Line 3160 - 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
| 3160 Therewith fantastique garlands did she {make} <come,> | 4.7.68 |
|---|
mtby2 1723-33? ms. notes in pope1
mtby2
3160 Thirlby (ms notes in pope, ed. 1723: “ns [non satisfacit] he made thither, made up to him.”
This seems a conjecture that Thirlby rejects.
1773 jen
jen
3160 Therewith . . .
make]
Jennens (ed. 1773): “With the willow she made a garland of flowers, i.e. the willow was the frame of the garland into which the flowers were stuck.”
1825 European Magazine
"Gunthio" pseudonym
3160 Therewith] "Gunthio" (1825, p. 343), though writing about Q1 Hamlet takes occasion to complain of lapses in the Q2 text. “the most trivial observations become interesting when applied to such a work as ’Hamlet,’ a reflection which induces me to swell this important list of lapses, by pointing out a true Hibernian idea in the Queen’s description of Ophelia’s death:—
Ed. note: In his quotation, Gunthio combines Q2 and F1 with other changes:
There is a willow grows ascaunt the brook,
That shews his hoar leaves in the glassy stream;
Therewith fantastic garlands did she make
Of crow-flowers, nettles, daisies, and long purples.
The players, I see, have avoided this blunder by reading— ’There with fantastic garlands did she come.’
”
[1839] knt1 (nd)
knt1 ≈ Gunthio without attribution
3160 Therewith . . . make] Knight (ed. [1839]) notes, after giving Qq variant : “which all the modern editors have corrupted into ‘therewith;’ as if Ophelia made her garlands of the willow. To ‘make’ is used in the sense of to ‘come’—to make way—to proceed. The pertinacity with which the commentators upon this play have rejected the authority of the folio is truly marvellous.”
1845 Hunter
Hunter
3160 Therewith . . .
make]
Hunter (1845, 2:261) : <p. 261> “
askaunt the brook, did make]]
An injudicious preference is here shewn to the reading of the quartos over that of the folios, which have ‘aslant a brook,’ and ‘There, with fantastic garlands did she COME.’
“She came to the brook wearing the garlands of flowers in which she had a little before appeared in the presence of the Queen; then, clambering to hang them on the branches of the willow, a sliver broke, and she and her weedy trophies fell into the stream. She resorted to the willow ‘to make her a garland, as being forsaken,’ as Benedick says of the Count.” </p. 261>
1847 verp
verp
3160 Therewith . . .
make]
Verplanck (ed. 1847): “In this exquisite passage, I have, with the correction of two literal errors, and one word from the quartos, followed the folio reading. The ordinary text is from the quartos, with a conjectural emendation of ‘Therewith fantastic garlands did she make,’ for ‘There, with fantastic garlands did she make,’ as it appears in all the quartos [Q3-4] Independently of the external evidence, the sense is clearer; and the passage has, to my ear, especially in the repetition of ‘there,’ [3158, 3160] a more touching melody than in the other readings.”
1854 del2
del2
3160 Therewith . . . make] Delius (ed. 1854) notes after agreeing with the Ff reading of “come”: “So die Fol. Ophelia kam mit ihren Kränzen zu dem Weidenbaum, um sie daran aufzuhängen. Die meisten Herausgeber lesen mit den Qs. Therewith fantastic garlands did she make, als ob sie die Kränze aus Blättern der Weide gemacht, während doch die Blumen alle aufgezählt werden, deren sie sich bedient.” [“Ophelia came with her crown to the willow trees, around which she hung the garlands. Most editors read with the Qq Therewith fantastic garlands did she make , as if the garland is made from the leaves of the willow while the flowers were being counted with which she helped herself.”]
1857 elze1
elze1
3160 Therewith . . . make] Elze (ed. 1857): "QB folgg. Fs lesen ’come’ st. ’make’. Da sowohl QB folgg. wie Fs: there with getrennt lesen, so lässt sich auch der Lesart der Fs ein guter Sinn und eine gewisse Berfechtigung keineswes absprechen." ["Q2ff. Ff read ’come’ in place of ’make.’ While Q2 and Ff both read ’there with’ separated, so the reading of the Ff holds a good sense and a certain authority to be rejected not at all."]
