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.

1845 Hunter

Hunter

358 heare] Hunter (1845, p. 219): “The second folio has have in the place of ‘hear;’ a better reading, even if it had not the effect of obviating the disagreeable recurrence of the sounds ‘hear’ and ‘ear.’”

1856 sing2

sing2 ≈ Hunter without attribution

358 heare] Singer (ed. 1856): “The quartos have, ‘I would not hear,’ which has evidently been changed to have in the folio, to avoid the disagreeable clash with ear in the next line.”

1857 dyce1

dyce1

358 heare] Dyce (ed. 1857): “The folio . . . erroneously [has have], as the next line proves: yet Mr. Knight retains ‘have.’ ”

1858 col3

col3

358 heare] Collier (ed. 1858): “So the 4tos: the folio, ‘I would not have,’ but emended to ‘hear’ in the corr. fo. 1632.

1861 wh1

wh1: standard in magenta underlined

358 heare] White (ed. 1861): “‘I would not have your enemy say so’; —Thus the folio; avoiding the repeition of sound and sense in the two lines consequent upon the reading of the 4tos.: — ‘I would not heare your enemie say so Nor shall you do my eare that violence;’ giving also a more natural and easy expression to Hamlet’s friendly protest.”

1866 dyce2

dyce2 = dyce1

358 heare]

1874 Corson

Corson: F1, cam1 ; sing2 without attribution

358 heare] Corson (1874, p. 10): “cet. par., ‘have’ is more euphonius than ‘hear,’ by reason of ‘ear’ in the next line [quotes].”

1877 v1877

v1877= dyce (minus crit. of Knight); Hunter; Corson

358 heare]

1877 dyce3

dyce3 = dyce2

358 heare]

1881 hud3

hud3 ≈ dyce2

358 heare] Hudson (ed. 1881): “So the quartos after that of 1603. Instead of hear, the folio has have, which some editors prefer. But surely here accords much better with what follows.

1884 Gould

Gould : Q2 without attribution

358 haue] Gould (1884, p. 38): “It seems to me that this should be ‘hear’, as that is what does his ‘ear that violence’.”

He does not make clear whether he knows he is selecting the Q2 source. But from his next note, which mentions the 4to, he must mean that.

1885 macd

macd

358 MacDonald (ed. 1885): “‘—I should know how to answer him.’”

1929 trav

trav

358-61 Travers (ed. 1929): “How many princes, princes of the Renaissance even, would have brushed aside with such earnest vigour self-accusation no graver than this?”

1987 oxf4

oxf4

358 heare] Hibbard (ed. 1987): "This F reading avoids the jingle of Q2’s hear followed by ear."

2006 ard3q2

ard3q2: oxf4 without attribution

358 heare] Thompson & Taylor (ed. 2006): “F’s ’haue’ avoids the hear / ear internal rhyme. The meaning is the same: ’I would not let even your enemy say such a thing without objecting.’”