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Line 263 - 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.

263 Together with all formes, moodes, {chapes} <shewes> of griefe	1.2.82

1778 v1778

v1778

263 chapes] Steevens (ed. 1778): “—shews of grief] Thus the folio. The first quarto [i.e. Q2] reads—chapes—I suppose for shapes.”

Ed. note: His rare VN probably is owing to Jennens’ VN.

1785 v1785

v1785 = v1778

263 chapes]

1790 mal

mal = v1785

263 chapes]

Ref. to R2 in 266

1791- rann

rann

263 chapes] Rann (ed. 1791-): “ ‘My grief lies all within, &c.’ [R2 4.1]”

Ed. note: See CN 266. where there is a note to R2 by mals2.

1793 v1793

v1793 = mal

263 chapes]

1803 v1803

v1803 = v1793

263 chapes]

1813 v1813

v1813 = v1803

263 chapes]

1819 cald1

cald1: R2 rann without attribution

263 chapes]

1821 v1821

v1821 = v1813 +

263 chapes] Boswell (ed. 1821): “It is shapes in the subsequent quartos; and this reading is adopted by Mr. Capell.”

1839 knt1

knt1

263 formes, moodes, chapes] Knight (ed. 1839): “So the folio and quartos. The modern reading is mode. Mood was sometimes used in the sense of mode; but it is, perhaps, here meant to signify something beyond the mere manner of grief—the manner as exhibited in the outward sadness. The forms are the ceremonials of grief, —the moods its prevailing sullenness; —the shows (shapes in the quartos) its fits of passion.”

1845 Hunter

Hunter

263 Hunter (1845, 2: 216-17): <p. 216>“When we see that the three phrases ‘Forms of grief’ ‘Modes of grief’ ‘Shews of grief’ have scarcely a perceptible difference, we shall not be dis- </p. 216><p. 217> posed to treat with so little respect as the commentators and editors have done the reading of the second folio—‘Together with all forms, moods, and shews of grief.’ Here we have Forms, including habits exterior. Moods, the musings of the melancholy mind, occasionally and partially appearing. Shews of grief, mourning-apparel. But, whether preferred or not, ‘moods’ and ‘modes’ form a various reading well worthy of attention. In the first quarto, it may be added, in support of ‘moods.’ the King just before said to Hamlet—‘What means these sad and melancholy moods?’” </p. 217>

1854 del2

del2 ≈ knt1

263 moodes] Delius (ed. 1854): “So Fol. u. Qs. Die Herausgeber ändern das Wort und vielleicht auch den Sinn, indem sie modes lesen.” [So the folio and 4tos. The editors change the word and perhaps also the sense in reading modes.]

1857 dyce1

dyce1: knt1; Hunter +

263 moodes] Dyce (ed. 1857): “Here Mr. Knight prints, with the old copies, ‘moods’ which is merely an old spelling); and Mr. Hunter (Illus. of Shakespeare, ii. 217) is inclined to prefer ‘moods’ to ‘modes;’ though nothing can be plainer than that Hamlet, throughout this speech, is dwelling entirely on the outward and visible signs of sadness.”

1861 wh1

wh1 ≈ dyce1 without attribution

263 moodes] White (ed. 1861): “The old copies, ‘moods,’ which might be either modes or moods; but, as Hamlet is speaking of the externals of grief, it is plain that the former is intended.”

1866 dyce2

dyce2 ≈ dyce1 minus struck out ; immaterial diff. in magenta; ≈ wh1 without attribution

263 moodes] Dyce (ed. 1866): “Here Mr. Knight prints, with the old copies, eds. have ‘moodes’ and ‘Moods;’ which is merely an old spelling of ‘modes;’ ; and Mr. Hunter (Illus. of Shakespeare, ii. 217) is inclined to prefer ‘moods’ to ‘modes;’ though nothing can be plainer than that Hamlet, throughout this speech, is dwelling entirely on the outward and visible signs of sadness.”

dyce2 : Capell

263 chapes] Dyce (ed. 1866): “ ‘shows’ So the folio.— The quarto of 1604 has ‘chapes;’ the subsequent quartos read ‘shapes,’ which I once felt inclined to adopt (with Capell), since in the third line after this we have ‘passeth show:’ but ‘forms’ and ‘shapes’ would be tautological.”

