Line 2393 - 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.
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Notes for lines 2023-2950 ed. Frank N. Clary
| 2393 Ham. No by the rood not so, | 3.4.14 |
|---|
1745 han2
han2
2393 rood] Hanmer (ed. 1745, glossary): “a rood, a cross.”
1755 Johnson Dict.
Johnson Dict.
2393 rood ] Johnson (1755): 1. “the fourth part of an acre in square measure
.”
2. “a pole; a measure of sixteen feet and a half long measure.”
3. “the cross.”
1774 capn
capn ≈ han2
2393 rood] Capell (1774, 1:1: glossary, rood): “(H. 81, 12.) the Cross.”
1819 cald1
cald1: Skinner; 2H4 //
2393 by the rood] Caldecott (ed. 1819): “From the A. S. rode. crux. a cross. Skinn. See 2H4 [3.2.3 (1536)] Shal.”
1832 cald2
cald2 = cald1 + magenta underlined
2393 by the rood]
Caldecott (ed
. 1832): “From the A. S. rode. crux. a cross. Skinn.
As Holyrood House; See
2H4 [3.2.3 (1536)], Shal.”
1854 del2
del2
2393 rood] Delius (ed. 1854): “by the rood, oder auch by the holy rood, = beim Krucifix, eine Betheuerung, die auch sonst bei Sh. vorkommt.” [by the rood or by the holy rood means by the crucifix, an oath which appears elsewhere in Shakespeare’s works.]
1857 fieb
fieb: R3 //
2393 rood] Fiebig (ed. 1857): “Rood, the cross, or crucifix; rode, Saxon. So, in R3 [3.2.75 (1876)]: ‘You may jest on, but, by the holy rood, I do not like those several councils, I.’ Thence rood-loft, in churches, the place where the cross stood; still remaining in many churches. It also contained the images of saints. This loft was generally placed just over the passage out of the church into the cancel. There is another profane oath, The rood’s body, the body of Christ on the rood.”
1865 glo
glo: Rom. //
2393 rood] Clark and Wright (ed. 1864a [1865] 9: glossary, Rood): “sb. the crucifix. Rom. 2.4.”
The only appearance of “rood” in Rom. is in [1.3.36 (387)].
1866 ktlyn
ktlyn = capn
2393 rood] Keightley (ed. 1866, glossary): “the cross.”
1870 rug1
rug1 ≈ ktln + magenta underlined
2393 by the rood] Moberly (ed. 1870): “German, die Ruthe, applied to the beam of an anchor, or to any transverse pole working on an upright support. Hence, as here, the cross.”
1872 hud2
hud2 ≈rug1+ magenta underlined
2393 rood] Hudson (ed. 1881): “Rood is an old word for cross. It was often used, as here, to intensify the expression.”
1872 cln1
cln1 ≈ fieb (incl. R3 //); ≈ glo (Rom. //); ≈ cald1 (2H4//) + magenta underlined
2393 rood] Clark and Wright (ed. 1872): “from A.S. ród, cross, crucifix. The crucifix was placed over the screen between the nave and the choir, hence called the ‘rood-loft.’ This oath is found in 2H4 [3.2.3 (1536)], R3 [3.2.75 (1876)], and Rom. [1.3.36 (387)].”
1877 neil
neil ≈ fieb + magenta underlined
2393 by the rood] Neil (ed. 1877): “by the cross, as in Holyrood, holy-cross. See ‘by the holy rood’—R3 [3.2.75 (1876)]. The term rood is specially applied in architecture to the large cross erected in Roman Catholic churches over the entrance of the chancel or choir. So we have rood-tower, rood-steeple, rood-loft. Rood Lane in London was so called becaues a crucifix once stood there. Hearne says, ‘though the cross and the rood are commonly taken for the same,yet the rood properly signified the image of Christ on the cross, so as to represent both the cross and the figure of our blessed Saviour as He suffered on it’—Peter Langtoft’s Chronicle, Glossary, p. 544.”
1877 v1877
v1877 = Dyce (Gloss.)
2393 rood]
Furness (ed. 1877): “Dyce (
Gloss.): The cross, the crucifix. It would appear that, at least in earlier times, the
rood signified not merely the cross, but the image of Christ on the cross.”
1878 rlf1
rlf1 ≈ cln1 (incl. 2H4, R3 //s) + magenta underlined
2393 rood] Rolfe (ed. 1878): “Cross, crucifix. Cf. 2H4 [3.2.3 (1536)]; R3 [3.2.75 (1876)], [4.4.165 (2942)], etc. We have it in the name Holyrood Palace, Edinburgh. See also 1H4 [1.1.52 (56)].”
1881 hud3
hud3 ≈ hud2 + magenta underlined
2393 rood] Hudson (ed. 1881): “Rood is an old word for cross; often used for an oath, as here.”
1885 macd
macd
2393-5 so . . . mother] MacDonald (ed. 1885): “Point thus: ‘so: you’—’would you were not so, for you are my mother.’— with emphasis on ‘my.’ The whole is spoken sadly.”
1889 Barnett
Barnett ≈ cald1 minus Skinner attribution and 2H4 // + magenta underlined
2393 rood] Barnett (1889, p. 50): “cross. A.S. rod, a gallows, a cross.”
1891 dtn
dtn=dyce (Gloss.)
2393 rood] Deighton (ed. 1891): “cross, i.e. of Christ; ‘it would appear that, at least in earlier times, the rood signified not merely the cross, but the image of Christ upon the cross’ (Dyce).”
1904 ver
ver ≈ Barnett + magenta underlined
2393 the rood] Verity (ed. 1904): “the Cross; A.S. rod; the same as rod, ‘ a pole.’ The modern stage-custom of introducing in this scene some emblems of religion gives significance to this line and 47, 48.”
1905 rltr
rltr: standard
2393 rood] Chambers (ed. 1905): “cross.”
1906 nlsn
nlsn: standard
2393 rood] Neilson (ed. 1906, glossary): “the cross, crucifix.”
1980 pen2
pen2 ≈nlsn
2393 the rood] Spencer (ed. 1980): “Christ’s Cross.”
1988 bev2
bev2 ≈ pen2
2393 rood] Bevington (ed. 1988): “cross of Christ.”
1998 OED
OED
2393 rood] OED (Sept. 14, 1998): “d. In asseverations, by the rood! etc. Now only arch. 13.. Sir Beues 968 `Blethelich,’ a seide, `be the rod!’ 1377 LANGL. P. Pl. B. IV. 134 `And et,’ quod resoun, `bi the Rode I shal no reuthe haue’. c 1412 HOCCLEVE De Reg. Princ. 1459 Now, by the roode, fader, sothe sey ye. c 1450 HOLLAND Howlat 94 Be the rud, I am richt rad For to behald our halyness. 1519 Interl. Four Elem. in Hazl. Dodsley I. 26 Yea, by the rood! even with the greatest. 1577-82 BRETON Floorish upon Fancie Wks. (Grosart) I. 17/1 And of such Beds, she hath such stoare of choise (by roode). 1602 SHAKS. Ham. III. iv. 14 Qu. Haue you forgot me? Ham. No by the Rood, not so.”
2006 ard3q2
ard3q2
2393 rood] Thompson & Taylor (ed. 2006): “Christ’s cross. Some nineteenth-century productions introduced a cross or other religious emblem in this scene; a closet was often a place for meditation and prayer.”
2393