinks we're just imagining things and refuses to believe us.

"But in the gross and scope of my opinion, This bodes some strange eruption to our state."

— Horatio

Context: After seeing the ghost, Horatio predicts it means trouble for Denmark

Once convinced, Horatio immediately grasps that supernatural events signal political disaster. The personal and political are connected.

In Today's Words:

I think this is a sign that something terrible is about to happen to our country.

Thematic Threads

Denial

In This Chapter

Horatio's initial skepticism about the ghost despite witness testimony

Development

Introduced here

In Your Life:

You might recognize this when you dismiss warning signs about relationships, health, or work situations that others can see clearly.

Class Dynamics

In This Chapter

Common guards see the truth first, while the educated scholar resists it

Development

Introduced here

In Your Life:

You might notice how people with less formal education sometimes have clearer insight into practical realities than those with credentials.

Loyalty

In This Chapter

Horatio agrees to tell Hamlet about his father's ghost despite his fear

Development

Introduced here

In Your Life:

You might face moments when loyalty to someone requires delivering uncomfortable news they need to hear.

Power

In This Chapter

Political tensions and military preparations create the backdrop for supernatural events

Development

Introduced here

In Your Life:

You might see how larger power struggles at work or in your community create an atmosphere where strange things happen.

Truth

In This Chapter

The ghost represents hidden truth that demands to be acknowledged

Development

Introduced here

In Your Life:

You might encounter situations where suppressed information keeps trying to surface despite efforts to keep it buried.

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You now have the context. Time to form your own thoughts.

Discussion Questions

  1. 1

    What finally convinced Horatio that the ghost was real, and why was he so resistant to believing it at first?

    analysis • surface
  2. 2

    Why do you think the ghost appeared to the guards but wouldn't speak to them? What does this suggest about who has the power to get answers?

    analysis • medium
  3. 3

    Think about a time when you dismissed something important that others were trying to tell you. What finally made you listen?

    reflection • medium
  4. 4

    When someone in your life is in denial about a serious problem, how do you help them see the truth without pushing them away?

    application • deep
  5. 5

    What does Horatio's transformation from skeptic to believer teach us about the cost of ignoring uncomfortable evidence?

    reflection • deep

Critical Thinking Exercise

10 minutes

Map Your Denial Patterns

Think of three areas in your life where you might be avoiding uncomfortable truths - relationships, health, work, finances, family. For each area, write down what evidence you've been dismissing and what it would take for you to finally face reality. Then identify one small step you could take today to investigate rather than avoid.

Consider:

  • •Notice whether you're waiting for 'overwhelming proof' before acting on concerning patterns
  • •Consider who in your life consistently points out things you don't want to hear
  • •Ask yourself what you're afraid will happen if you face the truth

Journaling Prompt

Write about a time when you waited too long to face an uncomfortable truth. What would you do differently now, knowing what denial cost you?

Coming Up Next...

Chapter 3: The Court's Performance and Hamlet's Pain

The scene shifts from the cold castle walls to the warm throne room, where we'll meet the new king Claudius and see how Denmark's royal court operates. We'll also get our first glimpse of Prince Hamlet himself.

Continue to Chapter 3
Previous
Meet the Players
Contents
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The Court's Performance and Hamlet's Pain

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