HW Home	Previous CN	View CN	View TNM	View TNI	Next CN

Line 151 - 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.

151 Awake the God of day, and at his warning	1.1.152

1765 john1

john1

151-4 and at . . . confine] Johnson (ed. 1765): “According to the pneumatology of that time, every element was inhabited by its peculiar order of spirits, who had dispositions different, according to their various places of abode. The meaning therefore is, that all spiritis extravagant, wandering out of their element, whether aerial spirits visiting earth, or earthly spirits ranging the air, return to their station, to their proper limits in which they are confined. We might read, —And at his warning / Th’extravagant and erring Spirit hies / To his Confine, whether in sea or air, / Or earth, or fire, And of, &c. But this change, tho’ it would smooth the construction, is not necessary, and being unnecessary, should not be made against authority.”

1773 v1773

v1773 = john1 + (see n. 154 for contnuation of Farmer, and cald1 below)

151-4 and at . . . confine] Farmer (in Steevens, ed. 1773, 10: Qq4v-Qq5r): “Bourne of Newcastle in his Antiquities of the Common People informs us, ‘it is a receiv’d tradition among the vulgar, that at the time of cock-crowing the midnight spirits forsake these lower regions, and go to their proper places.’”

Ed. note: Farmer’s note seems to have been written expresly for Steevens. It is not in Farmer’s Essay.

v1773

151-4 and at . . . confine] Johnson (ed. 1773, 1:19-20 n. 8), on Tmp. 1.2.? (0000), <p. 19> “Dost thou forget From what torment I did free thee?”: “That the character and conduct of Prospero may be understood, something must be known of the system of enchantment, which supplied all the marvellous found in the romances of the middle ages. This system seems to be founded on the opinion that the fallen spirits, having different degrees of guilt, had different habitations allotted them at their expulsion, some being confined in hell, some (as Hooker, who delivers the opinion of our poet’s age, expresses it) dispersed </p. 19> <p. 20>in air, some on earth, some in water, others in caves, dens, or minerals under the earth. Of these, some were more malignant and mischievous than others. The earthy spirits seem to have been thought the most depraved, and the aerial the least vitiated. Thus Prospero observes of Ariel: ‘—Thou wast a spirit too delicate To act her earthy and abhorr’d commands.’ Over these spirits a power might be obtained by certain rites performed or charms learned. This power was called The Black Art, or Knowledge of Enchantment. The enchanter being (as King James observes in his Demonology) one who commands the devil, whereas the witch serves him. Those who thought best of this art, the existence of which was, I am afraid, believed very seriously, held, that certain sounds and characters had a physical power over spirits, and compelled their agency; others who condemned the practice, which in reality was surely never practised, were of opinion, with more reason, that the power of charms arose only from compact, and was no more than the spirits voluntary allowed them for the seduction of man. The art was held by all, though not equally criminal, yet unlawful, and therefore Causabon, speaking of one who had commerce with spirits, blames him, though he imagines him one of the best kind who dealt with them by way of command. Thus Prospero repents of his art in the last scene. . . .” </p. 20>

1778 v1778

v1778 = john1; Farmer

151-4 and at . . . confine]

1784 ays1

ays1 = john1, 1st sentence only, without attribution

151-4 and at . . . confine] Ayscough (ed. 1784): “According to the pneumatology of that time, every element was inhabited by its peculiar order of spirits, who had dispositions different, according to their various places of abode.”

1785 v1785

v1785 = v1778

151-4 and at . . . confine]

1787 ann

ann = v1785 Johnson and Farmer, including 154

151-4 and at . . . confine]

1790 mal

mal = v1785

151-4 and at . . . confine]

1790- mWesley in v1785

mWesley: john1 +

151-4 and at . . . confine] Wesley (1790-, p. 43): “Reason and sense require this elegant and judicious reading of Johnson. Are not these the best ‘authorities’?”

1793 v1793

v1793 = mal +

151-4 and at . . . confine] Warton (apud ed. 1793) “A Chorus in Andreini’s drama, called Adamo, written in 1613, consists of spirits of fire, air, water, and hell, or subteranneous, being the exiled angels. ‘Choro di Spirit ignei, aeri, acquatici, ed infernali,’ &c. These are the demons to which [Sh.] alludes. These spirits were supposed to control the elements in which they respectively resided; and when formally invoked or commanded by a magicina, to produce tempests, conflagrations, floods, and earthquakes. For thus says The Spanish Mandevile of Miracles, &c. 1600: ‘Those which are in the middle region of the ayre, and those that are under them nearer the earth, are those, which sometimes out of the ordinary operation of nature doe moove the windes with greater fury than they are accustomed; and do, out of season, congeele the cloudes, causing it to thunder, lighten, hayle, and to destroy the grasse, corne, &c. &c. ——Witches and negromancers worke any such like things by the help of those spirit,’ &c. Ibid. Of this schoole therefore was Shakspeare’s Prospero in The Tempest. T. Warton.”

