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Line 594 - 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.

594 Not of {that die} <the eye> which their inuestments showe	1.3.128

1819 cald1

cald1

594 inuestments] Caldecott (ed. 1819): “Investments are covering or exterior.”

1832 cald2

cald2 = cald1 +

594 of that die] Caldecott (ed. 1832), “of the eye, which their investments show]] i.e. ‘of the cast or character, that character of purity, which their garb, or assumed expression of passion, bespeaks. [added from errata:] See ‘an eye of green,’ [Tmp. 2.1.56 (741)] Seb.”

1839 knt1

knt1 ≈ cald2 without attribution

594 of that die] Knight (ed. 1839): “The eye. So the folio; the quartos, that die. An eye was used to express a slight tint, as in the Tempest:— ‘Ant. The ground indeed is tawny. Seb. With an eye of green in’t.’ It is here metaphorically put for character.”

1843 col1

col1

594 of that die] Collier (ed. 1843): “So every quarto, but that of 1603, which does not contain the passage. The folios, ‘Not of the eye,’ probably a mere misprint: the ‘die’ has reference to the ‘investments,’ or vestments.”

1854 del2

del2 : knt1 without attribution

594 of that die] Delius (ed. 1854): “So die Fol., wo eye seine ‘Nüance der Farbe’ bedeutet, wie Sh. im [Tmp. 2.1.56 (741)] hat: the ground is tawny with an eye of green in’t. —Die Herasugeber lesen maistens mit den Qs. not of that die.” [So the folio, where eye means its shade of color, as Sh. has in the [Tmp. 2.1.56 (741)]: the ground is tawny with an eye of green in’t. Editors mostly read not of that die with the 4tos.]

1857 dyce1

dyce1: cald; knt1

594 of that die] Dyce (ed. 1857): “ ‘Not of that dye which their investments show,’ &c. So the quartos, 1604, &c.—The folio has ‘Not of the eye which,’ &c.; and Caldecott and Mr. Knight retain it: but, though our early writers talk of ‘an eye of green’ (as in [Tmp. 2.1.56 (741)], ‘an eye of red,’ ‘an eye of blue,’ &c., they never use ‘eye’ by itself to denote colour. ‘It is here,’ according to Mr. Knight, ‘metaphorically put for character.’ The truth is—it is here a transcriber’s or printer’s error.”

1858 col3

col3 = col1; contra dyce1 in magenta on Tmp. without attribution

594 of that die] Collier (ed. 1858): “So every 4to, but that of 1603, which does not contain the passage. The folios, ‘Not of the eye,’ probably a mere misprint, although eye is sometimes used, as in [Tmp. 2.1.56 (741)] to signify a slight shade of colour: the ‘die’ has reference to the ‘investments,’ or vestments.”

1860 stau

stau : col3 without attribution

594 of that die] Staunton (ed. 1860): “Thus the quartos, 1604, &c.; but the folio has,— ‘Not of the eye,’ &c., which, as eye was occasionally employed to denote a shade of colour,— ‘With an eye of green in’t.’—[Tmp. 2.1.56 (741)] —may possibly be right.”

1861 wh1

wh1: stau without attribution + in magenta underlined

594 of that die] White (ed. 1861): “Not of that eye which their investments shew’:— i.e. not of that color. So in the old translations of the Bible, ‘And the eye of manna was as the eye of bdellium,’ Numbers, xi. 7. Later translations for ‘eye’ substitute ‘color”.”

1866 dyce2

dyce2 ≈ dyce1 (minus struck out) with immaterial variants in magenta

594 of that die] Dyce (ed. 1866): “ ‘Not of that dye which their investments show,’ &c. So the quartos, 1604, &c.—The folio has ‘Not of the eye which,’ &c.; and which is retained by Caldecott and Mr. Knight retain it: but, though our early writers talk of ‘an eye of green’ (as in [Tmp. 2.1.56 (741)], ‘an eye of red,’ ‘an eye of blue,’ &c., do they never use ‘eye’ by itself to denote colour? ‘It is here,’ according to Mr. Knight, ‘metaphorically put for character.’ The truth is—it is here a transcriber’s or printer’s error.”

1870 rug1

rug1

594 of that die] Moberly (ed. 1870): “Not of the real stamp which their vesture seems to shew.”