1868 c&mc

c&mc ≈ dyce2 without attribution

263 moodes] Clarke & Clarke (ed. 1868): “The Folio gives ‘moods,’ the Quartos ‘moodes:’ but in all probability these are only different spellings of the word ‘modes,’ since Hamlet is here dwelling wholly on externals.”

1877 v1877

v1877: knt (from “perhaps” to end); Hunter (gloss); dyce (from “though” to end)

263 moodes]

v1877= Dyce2 +

263 chapes] Furness (ed. 1877): “Moreover, the ‘show” in line [266] is an intentional and emphatic repetition of the ‘shows’ in this line. Ed.”

1877 dyce3

dyce3 = dyce2

263 moodes]

1880 Tanger

Tanger

263 chapes] Tanger (1880, p. 122) has a question mark, meaning that he cannot classify this variant?

1881 hud3

hud3

263 moodes] Hudson (ed. 1881, pp. 319-20): <p. 319>“The old copies have moodes and moods, which appear to be only old ways </p. 319><p. 320> of spelling modes. At all events, moods, in its present meaning, does not suit the context, as Hamlet here refers entirely to the outward marks of sadness.” </p. 320>

1899 ard1

ard1

263 moodes] Dowden (ed. 1899): “‘Moods’ may be right.”

ard1: Furness

263 chapes]

1936 cam3b

cam3b

263 chapes] Wilson (ed. 1936, rpt. 1954, additional notes): “A theat. term = ‘make-up and costume suited to a particular part (N. E. D, 8, quoting Dekker and Massinger). This adds a new touch of bitterness to the speech; cf. [265, and quotes].”

1939 kit2

kit2: standard

263 moodes] Kittredge (ed. 1939): "moody appearances."

1980 pen2

pen2

263 moodes] Spencer (ed. 1980): “modes, appearances.”

pen2

263 chapes] Spencer (ed. 1980): “(in theatrical language, ’assumed roles’).”

1982 ard2

ard2: OED; Schmidt; //s

263 moodes] Jenkins (ed. 1982): “A ’mood’ is ’a frame of mind or state of feelings’ (OED mood sb.1 3) but may come to mean the outward expression of this. Schmidt glosses ’external appearance, countenance expressive of disposition’, citing [Son. 93]: ’In many’s looks the false heart’s history Is writ the moods and frowns and wrinkles strange’. Cf. {LC 201, ’the encrimsom’d mood’ (of rubies as emblems of passion). The frequent interpretation ’mode’ is unautheticated. For though there was some merging of mood (O.E. mōd) and mode (L. modius), the use of the latter in its modern non-technical sense was a 17th-century development, which was no doubt responsible for the reading modes in Q1695 as well as for mode in F3 of 2H4 [4.5.200]”

ard2 contra v1877; ard1

263 chapes] shapesJenkins (ed. 1982): “This ’correction’ of the Q2 chapes is supported by Shakespeare’s frequent use of shape in the sense of appearance, sometimes in conjunction with ’form’, often denoting illusionary appearance, and sometimes in reference to grief. See Ado [5.1.14], ’such a grief . . . In every linament, branch, shape, and form’; LLL 5.2.751; R2 2.2.22. F shewes is more likely to have had its source in the show of {266] than, as Furness and Dowden held, to have been deliberately repeated in it; show does not repeat one item but sums up the whole of [258-64].”

1984 chal

chal

263 moodes] Wilkes (ed. 1984): “? classes (as in grammar and logic)”

1985 cam4

cam4

263 chapes] Edwards (ed. 1985): "external appearances. Se note to [628]."

1987 oxf4

oxf4: Schmidt; Son. 93.7-8

263 moodes] Hibbard (ed. 1987): "external appearances (Schmidt). "

1988 bev2

bev2: standard

263 moodes] Bevington (ed. 1988): “outward expressions of feeling.”

2006 ard3q2

ard3q2

263 moodes] Thompson & Taylor (ed. 2006): “This must mean something like shows or outward appearances.”