1803 v1803

v1803 = v1793

151-4 and at . . . confine]

1813 v1813

v1813 = v1803

151-4 and at . . . confine]

1819 cald1

cald1= v1813 (john without attribution; Warton; Farmer); see n. 153

151-4 and at . . . confine] Caldecott (ed. 1819): “According to the pneumatology of that time, every element was inhabited by its peculiar order of spirits, who had dispositions different, according to their various places of abode.

“A Chorus in Andreini’s drama, called Adamo, written in 1613, consists of spirits of fire, air, water, and hell, or subteranneous, being the exiled angels. ‘Choro di Spirit ignei, aeri, acquatici, ed infernali,’ &c. These are the demons to which Shakespeare alludes. These spirits were supposed to controul the elements in which they respectively resided; and when formally invoked or commanded by a magicina, to produce tempests, conflagrations, floods, and earthquakes. For thus says The Spanish Mandevile of Miracles, &c. 1600: ‘Those which are in the middle region of the ayre, and those that are under them nearer the earth, are those, which sometimes out of the ordinary operation of nature doe moove the windes with greater fury than they are accustomed; and do, out of season, congeele the cloudes, causing it to thunder, lighten, hayle, and to destroy the grasse, corne, &c. &c. ——Witches and negromancers worke any such like things by the help of those spirit,’ &c. Ibid. Of this schoole therefore was Shakspeare’s Prospero in The Tempest. T. Warton.”

“Bourne of Newcastle in his Antiquities of the Common People informs us, ‘It is a receiv’d tradition among the vulgar, that at the time of cock-crowing the midnight spirits forsake these lower regions, and go to their proper places. Hence it is, (says he) that in country places, where the way of life requires more early labour, they always go chearfully to work at that time; whereas if they are called abroad sooner, they imagine every thing they see a wandering ghost.’ And he quotes on this occasion, as all his predecessors had done, the well-known lines from the first hymn of Prudentius. I know not whose translation he gives us, but there is an old one by Heywood. The pious chansons, the hymns and carrols, which Shakespeare mentions presently [1463], were usually copied from the elder Christian poets. Farmer.”

1821 v1821

v1821 = v1813

151-4 and at . . . confine]

1832 cald2

cald2 = cald1

151-4 and at . . . confine]

1865 hal

hal = john; Warton; Farmer

151-4 and at . . . confine]

1877 v1877

v1877 = john1

151-4 and at . . . confine]

-1885 Chalmers

Chalmers = john without attribution

151-4 and at . . . confine] Chalmers (apud mull , ed. 1885): “According to the pneumatology of the time, every element was inhabited by its peculiar order of spirits, who had dispositions different, according to their various places of abode. The meaning, therefore, is, that all spirits extravagant, wandering out of their element, whether aerial spirits visiting earth, or earthly spirits ranging the air, return to their station, to their proper limits in which they are confined. —Chalmers.”

1878 rlf1

rlf1: john; Farmer +

151-4 and at . . . confine] Rolfe (ed. 1878): “Milton, Hymn on Nativ. 229-34, etc.”

1903 rlf3

rlf3 = rlf1 minus Farmer

151-4 and at . . . confine]

1934 cam3

cam3 = john; Tmp. 4.1.121 (1783) [quotes]; xref 696; Glossary

151-4 and at . . . confine]

1939 kit2

kit2: MND; Farmer;

151 Kittredge (ed. 1939): "when the cock crow warns them of sunrise. Ghosts, trolls, devils, and the like, according to a very old belief, cannot endure the sunlight [see MND 3.2.380 (0000)]. Farmer cites the first hymn of Prudentius ’At Cockcrow’ (Ad Galli Cantrum), [lines 37-40, and he quotes in Latin]. See H. J. Schmitz, Die Bussbücher, II (1898), 442."

1947 cln2

cln2 = john1

151-4 and at . . . confine]

Ed. note: Because the editor credits the source here (and elsewhere), he implies that all the instances of uncredited notes should be credited to him.

1982 ard2

ard2: standard + in magenta underlined

151-4 and at . . . confine] Jenkins (ed. 1982): “qaulifying confine [154]. [. . . ] Cf. Il Penseroso, 93-6.

2006 ard3q2

ard3q2

151 God of day] Thompson & Taylor (ed. 2006): “the sun-god, Phoebus Apollo in classical mythology. In the next speech Shakespeare indicates that the characters are Christians; this mixture of classical and Christian allusions was common at the time (see [124+13 CN] and [720 and CN]).”