Line 252 - 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 0-1017 ed. Bernice W. Kliman
252 Thou know’st tis common all that liues must die, | 1.2.72 |
---|
252 267
1784 Davies
Davies
252-3 all . . . eternitie] Davies (1784, 3:11): “The thought is common; but the expression is awfully striking and extremely beautiful.”
1793 v1793
v1793
252 common] Steevens (ed. 1793): “Perhaps the semicolon placed in this line, is improper. The sense, elliptically expressed, is, ’Thou knowest it is common that all that live, must die.’ The first that is omitted for the sake of metre, a practice often followed by Shakspeare. Steevens.”
Ed. note: Steevens does have the semi-colon in his text.
1803 v1803
v1803 = v1793
252 common]
1805 Seymour
Seymour
252 Seymour (1805, 2:145): “I believe we should point thus: ‘Thou knowest—’tis common—all that live,’ &c.
“i.e. ‘Thou knowest this truth—nay, it is known to all men—it is ‘a common proof.’”
1813 v1813
v1813 =v1803
252 common]
1819 cald1
cald1
252 liues ] Caldecott (ed. 1819): “Such [lives] is the reading of the quartos and folio. That of 1632 gives live. All may be used for every thing : but see ‘the scope, &c. allows,’ supra, [n. 216-17, on agreement of subject and verb]. ”
1819 mclr2
mclr2
252, 254, 255 tis common . . . it is common . . . it be] Coleridge (1819-): “Suppression prepares for overflow.”
1819 mclr2
mclr2
252, 254, 255 tis common . . . it is common . . . it be] Coleridge (1819, rpt. 1987, 5.2:298): “Suppression prepares for overflow—”
1821 v1821
v1821 = v1813
252 common]
1854 del2
del2 = cald1 without attribution
252 liues] Delius (ed. 1854): “So Fol. u. Qs., von den Herausgebern will kührlich und stillschweigend in live ungeändert.” [So folio and 4tos, changed by the editors, silently and arbitrarily, to live.]
1877 v1877
v1877 = Seymour
252 common]
1904 Anders
Anders
252 all . . . die] Anders (1904, rpt. 1965, p. 214): “If Shakespeare had any one passage in view [for 2H4 3.2.41 (0000)] it was probably this: Ps. [89: 47]: ‘What man is he that liveth, and shall not see death; and shall he deliver his soule from the hand of hell? Cp. too [Ham. 252].”
1926 Tilley
Tilley § 152 seems a commonplace; Petite Pallace, 1: 62; Erasmus, Adagio 2, 923 B &c.
252 All . . . die
1929 trav
trav
252-67 Travers (ed. 1929) notes the “sententious couplet followed by another [255-6] that clinches the argument (as [266-7] will sum up [257-65]).”
1939 kit2
kit2
252 common] Kittredge (ed. 1939): "universal."
1950 Tilley
Tilley
252 all . . . die] Tilley (1950, D 142): “Death is common to all [Eras. Adagia, 923B: Mors omnibus communis].”
1958 fol1
fol1: standard
252 common] Wright & LaMar (ed. 1958): “common to every mortal; universal.”
1982 ard2
ard2: Golding; Lodge; Boyce
252 tis common] Jenkins (ed. 1982): “This sentient, to be amplified in the King’s next speech, is a traditional commonplace of consolation. Cf. Ovid, Met., tr. Golding, 15. 550, (to Egeria weeping for her husband’s death) ’Thy mourning moderate . . . Not only thou hast cause . . . ’; Seneca, Ad Polybium, Works, tr. Lodge, 1614, p. 692, ’It is therefore a great comfort for a man to bethink himself that the same hath happened unto him, which all others have suffered before him, and all that follow him must endure, and therefore . . . nature hath made that most common which is most grievous’. For other classical and Renaissance instances see B. Boyce, PMLA, 64: 771-80.”
ard2: Abbott
252 all that liues] Jenkins (ed. 1982): “For the not uncommon use of the inflectional s with a plural subject, see Abbott 333.”
1987 oxf4
oxf4: Tilley D142
252-3 tis . . . eternitie] Hibbard (ed. 1987): "Death is common to all" (Tilley D142); see also common 254, where Hamlet means commonplace.
1987 Mercer
Mercer
252-4 common] Mercer (1987, p. 143): “Hamlet has no answer to his mother’s” reasonable assertion about life and death. “He simply repels her advance, fastening on the one word in her appeal which he can load with cold contempt: [quotes 254]. . . . Hamlet’s scornful response insists that his mother’s arguments are not wrong but vulgar; that she, like everyone else, is missing the point.”
1988 bev2
bev2: standard
252 common] Bevington (ed. 1988): “of universal occurrence. (But Hamlet plays on the sense of ’vulgar’ . . . .)”
1992 fol2
fol2: standard
252 common] Mowat & Werstine (ed. 1992): “belonging to all human beings”
2004 Danner
Danner
252-67 Thou know’st . . . woe] Danner (2004, pp. 31-1): <p. 30.> “Hamlet’s harping remarks on his mother’s use of ’seems’ in 1.2 typify how the problems of representation and theatricality are linked to his tragic paralysis: [quotes 252-67]: </p. 30> <p. 31> In one of the play’s extraordinary non sequiturs, Hamlet protests his integrity even when it is not being challenged. Gertrude does not dismiss Hamlet’s grief to mere seeming but rather accepts it fully in order to identify its cause and relief. Hamlet latches onto the queen’s use of ’seems’ as pejorative when her emphasis falls instead on the word ’particular’--a rejoinder to his concession that death is common to all. Gertrude thus singles out Hamlet’s independence, his unique state of mind, yet he responds by amplifying this distinction, as if it had not already been evident.” </p. 31>
2005 Shakespeare. Journal of the British Shakespeare Association
Holderness
252-3 all. . . eternitie] Holderness (2005, pp. 163-4): <p. 163>
“Both Gertrude and Claudius coax [Hamlet] to look up towards light, </p. 163> <p. 164> to acknowledge true priority in the Aristotelian chain of being: ’look . . . on Denmark’ [TLN 249]; ’throw to earth this /This unprevailing woe’ [TLN 106-7]. [Quotes 163-4]
“Bereavement is natural, mourning temporary: life is transient, eternity the point to which it is tending. Hamlet’s preoccupation with the dust is in this model regressive, self-annihilating, a willful reversion to the dust from which man was made, rather than a reverence for the product of his making . . . . As Claudius puts it, it is a ’fault to heaven’ [TLN 283] to focus on the ’quintessence of dust’ [TLN 1354-5] rather than on Creation’s miraculous ’piece of work’ [TLN 1349-50].” </p. 164>
2006 ard3q2
ard3q2: Dent
252-3 Thou . . . common] Thompson & Taylor (ed. 2006): “proverbial: Dent, D142”
ard3q2: performance
252 common] Thompson & Taylor (ed. 2006): “Hamlet again takes up the word and twists it against the speaker; he is sometimes quite aggressive in performance as he turns the Queen’s banal statement into an accusation that she has acted in an all too predictable or commonplace way—perhaps even that she has been sexually promiscuous.”