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Line 2381 - 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).

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.

Notes for lines 2023-2950 ed. Frank N. Clary

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

2381 <Ham. within. Mother, mother, mother.>	..

1868 c&mc

c&mc

2381 Mother, mother, mother] Clarke & Clarke (ed. 1868, rpt. 1878): “This speech omitted in the Quartos, is given in the Folio; and we feel it to be indicative of Hamlet’s approaching his mother with the wild iterative mode of speech and abrupt manner which shall keep up the effect of madness that he has assumed; although he preserves them but for a short time, being goaded into serious reply by using the tone of reproof to him, and roused into a resemblance of his resolve to rebuke her, when she proposes to bring others who shall second her in speaking authoritatively to him.”

1869 tsch

tsch

2381 Mother, mother, mother] Tschischwitz (ed. 1869): “Die Zeile hat wohl nur im Bühnenmscr. gestanden, denn ausser den Fs. hat nur Q1 noch mother, mother, o are you here?.” [The line was probably only in the stage performance manuscript, for except for the folios only Q1 still has, mother, mother; o are you here?]

1877 v1877

v1877 ≈ dyce2

2381 Ham] Furness (ed. 1877): Dyce (ed. ii): “I certainly am not disposed to find fault with those editors who have omitted this speech.”

1984 klein

klein: Wilson

2381 Klein (ed. 1984): “Wilson (as often) admits the possibility of an interpolation but thinks it ‘safer’ to retain the line (MSH, pp.189, 245,246). Their approximate equivalent in Q1: Mother, mother, O are you here?/ How i’st with you mother? may indicate the call may correspond to early staging practice. Also Polonius would have to hear it, however; Gertrude’s I think I hear him coming fits badly as a reaction to Mother, mother, mother; above all the speech gesture contradicts Hamlet’s initially cold and arrogant, distant attitude when he enters.”