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Line 81 - 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 0-1017 ed. Bernice W. Kliman

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

81 Mar. Thus twice before, and {iump} <iust> at this dead houre,	1.1.65

1723- mtby2

mtby2

81 iump] Thirlby (1723-) has a xref. to 3870 and a // to Oth. end of act 2 [2.3.386 (1514)]. Also “Fulke’s Defense of the English Translations of the Bible p. 92 of his answer to his adversaries Preface: jumpe as the Papists doe; i.e. just or exact.”

1728 pope2

pope2

81 dead] Pope (ed. 1728): “same.”

1747 warb

warb

81 iump] Warburton (ed. 1747): “The old quarto reads jumpe; but the following editions discarded it for a more fashionable word.”

1747- mwarb

mwarb: in ink in his copy of warb he adds

81 iump] Warburton (1747-): “yet the old one was Shakespear’s.”

1755 Johnson Dict.

Johnson ≈ mtby2 without attribution

81 iump] Johnson (1755) defines “jump” as “Exactly; nicely,” and he quotes the later jump passage in Ham., 3870.

-1761 Rochester?

Rochester?

81 Rochester (-1761, p. 194), correcting the player’s quarto he used: “Thus twice before, and at the self-same Hour.”

Ed. note: See Browne; Rochester in alphabib.

1765 john1

john1 = warb+

81 iump] Johnson (ed. 1765): “The old reading is, jump at this same hour; same is a kind of correlative to jump; just is in the oldest folio. The correction was probably made by the authour.”

1773 v1773

v1773 = john1 + analogues

81 iump] Steevens (ed. 1773) “Jump and just were synonymous in the time of Shakespeare. Ben Jonson speaks of verses made on jump names, i.e. names that suit exactly. Nash says— ‘and jumpe,’ imitating a verse in As in præsenti.”

1778 v1778

v1778 = v1773 + analogues

81 iump] Steevens (ed. 1778): “So, in Chapman’s May Day, 1611: “Your appointment was jump at three, with me.’ Again, in The Arcadia by Shirley, 1640. ‘So even and jump with his desires.’ Again, in M. Kyffin’s translation of the Andria of Terence, 1588: ‘Comes he this day so jump in the very time of his marriage?’ ”

1785 v1785

v1785 = v1778 minus (Shirley analogue).

81 iump]

1787 ann

ann = v1785 minus Chapman analogue

81 iump]

1790 mal

mal ≈ warb without attribution; ≈ jen without attribution; = v1778 minus (Jonson, Nash, Shirley)

81 iump] Malone (ed. 1790): “Thus the quarto, 1604. The folio, where we sometimes find a familiar word substituted for one more ancient reads—just at this dead hour. Malone.”

1791- rann

rann ≈ Johnson without attribution

81 iump] Rann (ed. 1791-): “precisely.”

1793 v1793

v1793: Q/F diff without attribution; mal; v1778 analogues; john1

81 iump]

1803 v1803

v1803 = v1793

81 iump]

1813 v1813

v1813 = v1803

81 iump]

1819 cald1

cald1 ≈ mal; = v1778; xref = Johnson 1755

81 iump] Caldecott (ed. 1819): “See [3870] V. 1. Horat.”

1821 v1821

v1821 = v1813

81 iump]

1826 sing1

sing1 ≈ v1778 minus (analogues other than May Day); Q1; + Baret

81 iump] Singer (ed. 1826): “So the quarto of 1603, and that of 1604. The folio reads just. Jump and just were synonymous in the time of Shakspeare. So in Chapman’s May Day, 1611:—‘Your appointment was jumpe at three with me.’ ‘Thou bendest neither one way not tother, but art even jumpe stark naught.’—Baret, B.486.”

1832 cald2

cald2 ≈ cald1

81 iump]

1833 valpy

valpy: standard

81 iump] Valpy (ed. 1833): “Just.”

1839 knt1

knt1: warb attributed to mal

81 iump] Knight (ed. [1839]): “Malone properly observes that ‘in the folio we sometimes find a familiar word substituted for one more ancient.’ In this play, however, the more ancient word occurs—‘so jump upon this bloody question.’ [3870].”

1843 col1

col1: knt1 without attribution; ≈ Steevens

81 iump] Collier (ed. 1843): “ . . . the folio explains the meaning of ‘jump’ by substituting just. See also Act. v. sc.2 [3870]. ‘Jump’ was frequently used for just, as in Chapman’s ‘May Day,’ 1611:—‘Your appointment was jump at three.’ ”

1847 verp

verp: standard

81 iump]

1853- mEliot

mEliot: Hooker

81 iump] Eliot (1853-): “hitting jump that invisible point. Hooker’s Ec. Pol. b. 1 §8.”

1854 del2

del2

81 iump] Delius (ed. 1854) on just: “So die Fol. für das gleichbedeutende, trivalere jump, das die Qs. lesen.” [So the folio for the synonymous jump, which the 4tos read. ]

1856 hud1

hud1 ≈ sing1 minus (Q1 and Baret ref.)

81 iump]

1856 sing2

sing2 = sing1

81 iump]

1858 col3

col3 = col1

81 iump]

1860 stau

stau ≈ col3 without attribution; ≈ Johnson without attribution + in magenta underlined

81 iump] Staunton (ed. 1860): “So the quartos; the folio substitutes the more modern word, just: but in Shakespeare’s day, ‘jump’ was the familiar term. So, [3870] of this play,— ‘But since, so jump upon this bloody question.’ So, also, in [Oth. 2.3.386 (1514),— ‘—bring him jump where he may Cassio find.’”

