acters other than the ghost, we meet frequently with conscious deceit (lying and hypocrisy, dissembling and the feigning of madness), self-deception (particularly in the case of Hamlet), and constantly with the limitations arising from fallible judgment, lack of information, or similar causes. Of the human characters, Horatio, indeed, displays honesty, sincerity, and common sense, but admirable as he is, there seems to be a general agreement that his more prosaic nature fails to understand that of Hamlet. Further, Horatio is comparatively taciturn; he largely keeps his opinions to himself. Barring his seeming disapproval of Hamlet's way with Rosencrantz and Guildenstern, his tardy remonstrance in the scene at Ophelia's grave, and his attempt to dissuade Hamlet from the fencing-match, Horatio seems to be ready to acquiesce in any opinion or action of Hamlet, once the story of the ghost has been repeated to him. It would be difficult to maintain that he is intended to be Shakespeare's mouthpiece. None of the human characters in the play sees the action steadily and sees it whole.
But do these limitations apply to the ghost, a supernatural being? Is he liable to error, to prejudice? Can he deceive others, or be himself deceived? The answer is best found by examining Shakespeare's practice with regard to similar beings in other plays. We find that
