Line 3090 - 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 2951-end ed. Hardin A. Aasand
| 3090 Laer. Vppon my life {Lamord } <Lamound >. | 4.7.92 |
|---|
1790 mal
mal
3090 Upon my life, Lamord ] Malone (ed. 1790): “Thus the quarto, 1604. Shakspeare, I suspect, wrote Lamode . See the next speech but one. The folio has—Lamound MALONE”
1793 v1793
v1793=mal
3090 Upon my life, Lamord ]
1803 v1803
v1803=v1793
3090 Upon my life, Lamord ]
1813 v1813
v1813=v1803
3090 Upon my life, Lamord ]
1821 v1821
v1821≈v1813
3090 Upon my life, Lamord ]
1866a dyce2
dyce2 = VN ; v1821 ; wh1
3090 Lamord] Dyce (ed. 1866) : “The quartos, 1604, &c. have ‘Lamord.’—The folio has ‘Lamound.’— “Shakespeare, I suspect, wrote ‘Lamode.’ See the next speech but one; ‘he is the brooch, indeed, And gem of all the nation’.”Malone..—Mr.GrantWhiteprints ‘Lamont.’”
1872 cln1
cln1
3090 Lamord] Clark & Wright (ed. 1872): “Written in the folios ‘Lamound,’ in the quartos ‘Lamord.’ The name appears to be altogether fictitious.”
1877 v1877
v1877 : ≈ mal ; ≈ cln1 ; C. Elliot Browne (Athenenæum, 29 July, 1876)
3090 Lamord]
Furness (ed. 1877): “
See lines 94, 95 [3092-3], where he is spoken of as ‘the brooch and gem of all the nation.”
3090 Lamord]
Clark & Wright (
apud Furness, ed. 1877): “The name appears to have been altogether fictitious.”
3090 Lamord]
Browne (
apud Furness, ed. 1877): “It is not impossible that this is an allusion to Pietro Monte (in a Gallicized form), the famous cavalier and swordsman, who is mentioned by Castiglione (
‘Il Cortegiano,’ b.i) as the instructor of Louis the Seventh’s Master of Horse. In the English translation he is called ‘Peter Mount.’”
3090 Lamord]
Furness (ed. 1877): “
I regret that these valuable Notes on Shakespeare’s Names reached me too late to be inserted in due place in the commentary under the first appearance of each character. They will be found, however, in the Appendix, Vol. II, p. 241.”
1877 neil
neil : mal ; Browne (via v1877?)
3090 Lamord] Neil (ed. 1877, Notes): “The complimentary terms used of this person, G.R. French regards as ‘meant for Sir Walter Raleigh.’ Malone would read La Mode,’ the brooch and gem of all the nation,’ indeed. C.E. Browne thinks ‘it is not impossible that this is an allusion to Pietro Monte (in a Gallicised form), the famous cavalier and swordsman, who is mentioned by Castiglione (Il Cortegiano, I), as the instructor of Louis VII’s Master of Horse. In the English translation [by Sir Thomas Hoby, entitled The Courtier, 1561 and 1588] he is called Peter Mounte.’”
1881 hud3
hud3
3090 Vppon my life Lamord] Hudson (ed. 1881): “Upon my life, Lamond. So Pope. The quartos have Lamord; the folio, Lamound.”
1882 elze2
elze2
3090 Lamord] Elze (ed. 1882): “Shakespeare, it would seem, liked to bestow on his French characters, in so far as they did not belong to history, names indicative of their nature and disposition; compare e.g. Lafew (which I suppose, stands for Lefeu), Parolls, and Lavache (in [AWW); Monsieur Le Bon ([MV 1.2.59 (247)]; Le Beau ([AYL 1.2.97 (257) &c.); Monsieur Veroles ([Per. 4.2.115 (1620)]). Of course this remark does not exclude the fact, that also English characters have frequently been provided with expressive names, such as Justices Shallow and Silence; Sir Toby Belch and Sir Andrew Aguecheek; Fang and Snare; and others. Lamode would certainly be a most suitable name for ‘the brooch and iem of all the nation.’”
