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Line 621+11 - 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.

621+11 {By their ore-grow’th of some complextion}	1.4.27

1726 theon

theon

621+11 ore-grow’th of some complextion] Theobald (1726, p. 33) “. . . the Overgrowth of a Complexion is, as I take it, an unequal Admixture of the temperaments in the frame and composition of our nature; thro’ which we become faulty by the defect of some good, or the redundance of some ill, quality”

1747 warb

warb

621+11 complextion] Warburton (ed. 1747): “i.e. humour; as sanguine, melancholy, phlegmatic, &c.”

1765 john1

john1 = warb

621+11 complextion]

1773 v1773

v1773 = john1

621+11 complextion]

1778 v1778

v1778 = v1773

621+11 complextion]

1785 v1785

v1785 = v1778

621+11 complextion]

1787 ann

ann = v1785

621+11 complextion]

1790 mal

mal = v1785 +

621+11 their] Malone (ed. 1790): “The quarto, 1604, for the has their; as a few lines lower it has his virtues, instead of their virtues. The correction [in 621+17] was made by Mr. Theobald.”

1791- rann

rann ≈ warb without attribution

621+11 complextion] rann (ed. 1791-): “—humour, temperament, constitutional bias.”

1793 v1793

v1793 = mal

621+11 complextion]

1803 v1803

v1803 = v1793

621+11 complextion]

1813 v1813

v1813 = v1803

621+11 complextion]

1821 v1821

v1821 = v1813

621+11 complextion]

1826 sing1

sing1 ≈ rann without attribution

621+11 complextion] Singer (ed. 1726): “Complexion for humour. By complexion our ancestors understood the constitutions or affections of the body.”

1833 valpy

valpy: standard

621+11 complextion] Valpy (ed. 1833): “Humor.”

1854 del2

del2 : standard + in magenta underlined

621+11-621+20 complextion . . . fault] Delius (ed. 1854): “complexion ist die bestimmte Disposition, wie z. B. hier zum Trunke, die, wenn sie zu mächtig wird (o’er-growth), die Schranken der Vernunft niederbricht. Dieser complexion folgt dann als zweite Veranlassung zum Verderben die Gewöhnung (habit), welche selbst das Bild angenehmer Sitte zu sehr verdirbt, mit ihrem Sauerteig zu sehr durchdringt. Der Satz, von allen eingeschachtelten Zwischensätzen befreit, ist: it chances in particular men—that these men—shall take corruption from that particular fault.” [complexion is the inherent disposition, as, for example, here towards drink, which, when it becomes too strong (o’er-growth), overcomes the barriers of reason. This complexion or the overleavening of some manner spoils the reputation. The sentence, when it is freed from all the parenthetical modifiers, is it chances in particular men—that these men—shall take corruption from that particular fault.]

1856 hud1

hud1 = sing1 (minus all but synonym affections; what hud1 does not use shown struck out)

621+11 complextion] Hudson (ed. 1856): “Complexion for humour. By complexion our ancestors understood was meant the constitutions or affections of the body.”

1856 sing2

sing2 = sing1

621+11 complextion]

1861 wh1

wh1

621+11 complextion] White (ed. 1861): “‘Complexion,’ used now almost exclusively to mean the color of the skin, had formerly a sense more strictly correct, and expressed the result of the union of certain physical qualities. ‘According to the prevalency of humors a diversity of temper or complexion [[temperamenti seu complexionis]] is caused in us.’ Gate of the Latine Tongue Unlocked, 1656.”

1868 c&mc

c&mc

621+11 complextion] Clarke & Clarke (ed. 1868): “Here used for ‘natural propensity,’ ‘constitutional tendency.’”

1872 cln1

cln1

621+11 complextion] Clark & Wright (ed. 1872): “In the old medical language, there were four complexions or temperaments; the sanguine, melancholy, choleric, and phlegmatic.”

1872 hud2

hud2 ≈ wh1 first sentence without attribution

621+11 complextion] Hudson (ed. 1872): “was often used to denote, not the colour of the skin, but any constitutional aptitude or predisposition. See page 133, note 4.”

hud2 on MV 3.1.? (0000)

621+11 complextion] Hudson (ed. 1872): “Complexion was much used for natural temperament, or constitutional texture and grain. In the old tale upon which Hamlet was partly funded, the hero is spoken of as being a ‘Saturnist by complexion, referring to his melancholy disposition.”

1874 Schmidt

Schmidt

621+11 complextion] Schmidt (1874): “1) temperament, natural disposition.”

c.1875 Fleay

Fleay

621+11-621+22 Fleay (c. 1875, pp. 93-4): <p. 93> refers to the Q2-only lines as “essential to the understanding (not to the action) of the play. . . . The complexion in Hamlet was the melancholic: which is never pleasing to the multitude: manners gay genial and ‘plausive’ please </p. 94> them: they regard the pensive man as verging on irrational. Hence Hamlet’s difficulty. Were he to allege the ghost’s evidence as the ground of his revenge, even if supported by Horatio and Marcellus, the mob would say that he was mad and that they were suborned. He must then withhold his outward assent to the truth of the ghost’s story even among his most intimate friends, till he has completed his case to the satisfaction of (let us say) a sceptical lawyer. Nay has he completed it to his own satisfaction? May not the ghost be a devil in disguise and no ghost at all?” </p. 94>

1877 v1877

v1877= sing2 (minus gloss); cln1

621+11 complextion]

1881 hud3

hud3

621+11 their] Hudson (ed. 1881): “their [is] an error which the context readily corrects.”

hud3 = hud2 (minus //)

621+11 complextion]

hud3 ≈ theon

621+11- 621+12 ore-grow’th . . . reason] Hudson (ed. 1881): “The idea is, of some native aptitude indulged and fostered too much, so that it breaks down the proper guards and strongholds of reason.”

