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Line 402 - 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.”

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Notes for lines 0-1017 ed. Bernice W. Kliman

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

402 The Apparision comes: I knewe your father,	1.2.211

-1761 Rochester?

Rochester

402 I knewe your father] Rochester? (-1761, pp. 197-8): < p. 197> “There was a necessity for altering this [i.e. I know your Father], as know was </ p. 197> < p. 198> a false Tense: And knew would not have amended it perfectly. For it appears before, that the Relater Horatio had seen the King but once, and could not be supposed to know him very well.” </ p. 198>

Ed. note: Since know is found in Q9 and Q10 only and since in another instance "Rochester?" did not use Q10, I infer that Q9 (1695) is his early reference text; it was published about 5 years after the earl’s death.

1982 ard2

ard2: Wilson

402 knewe] Jenkins (ed. 1982): “I see no good reason for taking this, with Dover Wilson, to mean ’recognized’ rather than ’was well acquainted with’. As Wilson himself notes, Horatio is careful to not to say that the Ghost was Hamlet’s father, only that it was like him.”

1988 SQ

Goldberg

402-3 Goldberg (1988, p. 313): “ . . . [F]rom the start the Ghost exists within a scriptive order, and not merely that of the Senecan tragedy in which his lines are written. For when Horatio offers to vouch for the Ghost, he tells Hamlet, ’I knew your father. / These hands are not more like.’ The identity of the Ghost is confirmed by the identity of the hand. This is not surprising; the Ghost exists only within similitude, appearing ’in the same figure like the king that’s dead,’ ’Most like,’ ’Mark it, Horatio’ [53, 56, 55]). And Horatio marks it by likening the likeness to the hand that marks.”