1890 irv2
irv 2: v1877 (Browne’s analogue)
3090 Lamord] Symons (in Irving & Marshall, ed. 1890): “Lamond]] This Pope’s version of the Lamound of Ff. The Qq. have Lamord. No personage of this name is known, but Mr. C. Eliot Browne, in a letter to the Athenæum, July 29, 1876, suggests that this is “an allusion to Pietro Monte (in a Gallicized form), the famous cavalier and swordsman, who is mentioned by Castiglione (‘Il Cortegiano,’ b.i) as the instructor of Louis the Seventh’s Master of Horse. In the English translation he is called ‘Peter Mount.’”
1899 ard1
ard1 ≈ irv2 ; v1877 w/o attribution
3090 Lamord] Dowden (ed. 1899): “I retain the Q form of the name, having noticed in Cotgrave, ‘Mords, a bitt of a horse.’ Several of Shakespeare’s names for minor characters are significant; the word mords is masculine, but the printer of Q may be responsible for La. Pope has Lamond; Malone conjectures Lamode; Grant White has Lamont. C.E. Browne notes that Pietro Monte was the instructor of Louis VII.’s Master of the Horse.”
1909 subb
subb ≈ Verity ; ard1
3090 Lamord]
1931 crg1
crg1 ≈ ard1 (attrib. hud)?
3090 Lamord] Craig (ed. 1951): “Lamond]] This refers possibly to Pietro Monte, instructor to Louis XII’s master of the horse (Hudson).”
1934a cam3
cam3: mal ; wh1 ; ard1
3090 Lamord] Wilson (ed. 1934): “Most read ‘Lamond’; Malone conjectures ‘Lamode,’ Grant White ‘Lamont.’ Possible ‘Le Monté’ was intended. Dowden follows Q2, ‘having noticed in ‘Cotgrave ‘Mords, a bitt of a horse.’ I agree with Verity that some personal allusion is prob., more esp. as the whole passage [3078-93] ‘does not arise naturally out of a context in which the accomplishment dwelt on is fencing, not horsemanship.’ Sh.’s patron, the Earl of Southampton, was created Master of his Horse by Essex in 1599, while in Ireland; and this may be the point of the allusion. ‘The brooch indeed And gem of all the nation’ would suit well with Southampton’s reputation at this period.”
1938 parc
parc≈ ard1
3090 Lamord]
1947 cln2
cln2
3090 Lamord] Rylands (ed. 1947, Notes): “F[olio] reads Lamound. Some particular allusion seems to be intended as fencing and not horsemanship is the business in hand. If it was only a matter of topical interest Shakspeare puts it to good use. For the praise of Laertes as a swordsman sounds all the sweeter from his lips.”
1951 crg2
crg2=crg1
3090 Lamord] Craig (ed. 1951): “Lamond]] This refers possibly to Pietro Monte, instructor to Louis XII’s master of the horse (Hudson).”
1956 Sisson
Sisson
3090 Lamord]
Sisson (1956, 2:225): <p. 225>“Folio reads
Lamound, followed by
Kittredge.
New Cambridge and
Alexander read
Lamord. The Folio reading seems to me to point to
Lamond, a known name ((as
Lamord is not)), and easily misread by Quarto as
Lamord.” </p. 225>
1980 pen2
pen2
3090 Lamord] Spencer (ed. 1980): “F reads ‘Lamound’, which editors often spell as ‘Lamond’. If Lamord is accurate, it is curiously ominous ((mort, ‘death’)), especially when accompanied by the oath Upon my life.”
1982 ard2
ard2 : contra ard1 ; pen2
3090 Lamord]
1987 oxf4
oxf4 : contra bev1
3090 Lamord] Hibbard (ed. 1987): “This name, so suggestive of La Mort, looks the right name for the centaur-like Norman conjured up out of nowhere to usher in the last phrase of the tragedy. F’s Lamound seems more likely to be a misreading of it than a reference to the cavalier Peter Mount, as Hoby calls Pietro Monte in his translation of Castiglione’s The Courtier ((Everyman edn., p. 45)).”
1993 dent
dent ≈
3090 Lamord] Andrews (ed. 1989): “This name may be intended to suggest both le mords ((old French for the jaw bit by which a rider controls a horse)) and La Mort ((French for ‘death’)). Some editors follow the Folio and print Lamound ((which would suggest le monde and describe an ideal man of the world)).”
3090