HW HomePrevious CNView CNView TNMView TNINext CN

Line 445 - Commentary Note (CN) More Information

Notes for lines 0-1017 ed. Bernice W. Kliman
For explanation of sigla, such as jen, see the editions bib.
445 Ile speake to it though hell it selfe should gape1.2.244
c.1639 mWright
mWright: Ham. notes
445-6 Wright (1639, fol.85r):“ Ile speake to it though hell it selfe should gape and bid mee hold my peace.”
1736 Stubbs
Stubbs
445 Ile speak] Stubbs (1736, p. 18): “The Prince’s Resolution to speak to the Phantom, let what will be the Consequence, is entirely suitable to his Heroical Disposition; and his Reflection upon his Father’s Spirit appearing in Arms, is such as one would naturally expect from him; and the Moral Sentence he ends his short speech with, suits his virtuous Temper, at the same Time that it has a good Effect upon the Audience, and answers the End of Tragedy.”
1770 Gentleman
Gentleman
445 hell] Gentleman (1770, 1: 16): “on the prince’s determination to watch, notwithstanding his violent agitation, he might have used a phrase less censurable than the follow [quotes 445-6].”
1860 stau
stau
445 gape] Staunton (ed. 1860): “‘Gape’ here, perhaps, signifies yell, howl, roar, &c. rather than yawn or open: as in [H8 5.3.1 (3259)] —‘You’ll leave your noise anon, ye rascals: do you take the court for Parish-garden? Ye rude slaves, leave your gaping’.”
Ed. note: Neither Century nor OED has the stau sense of gape.
1868 c&mc
c&mcstau without attribution + //
445 gape] Clarke & Clarke (ed. 1868): “Here used in its double sense of ‘yawn,’ ‘open wide,’ and of ‘roar,’ ‘yell,’ ‘howl.’ See [H5 3.pr.27 (1071), n. 7].”
check line in H5
1872 cln1
cln1stau + //
445 gape] Clark & Wright (ed. 1872): “And so perhaps ‘a gaping pig,’ [MV 4.1.54 (1952)].”
1877 v1877
v1877 = stau (minus quot. from H8); cln1
445 gape]
1885 mull
mull ≈ stau (minus ‘rather than yawn’); MV // without attribution
445 gape] Mull (ed. 1885): “Staunton suggests perhaps signifying ‘yell, roar.’ [quotes H8; MV.].”
1899 ard1
ard1= stau paraphrase
445 gape]
1929 trav
trav
445 gape] Travers (ed. 1929): “as Hell Mouth often does, with tongue, fangs, and flames, in medieval and post-medieval art.”
1935 Wilson
Wilson WHH
445 Wilson (1935, p. 71): this line shows Hamlet’s doubts about the spirit’s nature but also demonstrates that his response to it is different from Horatio’s.
1939 kit2
kit2trav without attribution, +
445 gape] Kittredge (ed. 1939): "Hell-mouth was a familiar figure in mediaeval art (e.g., in the Anglo-Saxon Caedmon manuscript), in the religious pageants, and on the Elizabetham stage. It was an enormous wide-open mouth with huge teeth. ’One hell-mouth’ (’j Hell mought’) is an item in an inventory of the properties of the Lord Admiral’s Players in 1599 (Henslowe’s Papers, ed. Greg, p. 116). Cf. Harsnet, Declaration, 1603, p. 71: ’The little children were neuer so afrayd of hell mouth in the old plaies painted with great gang teeth, staring eyes, and a foule bottle nose.’ " [n.1]
[n.1]: See Hearne’s ed. of Fordun, p. 1403 (two plates): Hone, Ancient Mysteries Described, 1823, p. 138 (plate) [and many other references, p. 151n]
1982 ard2
ard2:
445 Ile speake to it] Jenkins (ed. 1982) “Cf. 48 CN.”

ard2kit2 without attribution
445 though . . . gape] Jenkins (ed. 1982): “"as ready to receive one who converses with a devil. A spirit which assumed another’s shape might well be, and in the belief of such Protestants as James I would certainly be, a devil. Cf. 1639-40 and CN. A gaping hell would be easily visualized by an audience used to seeing hell-mouth represented not only in pictures but as an actual stage-property.”
1985 cam4
cam4
445 hell . . . gape] Edwards (ed. 1985): "the mouth of hell should open wide."
1987 oxf4
oxf4kit2 without attribution; ≈ WHH without attribution
445 though . . . gape] Hibbard (ed. 1987): "Hellmouth was a stage property well known to the Elizabethan playgoer. Inherited from the miracle plays of the Middle Ages, it appears, for instance, at the end of Marlowe’s Doctor Faustus, causing the protagonist to cry out with his last breath, ‘Ugly hell, gape not.’ Henslowe includes ‘1 hell mouth’ in the inventory of the properties of the Admiral’s men which he made on 10 March 1598 (Henslowe’s Diary, p. 319).
"Hamlet is facing the possibility that the Ghost may, in accordance with the Protestant thinking of the time, be a devil which has assumed (i.e. appropriated) the body of the dead King for its own wicked purposes. Ben Jonson mockingly describes the process of appropriation in the first scene of his The Devil is an Ass."
2006 ard3q2
ard3q2 : analogues; Shaheen
445 though . . . gape] Thompson & Taylor (ed. 2006): “Hamlet’s personification evokes hellmouth (a familiar stage property from medieval and Renaissance drama—one is listed in the Admiral’s Men’s effects in 1598). Christopher Marlowe has two similar lines at climactic moments, Zabina’s ’Gape earth and let the fiends infernal view / A hell as hopeless and as full of fear / As are the blasted banks of Erebus’ (1 Tamburlaine (1587), 5.1.241-3), and Faustus’ final cry, ’Ugly hell gape not’ (Dr Faustus (c. 1592), 5.3.183). Shaheen argues that the biblical parallel here is with the Bishops’ Bible, since its translation of Isaiah, 5.14, reads, ’Therefore gapeth hell’, where the Geneva Bible has ’Hell hath inlarged itself’. Hamlet may also be indicating that he is prepared to risk damnation by conversing with a spirit who could be a devil.”
445