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Line 178 - 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.
178 <phelia, Lords Attendant.> {Hamlet, Cum Alijs.}..
1773 gent1
gent1
178 Hamlet] Gentleman (ed. 1773): “The character of Hamlet should be a good, if not a striking figure; with very flexible, spirited, marking features; a sonorous voice, capable of rapid climaxes, and solemn gradations; if not so soft as the upper notes of expression, nor so deep as the lower ones, if otherwise sufficient in articulation and compass, it may do the part justice.”
1774 gent2
gent2
178 Hamlet] Gentleman (ed. 1774): “The personage of Hamlet should be a good, if not a striking figure; with very flexible, spirited, marking features; a sonorous voice, capable of rapid climaxes, and solemn gradations.”
1789 Anon.
Anon: Kemble
178-311 Hamlet] Anon. [on Kemble] (1789, pp. 5-6): <p. 5>“No actor ever derived greater advantages from nature than the one in question. A majestic form, and a countenance marked with uncommon expression, raise this tragedian in natural endowments above the rest of his contemporaries; and were the tones of his voice rather sweeter and fuller, the severest critic might esteem him capable of impressing his audience alternately with the passions of love, joy, hate, or any other sensation of the mind, in a manner equal to any of his predecessors, and superior to many of them; and there is a certain melancholy visible in his countenance that peculiarly fits him for the filial and grief-worn Ham- </p. 5><p. 6> let. On the first entrance in this character, we are strongly prepossed in his favour from his sorrowful and duteous demeanor . . . . During the whole scene the actor exhibits great feeling and propriety of conduct, and is, in my opinion, free from a single inaccuracy, either in word or action.” </p. 6>
1870 Abbott
Abbott
178 Lords Attendant Abbott (§ 419) discusses the frequent instances of adjectives transposed after nouns: “any adjectives that from their termination resemble participles, are peculiarly liable to be thus transposed.” When nouns are unemphatic and the adjective is essential to the sense, then “the transposition may be expected, yet it is probable that the influence of the French idiom made this transposition especially common in the case of some words derived from French.”
Ed. note: Abbott does not cite 178, but attendant is an O.F. word according to OED.
1874 Schmidt
178 Lords Attendant] Schmidt (1874) does not have attendant as an adj.
1885 macd
macd
178 MacDonald (ed. 1885): “The first court after the marriage.”
1939 kit2
kit2 contra Wilson
178 Hamlet] Kittredge (ed. 1939): "Wilson thinks that Hamlet enters after all of the other ’court figures,’ but this would be a strange distortion of ceremony. One cannot imagine Polonius as allowing his son and daughter to precede the Prince."
1957 pel1
pel1: standard
178 Cum Alijs] Farnham (ed. 1957): “with others.”
1970 pel2
pel2 = pel1
178 Cum Alijs] Farnham (ed. 1970): “with others”
1988 bev2
bev2: standard
178 Cum Alijs] Bevington (ed. 1988): “with others.”
1999 Dessen&Thomson
Dessen&Thomson
178 Cum Alijs] Dessen & Thomson(1999) cite the two instances in Ham., Q2 178 and F1 1020. They imply that few plays use this form in SD for “with others.”
Dessen&Thomson
178 Cum Alijs.] The discussion in Dessen & Thomson(1999) of permissive stage directions demonstrates that Renaissance dramatists frequently use vague SDs calling for the entrance of “attendants,” “lords,” “army,” and the like; “permissive terms allow for the limitations of personnel, budget, and other exigencies, as when early in a performance those responsible for collecting tickets may not be available as supernumeraries.” See also Q2 889. Such terms do not imply that the text is lacking in stage-readiness.
2002 Blake
Blake ≈ Abbott without attribution
178 Lords Attendant] Blake (§ 3.2.3.1): adjectives could follow nouns in the French manner and might end with an s.
2006 ard3q2
ard3q2
178 Hamlet] Thompson & Taylor (ed. 2006): “Q2’s entry direction ends with ’Hamlet, Cum Alijs’, perhaps indicating that he is visibly separated from the King and Queen by this as well as by his mourning clothes; in F he is listed immediately after his mother and stepfather.”

ard3q2
178 Alijs] others Thompson & Taylor (ed. 2006): “Q2’s ’Alijs’ must include the ambassadors, Cornelius and Voltemand (unless they are considered as part of the Council), since they are addressed at the end of the King’s opening speech; F brings them on rather awkwardly after [203]. Unlike F, Q2 does not include Ophelia in this entry: she does not speak in this scene in either text, but her silent presence is often significant in productions and films; in Michael Almereyda’s 2000 film, for example, Ophelia is present and trying to pass a small package to Hamlet but is prevented by Laertes (Almereyda, 12). F also specifies ’Lords Attendant’ and it is usual for this scene to be performed as a big public occasion with as many extras as the company can muster.”
0 177 178 889