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.

1843 COL1

COL1

2990 and in the grapple] Collier (ed. 1843) : see n. 2993-5

macd

2990-2 and . . . them] MacDonald (ed. 1885): “Note once more the unfailing readiness of Hamlet where there was no question as to the fitness of the action seemingly required. This is the man who by too much thinking, forsooth, has rendered himself incapable of action!—so far ahead of the foremost behind him, that, when the pirate, not liking such close quarters, ‘on the instant got clear,’ he is the only one on her deck! There was no question here as to what ought to be done: the pirate grappled them; he boarded her. Thereafter, with his prompt faculty for dealing with men, he soon comes to an understanding with his captors, and they agree, upon some certain condition, to put him on shore.

“He writes in unusual spirits; for he has now gained full, presentable, and indisputable proof of the treachery which before he scarcely doubted, but could not demonstrate. The present instance of it has to do with himself, not his father, but in itself would justify the slaying of his uncle, whose plausible way had possibly perplexed him so that he could not thoroughly believe him the villain he was: bad as he must be, could he actually have killed his own brother, and such a brother? A better man than Laertes might have acted more promptly than Hamlet, and so happened to do right; but he would not have been right, for the proof was not sufficient.”

1929 adams

adams

2990 ff Adams (ed. 1929): “The thing that most impresses us—the thing that the dramatist emphasizes—is Hamlet’s energy in dealing with the pirates. His behavior in leading the attack against them, his courageous boarding their ship single-handed, and his success in winning their favor and negotiating his relase, surprise and gratify us; for in these bits of healthy action we discover a reappearance of his older and normal self. Moreover, the ringing confidence with which he writes, and the boldness with which he returns to face Claudius, who, he well knows, is bent upon his instant destruction, make us hope that now at last he can carry out his desired act.”

mun

2990-2 and . . . them] munro (ed. 1958): “Hamlet was first aboard the pirate ship, a fact emphasizing his eager attack on piracy and adding to the mystery of his delay in dealing with Claudius, the greater pirate.”

dent

2991 boorded] Andrews (ed. 1989): “boarded.”