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Line 420 - 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 0-1017 ed. Bernice W. Kliman

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

420 {All} <Both>. We doe my Lord.	1.2.225

1773 jen

jen

420, 422, 424 All.] Jennens (ed. 1773): “The qu’s direct All to speak, i.e. all but Hamlet, viz. Horatio Bernardo and Marcellus. The other editions direct Both, but this is indeterminate which two of the three are to speak. It is strange that none of the modern editors should perceive the impropriety of this latter direction.”

1821 v1821

v1821 see 17

420, 422, 424 All.]

1976 Honigmann

Honigmann

420 All.] Honigmann (1976, pp. 122-3) <p. 122> demonstrates that all could refer to one speaker from a group and that in other than choric exhanges one speaker is more realistic than a chorus. Whether or not the All means to include everyone hearing Hamlet’s question, as in 420, 422, 424, and 437, is unclear. </p. 122><p. 123> Shakespeare’s haste could have caused inexplicit All and Both SPs. </p. 123>

Ed. note: All would indicate that Horatio is also a sentry.

1982 ard2

ard2: Parrott & Craig (see alphabib)

420 All] Jenkins (ed. 1982): “F’s Both perhaps recognizes that Horatio is not one of the appointed watch, or, as Parrott and Craig suppose, that Barnardo does not watch in scene 4. But no such justification holds for 422, 424, and the reverse substitution occurs (mistakenly) at 437; so that F’s variation of the speech-headings shows no systematic purpose. Shakespeare presumably intended a full chorus.”

1985 cam4

cam4

420 All] Edwards (ed. 1985): "The speech heading in Q2 is ’All.’, and in F, ’Both.’ Capell’s judgment that ’Both’ is correct, meaning Marcellus and Barnardo, is a proper one, since Horatio is not a member of the watch. (All the same, it is notable that Barnardo never turns up for duty. See [889]."

1987 oxf4

oxf4

420, 422, 424 All] Hibbard (ed. 1987): "F’s ‘Both’ has the virtue of being more explicit than the ‘All’ of the two quartos."

2006 ard3q2

ard3q2

420 All] Thompson & Taylor (ed. 2006): “*F’s ’Both’, here and at [422] and [424], perhaps implies that Marcellus and Barnardo, the official watchmen, reply, but not Horatio, who was there by invitation (see [35]); again, the role of Horatio seems inconsistent. Barnardo does not, in any case, appear in 1.4 or 1.5, possibly because the actor is doubling Reynaldo in 2.1.”