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Line 2167+1 - Commentary Note (CN) More Information

Notes for lines 2023-2950 ed. Frank N. Clary
For explanation of sigla, such as jen, see the editions bib.
2167+1 {Enter Rosencraus and Guyldensterne.} 
1870 Miles
Miles
2167+1 Miles (1870, p. 50): “The instant he perceives [Rosencrantz and Guildenstern], his hysterical mirth curdles into deadly scorn. With princely and measured disdain, he beats back their joint attack, trampling alike on them and on the royalty they represent. This trialogue is one of the most memorable portions of the play. Every speech of Hamlet’s, has the flash and sweep of an archangel’s sword.”
1929 trav
trav
2167+1 Travers (ed. 1929): “F. prints this after 275; which would account for 276-8 somewhat differently. But directions in advance, for the benefit of the players, are a common feature of promptbooks (cp. the uncertainty in n. 3 p. 55).”
1934 Wilson
Wilson
2167+1 Wilson (1934, rpt. 1963, 2:184): <2:184> “Brief consideration may, however, be given to one instance in which I think the direction in Q2 has been displaced, though hardly any editor seems to have noticed it. F1 gives Rosencrantz and Guildenstern their re-entry before [3.2.292 (2164)] after the play scene in 3.2, and the position is most apt since it explains Hamlet’s laugh and also his calling for the recorders, as he turns his back upon the spies and deliberately ignores them. That Q2 prints the entry after [3.2.295 (2167)], i.e. at the end of Hamlet’s speech, is due, I suggest to the fact that [3.2.291 (2163)] is the last on a page, so that the stage direction had to be carried over not only on to another page but into another printer’s forme, where it was not unnaturally inserted immediately before Guildenstern’s first speech. This explanation is borne out by the entry for Hamlet and Horatio in [5.1.56 (3245)], where Q2 postpones the SD for four lines for exactly the same reason.” </2:184>
1982 ard2
ard2: contra Wilson; contra john
2167+1 Jenkins (ed. 1982): “S.D.] It is unnecessary to see their entry as motivating Hamlet’s ‘Ah ha!’ (Dover Wilson, following F) or, after a pause at ‘belike’, his impromptu conclusion of the couplet (Johnson).Their first words, however, suggest that Hamlet does not give them immediate or unsolicited attention.”
2006 ard3q2
ard3q2: ≈ ard2; TxC //; Edwards
2167+1 Thompson & Taylor (ed. 2006): “F’s earlier placing (see t.n.) may suggest that the appearance of the two spying courtiers motivates Hamlet’s further burst of manic behaviour (though Edwards suggests that he ’pointedly ignores’ them). TxC takes Q1’s agreement with the earlier placing of this [stage direction] as confirmation that it reflects stage practice.”
2167+1