1860 Walker
Walker
3160 Therewith . . .
make]
Walker (1860, 3:270): <p. 270>“Read with the folio,—[gives folio reading] It may be remarked, by the way, that
there and
where, is the sense of
thither and
whither—of which they were abbreviations—were not so frequent in that age as they are now. When I speak of them as originating in
thither and
whither, I do not mean to include
there and
where as employed in the sense of
ˆke_ and
poå, which I leave to the etymologists.” </p. 270>
1869 tsch
tsch : DEL2
3160 Tschischwitz (ed. 1869): “Die Lesart der Q.s. ist nicht so verweflich, wie Del. will, da bekanntlich die feineren Zweige der Salix-Arten gern von Kindern und jungen Mädchen als Reifen zum Kranzflechten benutzt werden. Indessen ist nach der Bescreibung anzunehmen, dass O. nur mit fertigen Kränzen zu dem Weidenbaum gekommen ist; and zwar, wie aus dem Folgenden hervorgeht, I der Absicht, die Kränze an seinen Zweigen aufzuhängen.” [“The reading of the Qs is not so objectionable as Delius desires it [to be], if as is known, the thin twigs of the Salix-Arten were used readily by boys and young girls as rings of braids. Moreover it is taken by the description that O. came only with completed garlands to the willow; and indeed, as presented by the following design, to hang the garlands on her twigs.”]
1877 v1877
v1877 : ≈ jen : knt1 (only to ‘come’—to make way—to proceed)
3160 Therewith . . . make]
1882 elze2
elze2
3160 Therewith . . . make] Elze(ed. 1882): “That the reading of [F1] is wrong, is shown by [Ado 2.1.194 (0000) ; 2.1.223 (0000)], and a number of other passages, from which we learn, that it was the custom for forsaken lovers to repair to a willow, and there to make themselves garlands which used to be worn for a shorter or greater length of time. Compare [3H6 3.3.227 (0000); Marston, The Insatiate Countesse, A.I (Works, ed. halliwell, III, 109); Field, A Woman is a Weathercock (Dodsley, ed. Hazlitt, XI, 25, 33, &c.); Faerie Queene, I,I,9. Ophelia’s garlands are indeed not mere willow garlands, as they ought to have been, but they are fantastically embellished by different flowers stuck into them; these are the flowers she had ‘bin gathering’ before. See note on §182 (Enter Ophelia).”
1885 macd
macd
3160 MacDonald (ed. 1885): “—always busy with flowers.”
1890 irv2
irv 2: elze
3160 make] Symons (in Irving & Marshall, ed. 1890): “Qq. print Therewith fantasticke garlands did she make, which Elze (p. 226) strenuously defends, but I think mistakenly.”
1929 trav
trav:
3160 Travers (ed
. 1929): “Willow garlands, worn symbolically, are mentioned e.g. in the burden of Desdemona’s song, that her mother’s maid had died singing ((
Oth. IV, iii)). But the version adopted here (and most generally) from F. gives greater and harmonious spaciousness, as well as ingenious variety of pathos.”
1934 Wilson
Wilson
3160 Wilson (1934, 2:272): Wilson feels that Q2 offers the more “attractive reading” than F1. He observes that CAP, v1821 follow Q2 and that GLO, CAM1 and “most mod.” follow F1
3160 make]
Wilson (1934, 2:276): <p. 276>“I[cites 3160-61 in Q2 and F1] I have quoted the immediate context because the force of the variants cannot be appreciated without it; and even so it is necessary to remember that the Queen begins her speech with the line [cites 3158}.. It is remarkable that only Collier and Elze among the modern seems to have had the pluck to follow Q2 in [3160], though its superiority is obvious at a glance. For Shakespeare intended Ophelia to make her garland of willow, a willow-garland being the emblem of disconsolate love (cf. [
Oth. 4.3.51 [0000]), and to entwine the wild flowers among the ‘hoar leaves’, a point entirely missed by the F1 version, which provides the flowers with no framework at all.” </p. 276>
1934 cam3
cam3 : standard
3160
1939 kit2
Kit2: contra Wilson (1934)
3160 Kittredge (ed. 1936): “come]] So the Folio. The Second Quarto [Q2] reads [gives Q2 reading]. Wilson follows the Quarto, remarking that the willow is ‘the emblem of disconsolate love.’ But the context shows that the Folio is right.”
Where is Wilson is this?
1938 parc
parc
3160 Therewith] Parrott (ed. 1938): “with willow twigs.”
1974 evns1
evns1 ≈ parc w/o attribution
3160 Therewith]
1980 pen2
pen2 ≈ standard
3160 Therewith, make]
3160 fantastique
1982 ard2
ard2 : n. 3158
3160 Therewith, make] Jenkins (ed. 1982): “F, though followed by many eds., misses the point: she did not bring garlands to the willow but made them with it (cf. Fuller in LN [Longer Notes] on [3158].”
1984 chal
chal :
3160 fantastique] Wilkes (ed. 1984): "of extravagant or grotesque design."
1985 cam4
cam4 ≈ ard2
3160 Therewith, make] Edwards (ed. 1985): “She made garlands from the willow, interwoven with wildflowers and weeds. The playhouse scribe quite misunderstood this, and F reads ‘There with fantastic garlands did she come.’”
1992 fol2
fol2≈ standard
3160 Therewith]
1993 dent
dent ≈ standard
3160 fantastique
3160