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Line 462 - 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.
462 Laer. My necessaries are {inbarckt} <imbark’t>, farwell, 1.3.1
1736 Stubbs
Stubbs
462-602 Stubbs (1736, p. 21): “Concerning the Design of the Scene, we shall find it is necessary towards the whole Plot of the Play, and by no Means an Episode.”
1836 Coleridge
Coleridge
462-602 Coleridge (Literary Remains, 1836; rpt. 1967, 2:217): “This scene must be regarded as one of Shakespeare’s lyric movements in the play, and the skill with which it is interwoven with the dramatic parts is peculiarly an excellence of our poet. You experience the sensation of a pause without the sense of a stop.”
1844 verp
verp = Coleridge
462-516 Verplanck (ed. 1844): “‘This scene must be regarded as one of Shakespeare’s lyric movements in the play, and the skill with which it is interwoven with the dramatic parts is peculiarly an excellence with our Poet. You experience the sensation of a pause, without the sense of a stop.’—Coleridge.”
1856 hud1
hud1 n. 481 = Coleridge
462-516 Hudson (ed. 1856): “‘This scene,’ says Coleridge, ‘must be regarded as one of Shakespeare’s lyric movements in the play, and the skill with which it is interwoven with the dramatic parts is peculiarly an excellence with our Poet. You experience the sensation of a pause, without the sense of a stop. You will observe, in Ophelia’s short and general answer to the long speech of Laertes, the natural carelessness of innocence, which cannot think such a code of cautions and prudence necessary to its own preservation.’ H.”
1872 hud2
hud2 n. 471 = hud1 (minus last sentence abt Ophelia)
462-516
1874 Corson
Corson: F1; cam1 +
462 inbarckt] Corson (1874, p. 11): “There is no authority for ‘embark’d.’ [Q2, Q3] read ‘inbark’t;’ [Q4, Q5], imbark’t; the 1st and 2d Folios, ‘imbark’t,’ the 3d and 4th, ‘imbark’d.’ As applied to things, ‘imbark’t’ or ‘imbark’t’ seems preferable to ‘embark’d.”
1875 Marshall
Marshall
462-602 Marshall (1875, p. 9): “The object of this scene seems to be this; to show how completely Hamlet’s character was misunderstood by those who should have known him best, and how completely uncongenial must have been his surroundings at the Court of Denmark, even if the terrible events of the last two months had not taken place. The conventional standards of virtue which Polonius and Laertes held, and which was the only standard of right and wrong they knew, is here clearly expressed. What a contrast between their speeches and Hamlet’s soliloquy in the former scene! what an irreconcilable antagonism between the son, whose heart and mind are both absorbed in his dead father. and these two, whose only thought is of their own pleasure and advancement, who cannot too soon forget their late benefactor that they may learn to flatter and win the favour of his treacherous successor!”
1877 v1877
v1877 460 = hud2
462-516
v1877 = Corson (minus 1st and 2nd sentences)
462 inbarckt]
1881 hud3
hud3 = hud2
462-516
1904 ver
ver
462-602 Verity (ed. 1904), like Coleridge, considers scene 3 a lyrical moment, a bright spot between the darkness of the scenes before and after.
1980 pen2
pen2
462 necessaries] Spencer (ed. 1980): “personal baggage for the journey.”
1987 ShSt
Fisch
462 farwell] Fisch (1987, p. 247): “If we examine Ophelia’s posture on the stage, we shall find that she is always saying goodbye. That is her sign.”
1987 oxf4
oxf4
462 necessaries] Hibbard (ed. 1987): "luggage. Shakespeare seems to have associated this word with ships. Compare [Oth. 2.1.284 (1066)], ‘I must fetch his necessaries ashore’, and [TGV 2.4.188 (842)], ‘I must unto the road disembark Some necessaries.’ "
2000 Kliman
Kliman
462-602 I disagree with Coleridge that the scene is a bright spot: at best it’s bittersweet. It is of course an important step in the tragedy; Ophelia’s refusal of Hamlet (as urged by both brother and father) and his of her (as we surmise from 2.1 and see in 3.1) are important steps in the tragedy. Polonius is led to spy on Hamlet, the second time fatally, and then Laertes must seek revenge and become the king’s tool. But in itself it is not pleasant to see the two men in her life browbeat her.
2006 ard3q2
ard3q2: //
462 necessaries are inbarckt] Thompson & Taylor (ed. 2006): “luggage is on board ship; see Oth. 2.1.281 : ’I must fetch his necessaries ashore.’”
462