Line 1646-7 - Commentary Note (CN)

Commentary notes (CN):

1. SMALL CAPS Indicate editions. Notes for each commentator are divided into three parts:

In the 1st two lines of a record, when the name of the source text (the siglum) is printed in SMALL CAPS, the comment comes from an EDITION; when it is in normal font, it is derived from a book, article, ms. record or other source. We occasionally use small caps for ms. sources and for works related to editions. See bibliographies for complete information (in process).

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4. Words from the play under discussion (lemmata). In the third line or lines of a record, the lemmata after the TLN (Through Line Number] are from Q2. When the difference between Q2 and the authors' lemma(ta) is significant, we include the writer's lemma(ta). When the gloss is for a whole line or lines, only the line number(s) appear. Through Line Numbers are numbers straight through a play and include stage directions. Most modern editions still use the system of starting line numbers afresh for every scene and do not assign line numbers to stage directions.

5. Bibliographic information. In the third line of the record, where we record the gloss, we provide concise bibliographic information, expanded in the bibliographies, several of which are in process. 

6. References to other lines or other works. For a writer's reference to a passage elsewhere in Ham. we provide, in brackets, Through Line Numbers (TLN) from the Norton F1 (used by permission); we call these xref, i.e., cross references. We call references to Shakespearean plays other than Ham. “parallels” (//) and indicate Riverside act, scene and line number as well as TLN. We call references to non-Shakespearean works “analogues.”

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Notes for lines 1018-2022 ed. Eric Rasmussen

For explanation of sigla, such as jen, see the editions bib.

1646-7 Enter King, Queene, Polonius, Ophelia, Ro | sencraus, Guyl-

1647 densterne, <and> Lords.

1885 macd

macd

1646-7 MacDonald (ed. 1885): “This may be regarded as the commencement of the Third Act.”

1646, 1694-1700] Tannenbaum (n.d., pp. 373-4): <p.373> “If we may judge from Dr. Furness’s edition of Hamlet (p.200), the editors of this play are unanimous in locating the first scene of the third act, the scene containing the ‘To be or not to be’ soliloquy, in ‘a room in the castle’. And yet, it seems to me, that even a little careful reflection ought to satisfy anyone that the scene cannot be in a room in the castle. A reading of the text shows that during part of the scene, while Hamlet is deliberating suicide, Ophelia unseen by the prince – but within view of the audience --, is kneeling in prayer. This is clearly implied (1) in Polonious’s words and (2) in Hamlet’s word’s: ‘Fair Ophelia! –Nymph, in orisons Be all my sins remember’d.’

“It will be noticed that, contrary to the practise on the modern stage, in the old texts Ophelia had not left the stage at Hamlet’s entrance.

“Where, then, are we to locate the scene? Obviously, in the royal chapel. But, it may be objected, what about Rosencrantz and Guildenstern? Were they in the chapel at the opening of the scene when they were telling the King and Queen of their encounter with Hamlet? The answer to this question is really quite simple. This is one of the scenes, common enough on the Elizabethan stage, in which change of locale is supposed to take place during the progress of the </p.373> <p.374> scene. At the opening of the scene the King, the Queen and Polonious are conversing with Rosencrantz and Guildenstern in front of the chapel, or at the entrance of it. With the exit of Rosencrantz and Guildenstern we are supposed to have entered the chapel whither Hamlet has been cunningly lured (‘we have closely sent for Hamlet hither’).

“Hamlet’s solemn thoughts are in keeping with his surroundings. The nature of the place and the fair Ophelia’s pious action account for Hamlet’s tender and sober greeting of the maid who had so inexplicably locked herself from his resort, admitted none of his messengers, received no tokens from him, and repelled his letters. ‘Nymph, in the orisons be all my sins remember’d’ was said by a desperate and perplexed lover who found at last, as he thought, an opportunity to come to an understanding with one whom he loved with the love of forty thousand brothers, and who had not the remotest idea of what was beating his brain.”

1646 1647

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