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Line 461 - 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.
461 Enter Laertes, and {Opheliahis Sister} <Ophelia>. 
1773 gent
gent
461 Ophelia Gentleman (ed. 1773), continuing a sentence that begins with Laertes and Polonius, says, “. . . delicacy of appearance, and harmonious utterance, will do justice to Ophelia.”
1774 gent
gent
461 Ophelia Gentleman (ed. 1774) adds: “but a very nice conception and execution are requisite for the frenzy in the Fourth Act.”
Ed. note: See n.462.
1934 cam3
cam3
461 Ophelia] Wilson (ed. 1934): “In Sannazaro’s Arcadia, 1504, ‘Ofelia’ and ‘Montano’ are love-sick swains.”
1961 Rossiter
Rossiter
461-602 and 889-1017 Rossiter (1961, pp. 172-3): <p. 172> “ . . . [N]early everything in the play can be felt as ‘happening to Hamlet’: and this includes those scenes in which he is not on the stage nor even being talked about. . . . </p. 172><p. 173> [T]he world of Polonius and his family [he cites 461-602]—the private world of Elsinore—is but another aspect of unreality: of the ordinariness which can be disturbing (even frightful), because it looks so like the norm of normal life, and yet is only a distraction from the vile reality which is the truth. That vile reality is the ‘Hamlet-world’: though never the world of Hamlet himself. . . . Perhaps I exaggerate about the first Polonius scene; but that much discussed second one [889-1017], No.
“ . . . . The Ghost-world was, as it happens, quite real. But these ordinary events that follow, as well as human weakness, make it nearly impossible to go on thinking so. The average, usual, commonplace is the enemy of the deep, the intense: makes it appear ‘over-strained’ if not quite insane.” </p. 173>
1987 ShSur
Evans, Stuart
461-553 Evans (1987, p. 114) suggests that on radio “outdoor effects may be used to enhance [for example] the departure of Laertes in [1.3] with [sounds of] distant seabirds, seawash, perhaps the sound of a port in action. . . This adds a freshness to the scene. . . ”
Ed. note: Such sounds are of course frequent in film and stage productions.
2006 ard3q2
ard3q2: xref; performance
461 his Sister] Thompson & Taylor (ed. 2006): “The relationship is established in Laertes’ opening speech in all three texts. If she has not been a silent presence in 1.2 (see [178 CN), this is Ophelia’s first appearance. Some productions anticipate her appearance in 4.5 by having her practise the lute in this scene.”
462 462 889 1017