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).

2. How comments are related to predecessors' comments. In the second line of a record, a label "without attribution" indicates that a prior writer made the same or a similar point; such similarities do not usually indicate plagiarism because many writers do not, as a practice, indicate the sources of their glosses. We provide the designation ("standard") to indicate a gloss in common use. We use ≈ for "equivalent to" and = for "exactly alike."

3. Original comment. When the second line is blank after the writer's siglum, we are signaling that we have not seen that writer's gloss prior to that date. We welcome correction on this point.

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.”

7. Further information: See the Introduction for explanations of other abbreviations. Click here for more information about browsing the entries and here for more information about the special symbols used in Hamletworks. Click the question mark icon above to remove this help message.

1841 knt1 (nd)

knt1

1916 Knight (ed. 1839): “The ordinary reading, which is that of the quartos, is ‘Since my dear soul was mistress of her choice, | And could of men distinguish her election, | She hath seal’d thee for herself.’ Surely the reading of the folio, that of our text, is far more elegant.”

1843 col1

col1

1916 Collier (ed. 1843): “So the folio, making ‘election’ the nominative to ‘hath.’ The quartos would read, ‘ She hath seal’d thee,’ &c.; but the length of the line not allowing of she, it was printed thus, ‘S’hath seal’d thee,’&c.”

1847 verp

verp

1916-17 thou hast been As one in suffring all that suffers nothing] Verplanck (ed. 1847): “‘—thou hast been As one in suffering all, that suffers nothing,’ etc. While every other character of this play,

Ophelia,

Polonius, and even Osric, has been analyzed and discussed, it is remarkable that no critic has stept forward to notice the great beauty of Horatio’s character, and its exquisite adaptation to the effect of the piece. His is a character of great excellence and accomplishment; but while this is distinctly shown, it is but sketched, not elaborately painted. His qualities are brought out by single and seemingly accidental touches — as here, and in the ghost-scene, ‘You are a scholar, Horatio,’ &c. The whole is toned down to a quiet and unobtrusive beauty that does not tempt the mind to wander from the main interest, which rests alone upon Hamlet; while it is yet distinct enough to increase that interest by showing him worthy to be Hamlet’s trusted friend in life, and the chosen defender of his honour after death. Such a character, in the hands of another author, would have been made the centre of some secondary plot. But here, while he commands our respect and esteem, he never for a moment divides a passing interest with the Prince. He does not break in upon the main current of our feelings. He contributes only to the general effect, so that it requires an effort of the mind to separate him for critical admiration.”

1856 hud1 (1851-6)

hud1

1916 Hudson (ed. 1856): "Thus the folio; the quartos make election the object of distinguish, and use She as the subject of hath seal’d.--In the fourth line after, the quartos have co-meddled instead of co-mingled. H."

1874 corson

corson

1916-19 Corson (1874, p. 26): “For thou hast bene As one in suffering all, that suffers nothing. A man that Fortunes buffets, and Rewards Hath ‘tane with equall Thankes. F. . . . Hast ta’en with equal thanks: C. The C. follows the Quartos here in spite of the solecism in the use of ‘Hast.’ Though the subject-nominative ‘thou’ is 2d person, the predicate-nominative ‘man’ is 3d person, and being the antecedent of the relative ‘that,’ determines the person of the verb to which ‘that’ is the nominative or subject.

1877 clns

clns

1916 seald] Neil (ed. 1877): “appropriated and secured.” See Rom. xv, 28.”