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Line 345 - 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.”

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Notes for lines 0-1017 ed. Bernice W. Kliman

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

345 Hora. Haile to your Lordship.	1.2.160

1736 Stubbs

Stubbs

345-50 Haile . . . you] Stubbs (1736, p. 17) “The Greeting between Hamlet, Horatio, and Marcellus, is very easy, and expresses the benign Disposition of the Prince, and first gives us an Intimation of his Friendship for Horatio.”

1773 gent

gent see 352

345-52 Haile . . . you] Gentleman (ed. 1773): “As we find by the beginning of this scene, that Horatio has not paid his respects to the prince before, ’tis odd he should not have done it . . . .”

1774 Richardson

Richardson

345-50 Haile . . . you] Richardson (1774, rpt. 1812, pp. 85-6): “Hamlet, in his retirement, expresses his agony without reserve, and by giving it utterance he receives relief. In public he restrains it, and welcomes his friends with that ease and affability which are the result of polished manners, good sense, and humanity. Influenced by an exquisite sense of propriety, he would do nothing unbecoming*: he therefore suppresses every emotion which others cannot easily enter into: he strives, as much as possible, to bring the tone of his own mind into unison with theirs: he not only conceals his internal affliction, but would appear unconcerned: he would seem sprighly, or at least cheerful: he even jests with his friends; and would have his conversation, though graceful, appear easy and familiar. Yet in his demeanor we discover a certain air of pensiveness and so- </p. 85> <p. 86> solemnity, arising naturally from his inward uneasiness.” </p. 86>

1885 macd

macd

345 MacDonald (ed. 1885): “They do not seem to have been intimate before, though we know from Hamlet’s speech [1904] that he had had the greatest respect for Horatio. The small degree of doubt in Hamlet’s recognition of his friend is due to the darkness, and the unexpectedness of his appearance.”

1986 Rasmussen

Rasmussen: F1

345-50 Rasmussen (1986, pp. 133-5): It may be that the lines at the beginning of 345 are in the folios stretched out because of missing lines for Polonius in the 1st column.