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Line 41 - Commentary Note (CN) More Information

Notes for lines 0-1017 ed. Bernice W. Kliman
For explanation of sigla, such as jen, see the editions bib.
41 And let vs once againe assaile your eares,1.1.31
1768-70 mwar2
mwar2
41 assaile] Warner (ms. notes in ed. 1743): “Assail, i.e. assault, Invade. As he had said their Ears were fortifed against their Story, so to preserve the metaphor, assail was the proper word. So [Rom. (1.1.213 (221)] pge. 11—So Milton Par. Lost. B.10.417. ‘And with rebounding surge the bars assail’d’ Fairfax Tasio. B.1.C.1.St. 40. ‘Her courage earn’d to have assaild the knight.’”
41 42 43
1805 Seymour
Seymour
41-2 Seymour (1805, 2:138): “If this order of the text must stand, the ellison is very harsh.—So fortified against the effect of our story, against the belief of the spectre that we have twice seen.”
1857 fieb
fieb ≈ Warner minus the metaphor idea + in magenta underlined
41 assaile] Fiebig (ed. 1857): “to assault, to attack with argument.”
1870 rug1
rug1
41 assaile your eares] Moberly (ed. 1870): “(By relating)—a constructio praegnans, like ‘laboro quid fiat.’”
1874 Corson
Corson: F1, cam1 +
40-1 Corson (1874, p. 9): “The meaning is, Sit down and let us etc.”
1877 v1877
v1877: Elze
41, 42 assaile . . . fortified]Elze (apud ed. 1877): “Appropriate in the mouth of a soldier.”
1885 mull
mull rug1 without attribution
41 assaile] Mull (ed. 1885): “relate.”
1891 dtn1
dtn1 ≈ Warner without attribution; rug1 without attribution; Elze [misspelled]
41-3 Deighton (ed. 1891): “ . . . Shakespeare treats the clause What . . . seen as though it has been preceded by ‘inform,’ ‘relate to,’ instead of assail.”
1912 dtn3
dtn3 = dtn1
41-3
1980 pen2
pen2
41 Spencer (ed. 1980): “The military imagery is appropriate in a soldier’s speech.”
1987 Mercer
Mercer
41-2 assaile . . . story] Mercer (1987, p. 124): “Bernardo certainly begins with diction natural to a soldier—although even here we may immediately suspect some deeper coherence of metaphor when we recall how prominent such terms are in the idiom of Hamlet himself: ’the pales and forts of reason’ [621+12], ’the slings and arrow of outrageous fortune’ [1712]. The image of the self as a citadel under siege whose outer defences are crumbling fast is very close to the centre of the play’s concerns.”
2006 ard3q2
ard3q2
41 assaile] Thompson & Taylor (ed. 2006): “attack. The first of the play’s many references to assaults on ears, inspired presumably by the literal fact of the elder Hamlet’s murder: see 1.5.59-70 [744-55]. For further discussion of this motif, see Thompson & Thompson, 102-4, and P. Berry, ’Ear.’ ” Ed. note: See also Cummings, CN 723, 752.