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Line 460 - 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.

460 <Scena Tertia.>

188_ rossi

rossi

460 Hall in Castle Rossi (ed. 188-), which like most players texts omits the Reynaldo scene, places the scene in a hall in the castle, preparing for Ophelia’s encounter with Hamlet. At the end of the scene, right after Polonius says “Go you to your room,” the king and others enter (“Here’s the king.”), presumably not seeing her leaving. See also 888.

1939 kit2

kit2: time in the play; others treat this issue elsewhere

460 Kittredge (ed. 1939): "The Ghost has appeared at one o’clock in the morning [50]. Scene ii provides for the forenoon of the same day, scene iii for the afternoon. Thus there is a fitting interval between scene ii and the beginning of scene iv—after midnight, when Hamlet and his friends are watching for the Ghost."

1980 pen2

pen2

460 Spencer (ed. 1980): “This scene informs the audience of the strong family feeling in Polonius’s family. Laertes’s love for his sister Ophelia, whom we see for the first time, and their regard for their father, in spite of his foibles, prepare for the violence of Laertes’s impulses for revenge later. There is nothing to show that Laertes and Ophelia are contemptuous of Polonius’s long-windedness.”

1988 bev2

bev2: standard

460 Bevington (ed. 1988): “Location: Polonius’ chambers .”

2002 Kliman

Kliman

460 Kliman (2002, pp. 5-7): Note TNM: None of the following eds. include a stage direction here: rowe1, rowe2, tjoh1, rowe3, wilk1, tjoh2, wilk2, gar, gent, vand. The scene takes place in the same undifferentiated space as scene 2. Indeed, dramatic necessity would seem to dictate that Hamlet and Ophelia live in the same precinct; how else can he, walking in the lobby [1192-6], reasonably “affront” her? Whatever color her reading will give to her loneliness (or lowness) it could not account for her being in a royal house where she does not live (see 1680-1; 1695-7). However, Sh. might not pay attention to such matters on his undifferentiated stage, which could stand for any space he needed.

2002 Srigley

Srigley

460 Srigley (2002, p 176) mentions that during the 1603 visit by English nobles to Denmark, the Lord Chamberlain, Henrik Ramel, entertained them “at his own house near the Castle.”