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Line 2762 - 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 2023-2950 ed. Frank N. Clary

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

2762 {Quee.} ‘To my sicke soule, as sinnes true nature is,	4.5.17

1843 col1

col1

2762-6 Collier (ed. 1843): “It deserves notice that this and the three preceding lines are marked by inverted commas in all the quartos, not for the purpose of showing that the passage was a quotation, but apparently to enforce it as an axiom. Such was not a very unusual practice.”

1858 col3

col3 ≈ col1 (modified)

2762-6 Collier (ed. 1858): “It deserves notice that this and the three preceding lines are marked by inverted commas in all the 4tos, not for the purpose of showing that the passage was a quotation, but apparently to enforce it as an axiom. Such was not an unusual practice, and nothing could be much easier than to accumulate passages in point, as indeed the Rev. Mr. Dyce has abundantly done in his ‘Remarks,’ pp. 207, 208, 209.”

1875 Marshall

Marshall

2762-5 Marshall (1875, p. 43): “This is the first instance of self-reproach that we find in [the Queen].”

1869 tsch

tsch

2762 To . . . soule] Tschischwitz (ed. 1869): “Die heilsamen Wirkungen von H’s. Unterredung III. 4. zeigen sich jetzt an der Königin. Sie geht in sich und kommt zur Erkenntnis ihres sündigen und heilsbedürftigen Zustandes: So sehr ist die Schuld von nicht zu verbergendem Argwohn erfüllt, dass sie sich selbst an den Tag bringt, aus Besorgniss an den Tag zu kommen.” [The positive effects of Hamlet’s discussion (3.4) appear now in the queen. She examines herself and recognized her sinfulness and need for salvation. Her guilt is so mixed with unconcealed suspicion that she brings it forth herself out of fear that it will come to light.]

1877 v1877

v1877 ≈ col1, notes in knt1, dyce1

2762-6 Furness (ed. 1877): “Collier: It deserves notice that these lines are marked with inverted commas in the Qq, not for the pourpose of showing that the passage was a quotation, but apparently to enforce it as a maxim. It was not a very unuaual practice. [See [[1.3.59 (524)], Knight’s and Dyce’s notes. Ed.]”

1881 Oxon

Oxon

2762-6 To my . . . spylt] Oxon (1881, p. 34): “These lines represent [the Queen’s] state of anxious unrest throughout the play.

“The death of Polonius by Hamlet’s hand, and the madness of Hamlet and Ophelia, along with the latter’s death, were blows that her sensitive nature felt keenly.”

1885 macd

macd

2762-5 MacDonald (ed. 1885): “Instance, the history of Macbeth.”

1891 dtn

dtn: xref.

2762 Deighton (ed. 1891): “to my soul, ill at ease with itself, as is always the case when guilt is present to it; cp. above, 1739, ‘Thus conscience does make cowards of us all.’”

1934 Wilson

Wilson: Simpson

2762-5 Wilson (1934, rpt. 1963, 2:204): <2:204> “‘Proverbes and moral maxims—‘sentences,’ as they were called—were sometimes given in italics. But a favourite device to call attention to them was the use of inverted commas at the beginning, but not at the end, of the line.’ I quote from that epoch-making book, Mr Percy Simpson’s Shakespearian Punctution.1 Mr Simpson does not go into the elocutionary aspect of the business, but I have little doubt that from the acting point of view inverted commas implied solemn or sententious delivery. They occur twice in Q2 and both instances are characteristic. The first marks some of Laertes’ moralising observations to Ophelia in 1.3 [quotes 1.3.36-40 (499-503)]. And the second distinguishes the equally gnomic couplets which the Queen utters in 4.5 [quotes 4.5.17-20 (2762-5)].” </2:204>

1934 cam3

cam3: see 2763, 2764, 2765

2762-5 ‘To my . . . splyt] Wilson (ed. 1934): ‘To my sick soul...split.’] “Q2 marks the line with inverted commas to signify ‘sentences’; cf. note [1.3.36-39 (499-502)]. The aside accounts for the Queen’s reluctance to see Oph. and gives us the only glimpse of her real state of mind after Ham.’s departure to England. v. G. ‘toy,’ ‘jealousy,’ ‘spill’; ‘artless jealousy’ may be rendered ‘uncontrollable suspicion.’”

1980 pen2

pen2

2762 as sinnes . . . is] Spencer (ed. 1980): “(that is, as is characteristic of someone in a state of sin).”

1980 Smith

Smith

2762-5 Smith (1980, p. 206), like many others, cannot make out what Gertrude is sorrowful about: “If it arises out of the conflict between her love for Claudius and her remorse for betraying the memory of her first husband, she obviously chooses to ’retain the offense’ [2332], because she soon thereafter tries physically and verbally to protect Claudius from Laertes [2867, 2875 etc.].”

1982 ard2

ard2

2762 my sick soul] Jenkins (ed. 1982): “Hamlet’s reproaches of 3.4 have a lasting effect.”

ard2

2762-65 Jenkins (ed. 1982): “in Q2 each of these lines has prefixed to it the quotation-mark which indicates a sententious saying.”

1987 oxf4

oxf4

2762-5 To my . . . spylt] Hibbard (ed. 1987): “Q2 prefixes an inverted comma to each of these lines to show that they are sententiae.”

2006 ard3q2

ard3q2

2762-5 Thompson & Taylor (ed. 2006): “Q2 prefaces each of these lines with a quotation mark, indicating that they are maxims or quotable commonplaces; the rhymes also underscore this effect. The Queen’s aside indicates a new awareness of guilt following on from 3.4.”

ard3q2

2762 as. . . is] Thompson & Taylor (ed. 2006): “in accordance with the reality of the state of sinfulness.”