HW Home	Previous CN	View CN	View TNM	View TNI	Next CN

Line 978 - 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.

978 And with a looke so pittious in purport	2.1.79

1805 Seymour

Seymour

978 Seymour (1805, 2:167): “If ‘piteous’ be not here a trisyllable, purport must be accentuated on the last syllable, purpórt: piteous we find presently [991] a dissyllable. ‘He rais’d a sigh, so piteous and profound As it did seem,’ &c.

1853 Clarke

Clarke

978 purport] Clarke (1853): Found only here.

1859 Werder

Werder

978-9 a looke . . . hell] Werder (1859, trans. 1907, p. 96) <p. 96> notes that “Hamlet has [this look] for Ophelia alone.” </p. 96>

1860 Walker

Walker ≈ Seymour without attribution

978 pittious in purport] Walker (3: 264): “Pronounce purpórt, not pitëous.”

1870 Abbott

Abbott

978-9 so . . . As] Abbott (§ 275): “So as. Bearing in mind that as is simply a contraction for ‘all-so’ (‘alse,’ ‘als,’ ‘as’), we shall not be surprised at some interchanging of so and as.”

“We still retain ‘as . . . so’: ‘As I had expected so it happened,’ but seldom use ‘so . . . as,’ preferring ‘as . . . as;’ except where so (as in the above phrase) requires special emphasis. The Elizabethans frequently used so before as. [quotes Mac. 1.2.43 (64)] . . . [quotes 978-9] . . . .”

1872 cln1

cln1 ≈ Walker without attribution

978 purport] Clark & Wright (ed. 1872): “accented on the last syllable.”

1877 v1877

v1877 Abbott § 275

978-9 so . . . As] Furness (ed. 1877): See Abbott § 275; and [1215]; or [Mac. 1.2.43 (64)] .

v1877 = Walker

978 purport]

1899 ard1

ard1: cln1 on accent

978 purport] Dowden (ed. 1899): only occurrence in Sh.

1929 trav

trav

978 so] Travers (ed. 1929): “more emphatic, it seems than as would be. ”

trav

978 purport] Travers (ed. 1929): “accented here on the last syllable), an old French word = ‘teneur,’ means, here, expression.”

1938 parc

parc ≈ trav without attribution

978 purport] Parrott & Craig (ed. 1938): “expression.”

1980 pen2

pen2 ≈ parc without attribution

978 purport] Spencer (ed. 1980): “expression.”

1988 bev2

bev2: standard

978 in purport] Bevington (ed. 1988): “in what it expressed.”

2006 ard3q2

ard3q2

978-80 Thompson & Taylor (ed. 2006): “At this point the otherwise slightly comic picture of the melodramatic lover becomes frightening: Hamlet, for the audience, if not for Ophelia, resembles his father’s Ghost.”

ard3q2

978 in purport] Thompson & Taylor (ed. 2006): “in its implications”