1883 wh2

wh2 note at 621+18

612+11-621+18 White (ed. 1883): “We have in [these eight lines] a striking example of S.’s carelessness of congruity, and of his disregard (if not his ignorance) of the meaning of words: the overgrowth of a complexion breaking down pales and forts: a form over-leavened: plausive (or approving) for plausible (approved) manners: and finally, a man undergoing (that is, suffering, bearing up under) virtues, gracious and infinite. And yet the speech is a great speech.”

1885 macd

macd ≈ Schmidt

621+11 complextion] MacDonald (ed. 1885): “Complexion, as the exponent of the temperament, or masterful tendency of the nature, stands here for temperament—‘oft breaking down &c.’ Both words have in them the elements of mingling—a mingling to certain results.”

1885 mull

mull = hud3 without attribution

621+11 their]

mull : standard

621+11 complextion] Mull (ed. 1885): “humour or peculiarity.”

1904 ver

ver: standard gloss + etymology

621+11 complextion] Verity (ed. 1904): “natural bent of character contrasted with an acquired ‘habit’; see G.” In his glossary: “this was an old physiological term for ‘the combination of the four “humours” of the body in a certain proportion’; hence ‘the disposition, temperament,’ arising from this combination. Lat. complexio used in Late Lat, as ‘bodily constitution, habit,’ from complectere, ‘to embrace, combine.’”

1936 cam3b

cam3b: Bright

621+11-621+12 Some . . . reason] Wilson (ed. 1936, rpt. 1954, add. notes): “Cf. Bright, p. 250, ‘There keepe the straightest hand, where the lists of reason are most like to be broken through.’”

1938 parc

parc

621+11 complextion] Parrott & Craig (ed. 1938): “natural disposition or tendency.”

1939 kit2

kit2

621+11 Kittredge (ed. 1939): "By the over-development of some natural tendency."

Ed. note: Kittredge placed this note with 621+8. At 621+11, he continues: "the over-development of some part of their constitution. A man’s complexion (temperament) was thought to be determined by the proportion of the four humours that existed in his physical make-up. These were called blood, phlegm, bile (red bile or choler), and black bile (or melancholy). According as one or another of these substances predominated, the man was sanguine, phlegmatic, choleric, or melancholy. If one of these four tendencies increased to an excessive degree, a fault might be the result—rashness, sloth, irascibility, or moroseness."

1947 cln2

cln2

621+11-621+14 by their . . . manners] Rylands (ed. 1947): "by the undue development of some natural bent of character which overcomes the restraint imposed by reason, or by some acquired habit which overstrains (or, as it were, ferments) a gracious personality to excess."

1957 pel1

pel1: standard

621+11 complextion] Farnham (ed. 1957): “part of the make-up, combination of humors.”

1957 pen1b

pen1b

621+11 complextion] Harrison (ed. 1957): “The four ’humours’ of which the body was supposed to consist maintained health so long as they were evenly balanced; but if one predominated, then temperament and complexion revealed the excess in a mood and countenance which was sanguine, melancholic, choleric or phlegmatic.”

1970 pel2

pel2 = pel1

621+11 complextion] Farnham (ed. 1970): “part of the make-up, combination of humors”

1980 pen2

pen2: standard

621+10 his] Spencer (ed. 1980): “its.”

1982 ard2

ard2: standard

621+11 complextion] Jenkins (ed. 1982): “properly the combination of the four humours (blood, choler, melancholy, phlegm) in a man’s bodily constitution; hence the temperament or disposition, considered as determined by which of the four humours was dominant; hence (as here) a single dominant humour or the temperamental characteristic derived from it.”

1985 cam4

cam4: standard

621+11 their ore’grow’th of some complextion] Edwards (ed. 1985): "the excessive growth of some natural tendency. The allusion is to the doctrine of the four humours, blood, phlegm, choler and melancholy, whose proper balance was necessary for a stable temperament."

1987 oxf4

oxf4: standard

621+11 complextion] Hibbard (ed. 1987): "dominant element in a man’s make-up. Shakespeare alludes to the old idea, still current in his time, that a man’s temperament was determined by the combination in him of the four ‘humours’ or bodily fluids – melancholy, phlegm, blood, and choler. Whichever of the four was dominant controlled his disposition, and, if its dominance became excessive through o’ergrowth, led to an unbalanced personality and irrational behaviour."

1988 bev2

bev2: standard

621+11 their . . . complextion] Bevington (ed. 1988): “the excessive growth in individuals of some natural trait.”

1992 fol2

fol2: standard

621+11 ore-grow’th . . . complextion] Mowat & Werstine (ed. 1992): “i.e., the increase of one of the four “humors,“ which were thought to control man’s physical and emotional being”

2006 ard3q2

ard3q2: standard

621+11 their . . . complextion] Thompson & Taylor (ed. 2006): “the overdevelopment of some element in their natural constitution. Complexion is a quasi-technical term referring to the combination of the four ’humours’, the sanguine, phlegmatic, choleric and melancholic, which were supposed to be maintained in harmony.”