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Line 50 - 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.
50 The bell then beating one.1.1.39
1730 theol
theol
50 one] Theobald (6 Jan. 1730; Nichols, Illus., 2: 391), re Jn. 3.3.39 (1338), “Sound on into the drowsy race of night, argues that on should be one: “. . . If it were the still part of the Night, or One of ye.[i.e., the] Clock in the Morning, when [the sound] of ye. Bell strikes upon the Ear wth most Terror. Shakesp. in several other passages expresses the Horror of a mid-nignt Bell. So, Othell. p. 362 [2.3.175 (1294)]. Silence that Dreadful Bell, it Frights the Isle. —So Macb. p. 216 [2.3.82 (838). What’s the Business That such a [Hi]Deous Trumpet calls to Parley The Sleepers of the House?— And sometimes [for] more Solemnity, he is used to add the Circumstamce of the particular Hour. So Mids. Ni. p. 136 [MND 5.1.363 (2145)]. The Iron Tongue of Midnight hath toll’d Twelve. And so Hamle[t] p. 308. The Bell then beating One.”
-1761 Rochester?
Rochester?
50 Rochester? (-1761, p. 192): “The Bell, that is passive, and beat upon, is an Absurdity here. And as the Ghost appears and puts an End to this unfinished Relation, it should be pointed with a Break, [i.e. a dash] as above.”
Ed. note: See Browne; Rochester in alphabib.
1817 Drake
Drake ≈ theol
50 one] Drake (1817, 2: 411): “This note of time, the traditionary hour for the appearance of a ghost, and, above all, the mysterious connection between the course of the star, and the visitation of the spirit, usher in the ‘dreaded sight’ with an influence which makes the blood run chill.”
1856 hud1
hud1: Coleridge [this may be from Collier’s 1853 ed.]
50 one] Hudson (ed. 1856) quotes Coleridge: “This passage seems to contradict the critical law, that what is told makes a faint impression compared with what is beholden; for it does indeed convey to the mind more than the eye can see; whilst the interruption of the narrative at the very moment when we are most intensely listening for the sequel, and have our thoughts diverted from the dreaded sight in expectation of the desired, yet almost dreaded, tale,—this gives all the suddenness and surprise of the original appearance: ‘Peace! break thee off: look, where it comes again!’ Note the judgment displayed in having the two persons present, who, as having been twice addressed by his friends, answers with two hasty syllables,— ‘Most like,’—and a confession of horror: ‘It harrows me with fear and wonder.’ —Coleridge. H.”
Ed. note: With the “H,” Hudson gives himself credit for recording the Coleridge note.
1860 stau
stau: Q1
50 beating] Staunton (ed. 1860): “The quarto, 1603, has,— ‘The bell then tolling one,’—which, perhaps, imparts additional solemnity to this impressive preparation for the appearance of the spectre.”
1861 wh1
wh1: stau
50 beating] White (ed. 1861): “‘The bell then towling one,’ an error [in Q1] like that remarked in the first Note [on 17 partners for rivals]. There are several of the same kind in this very Scene; but they are not deserving of more particular mention.”
wh1
50 one] White (ed. 1861): was pronounced “with the name sound of o, as in bone, prone, lone, etc.”
1872 cln1
cln1: standard
50 beating] Clark & Wright (ed. 1872): “striking. The quarto of 1603 has ‘towling’.”
1877a v1877
v1877 ≈ stau
50 beating]
1891 dtn1
dtn1: Jn. // ≈ wh1 without attribution + in magenta underlined
50 beating] Deighton (ed. 1891): “much the same as ‘tolling,’ but more vividly indicating the harsh clangour of the bell as heard in the deep stillness of midnight; cp. [Jn. 3.3.39 (1338)]: [quotes].”
1925 Kellner
Kellner
50 beating] Kellner (1925, p. 42), because sometimes “b misprinted for t,” says, ““Read, with Q1, towling.”
1938 parc
parc: Kellner; OED; analogue
50 beating] Parrott & Craig (ed. 1938): “Kellner (Restoring Shakespeare, p. 42) objects to the beating of [Q2] and [F1] and prefers the [Q1] towling. Probably towling was substituted in his part by the actor of Marcellus for the less familiar beating. N. E. D. lists this line under Beat 33; under 7 it has ‘said of the impact of sounds’ and cites [2H4 1.3.92 (595)], where the applause of the many is said to ‘beat heaven with blessing.’ The citation under 31 from Rossetti ‘high do the bells of Rouen beat’ has no evidential value in this case, since Rossetti no doubt borrowed the familiar Shakespearean phrase.”
1958 mun
mun contra Kellner
50 Munro (ed. 1958) counters Kellner’s view: “Towling [in Q1] is obvious mnemonic error for beating.
1982 ard2
ard2
50 beating] Jenkins (ed. 1982) thinks beating suggests “rhythmic repetition” rather than “a single strike. Cf. to beat a drum.”
2006 ard3q2
ard3q2: standard gloss; stau
50 beating] Thompson & Taylor (ed. 2006): “striking. Q1’s ’towling’ (tolling) as Staunton says, ’perhaps imparts additional solemnity.’ ”
50