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Line 1924 - 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 1018-2022 ed. Eric Rasmussen

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

1924 In my harts core, I in my hart of hart	3.2.73

1747 edwards

edwards

1924 Edwards (1748 [1st ed.], pp. 21-22): <p. 21> “‘The expression is monstrous. The heart is supposed the seat of life: But as if he had many lives, and to each of them a heart, he says his best heart. A way of speaking, that would have become a cat rather than a king.’ War.

“Poor Shakespear! your anomalies will do you no service, when once you go beyond Mr. Warburton’s apprehension; and you will find a profess’d critic is a terrible adversary, when he is thoroughly provoked: you must then speak by the card, or equivocation will undo you. How happy is it that Mr. Warburton was either not so attentive, or not so angry, when he read those lines in Hamlet, </p. 21> <p. 22> ‘Give me that man, That is not passion’s slave, and I will wear him in my heart’s core; aye, in my heart of heart’—

“We should then perhaps have heard, that this was a way of speaking, that would have rather become an apple [pippin in 3rd ed.] than a prince.” </p. 22>

1765 john1

john1

1924 Johnson (ed. 1765; cross-reference to Ham 5.386 [H8, 1.2.1 “My life itself, and the best heart of it”]): Disagreeing with WARB, Johnson (ed. 1765) says “This expression is not more monstrous than many others. Heart is not here taken for the great organ of circulation abd life, but, in a common and popular sense, for the most valuable or precious part. Our authour, in Hamlet, mentions the heart of heart . Exhausted and effete ground is said by the farmer to be out of heart. The hard and inner part of the oak is called heart of oak. ”

1793- v1793

1924 harts core] Steevens (ms. notes, ed. 1793): “This expression occurs also in Chapman’s translation of the sixth Iliad: ‘––he wandred evermore Alone through his Aleian field, and fed upon the core Of his said bosome.’” Steevens

1839 douce

douce

1924 Douce (1839, p. 465): “From this speech Anthony Scoloker, in his Daiphantus, of The passions of love, 1604, 4to, has stolen the following line: ‘Oh, I would weare her in my heart’s-heart-gore’."

1872 cln1

cln1 = douce +

1924 Clark & Wright (ed. 1872): "Should not be ’gore’ be ’core’?"

1877 clns

clns

1924 harts core] Neil (ed. 1877): “Anthony Scoloker in Diaphantus; or the Passions of Love, 1604 — in which he notices ‘friendly Shakespeare’s tragedies’ and ‘Prince Hamlet’ — borrows the idea of his line: ‘Oh, I could wear her in my heart’s heart’s core.’”

1882 elze

elze

1924 my hart of hart] Elze (ed. 1882): “Compare Troilus and Cressida, IV, 5, 171: 119.‘From heart of very heart, great Hector welcome’.”

1885 macd

macd

1923 MacDonald (ed. 1885): “The man who has chosen his friend thus, is hardly himself one to act without sufficing reason, or take vengeance without certain proof of guilt.”

1924 MacDonald (ed. 1885): He justifies the phrase, repeating it.”

1899 ard1

ard1 = douce

1972 Mahoud

1923 not passions slaue] Mahoud (1972, p. 6), speaking of Brutus and Cassius, says, “ . . . in the relationship of the man who is unmoved, cold, and to temptation slow with the man who is passion’s slave, which runs as a steady theme through the plays and sonnets that Shakespeare wrote toward the end of Elizabeth’s reign, his sympathies repeatedly veer towards the warmer and more passionate nature.”