1861 wh1

wh1: standard

81 iump] White (ed. 1861): “The ‘just at this dead hour” of the folio is doubtless a sophistication. It is also a gloss.”

1865 hal

hal = Steevens on Terence without attribution + Gosson in magenta underlined

81 iump] Halliwell (ed. 1865): “For jump in ed. 1604 the folio has just, but the terms were nearly synonymous. Jump is rather more expressive, implying coincidence of time in the very second. ‘He comes so jumpe, or in the very nicke to-day.’ Terence in English, 1614. ‘He that compareth our instruments with those that were used in ancient tymes shall see them agree like dogges and cattes, and meete as jump as Germans lippes,’ —Gosson’s Schoole of Abuse, 1579.”

1872 cln1

cln1: VN; standard Ham. 3870 and Oth

81 iump] Clark & Wright (ed. 1872): “So the quartos. The folios have ‘just,’ which means the same thing. We have the former word in [Oth. 2.3.386 (1514)]. ‘And bring him jump when he may Cassio find.’ And again in [Ham. 3870]. ‘So jump upon this bloody question’.”

cln1

81 dead] Clark & Wright (ed. 1872): “See [MM 4.2.67 (1919)].”

1872 hud2

hud2 = hud1 minus VN

81 iump]

1873 rug2

rug2: standard ref. to Oth.

81 iump]

1877 v1877

v1877: mal (2nd sentence, above, only); Steevens (v1773); hal (2nd sentence only); xref 3870 as in cln1 and others.

81 iump]

1880 Tanger

Tanger

81 iump] Tanger (1880, p. 121): ascribes the variant in F1 as “probably due to the critical revision which the text received at the hands of H.C. [Heminge & Condell], when it was being woven together from the parts of the actors.”

1880 meik

meik

81 iump] Meikeljohn (ed. 1880): “This use of the adverb corresponds with S.’s use of the verb, and is most easily explained by it. [quotes Shr. 1.1.295 (494) and R3 3.1.11 (1583)].”

1881 hud3

hud3 = hud2

81 iump]

1885 mull

mull

81 dead houre] Mull (ed. 1885): “midnight.”

1890 irv2

irv2: standard

81 iump] Marshall (ed. 1890): “exactly.”

irv2: standard summary w/ VN, mal, Steevens on Chapman, xref 3870, Oth. // + Scot analogue

81 iump] Marshall (ed. 1890): “Compare Scot, Discoverie of Witchcraft,’ wherein they meete and agree jumpe with the papists,’ and ‘so that they fall jumpe in judgment and opinion, though verie erroneouslie, with the foresaid Psellus’ (Reprint, Nicholson, 1886, pp. 413, 416).”

1891 dtn1

dtn1: standard w/ xref, 3870; Oth. //

81 iump]

dtn1: standard gloss + //s: Tim. [?] ; H5 3. chor. 19; Luc. 1625

81 dead houre]

1899 ard1

ard1: standard gloss and xref

81 iump]

1903 rlf3

rlf3 ≈ cln1 without attribution (standard w VN, xref, Oth. //)

81 iump]

rlf3: standard xref, + //s: Son. 43.11; H5, R3

81 dead]

1905 rltr

rltr: standard

81 iump] Chambers (ed. 1905): “exactly.”

1929 trav

trav

81 dead] Travers (ed. 1929): “as still as death.”

1934 Wilson

Wilson MSH

81 iump] Wilson (1934, pp. 48-9, p. 269): <p.48> lists, as one of F1’s vulgarizations, “that is of tame and conventional words substituted for the poetical or pithy </p.48><p.49> expression of Q2, F1’s just. He also lists 149 (morne > day), 160 (dare sturre > can walke), and 166 Eastward > Eastern). </p.49> <p. 269> Wilson returns to this class of variants, where for aesthetic reasons along with textual ones, he thinks Q2 is the better choice. He also lists 110 (comart), 149 (morne), 160 (dare sturre), 174 (conuenient), 187 (ioyntresse to), 202 (bands), 263 (chapes), 395 (distil’d), </p. 269><p. 270> 530 (courage), 589 (parle), 745 (of), 747 (Hebona), 760 (of Queene), 864 (your) [which he mentions again as preferable to you on p. 282; see below], 893 (inquire), 973 (closset). </p. 289>

1934 cam3

cam3: xref 389

81 dead houre]

1939 kit2

kit2: standard; Oth. //

81 iump] Kittredge (ed. 1939): "exactly, precisely."

1947 cln2

cln2: standard gloss

81 iump]

1957 pel1

pel1: standard

81 iump] Farnham (ed. 1957): “just, exactly.”

1970 pel2

pel2 = pel1: standard

81 iump] Farnham (ed. 1970): “just, exactly”

1982 ard2

ard2: standard

81 iump]

ard2

81 dead] Jenkins (ed. 1982): “has ominous connotations of ‘the dead of night’ [. . . ] [and] concentrates [. . . ] upon an exact point of time, [. . . ] reinforcing jump.”

1992 fol2

fol2: standard

81 iump] Mowat & Werstine (ed. 1992): “exactly“

2006 ard3q2

ard3q2: standard

81 iump] Thompson & Taylor (ed. 2006): “precisely (the same meaning as F’s ’iust’)”

ard3q2: standard; xref

81 dead] Thompson & Taylor (ed. 2006): “still, midnight (see ’the dead waste and middle of the night’ at [389], and similar phrases (’dead of night’, ’dead midnight’, etc.).”