1872 cln1

cln1 ≈ stau without attribution

594 of that die] Clark & Wright (ed. 1872): “The folios read ‘the eye,’ using the word in the same sense in which it occurs in [Tmp. 2.1.56 (741)]: ‘With an eye of green in it’; where it signifies a dash of colour.”

cln1: standard

594 investments] Clark & Wright (ed. 1872): “vesture. See [2H4 4.1.45 (1913)]: ‘Whose white investments figure innocence’.”

1872 hud2

hud2 ≈ cln1 on Tmp., without attribution; dyce without attribution on knt1 and wh1

594 of that die] Hudson (ed. 1872): “Eye was sometimes used in the sense of shade; as, in The Tempest, we have ‘an eye of green,’ but never, I believe, by itself to denote colour. Both Knight and White retain eye here.”

1873 rug2

rug2 = rug1

594 of that die]

1874 Corson

Corson: F1; cam1 +

594 of that die] Corson (1874, p. 13): F1 “‘the eye’ . . . is probably right, ‘eye’ being used, by metonymy, for ‘aspect,’ ‘hue,’ ‘shade of colour.’”

1877 dyce3

dyce3 = dyce2

594 of that die]

1880 Tanger

Tanger

594 of that die] Tanger (1880, p. 124): F1 variant “probably owing to the negligence, inattention, or criticism of the compositor.”

1881 hud3

hud3 endnote = hud2 + in magenta underlined; green, quot. from Dyce without attribution?

594 of that die] Hudson (ed. 1881): “Some editors have insisted upon eye; whereupon Dyce asks, ‘though our early writers talk of Eye was sometimes used in the sense of shade; as, in The Tempest, we have ‘an eye of green,’ ‘an eye of red,’ ‘an eye of blue,’ &c., do they ever eye but never, I believe, by itself to denote colour?’” Both Knight and White retain eye here.”

1885 macd

macd: standard

594 that die] MacDonald (ed. 1885): “I suspect a misprint in the Folio here [the eye]—that an e has got in for a d, and that the change from the Quarto should be Not of the dye. Then the line would mean, using the antecedent word brokers in the bad sense, ‘Not themselves of the same colour as their garments (investments); his vows are clothed in innocence, but are not innocent; they are mere panders.’ The passage is rendered yet more obscure to the modern sense by the accidental propinquity of bonds, brokers, and investments—which have nothing to do with stocks.”

1885 mull

mull: standard

594 inuestments] Mull (ed. 1885): “vestures.”

1899 ard1

ard1 = cald2 without attribution for garb; ≈ cln1 for the rest without attribution

594 die . . . showe] Dowden (ed. 1899): “colour shown by their vesture or garb. F ‘the eye’ may mean tint or hue, as in [Tmp. 2.1.55 (729)].”

1904 ver

ver ≈ cln1 without attribution + in magenta underlined

594 inuestments] Verity (ed. 1904): “robes; referring, I think, to the white vestments of a priest, as in the only other place where Shakespeare uses it—[2H4, 4.1.45 (1913)], ‘Whose white investments figure innocence’ (said to the Archbishop). The word is important here because it affects the metaphor of the whole passage [594-6]. Thus it points to white, ‘figuring innocence,’ as the ‘dye.’ Also, it strongly favours the original reading bonds [596] in the sense marriage-bonds.”

1938 parc

parc

594 inuestments] Parrott & Craig (ed. 1938): “vestments, dress.”

1939 kit2

kit2

594 Kittredge (ed. 1939): "Ophelia has described Hamlet’s vows as ’holy.’ Polonius retorts that their holiness is mere disguise; they wear the garb of innocence, but that, he says, is not their true colour."

kit2: standard gloss + new //

594 inuestments] Kittredge (ed. 1939): "vesture, attire. [1H4 see cln1 1872.] ’In pure white robes, Like very sanctity’ [WT 3.3.22 (1464])."

Ed. note: The WT does not include the word investments.

1947 cln2

cln2 = ver gloss without attribution

594 inuestments] Rylands (ed. 1947): "robes."

1957 pel1

pel1: standard

594 inuestments] Farnham (ed. 1957): “clothes.”

1970 pel2

pel2 = pel1

594 inuestments] Farnham (ed. 1970): “clothes”

1980 pen2

pen2: standard

594 inuestments] Spencer (ed. 1980): “garments (especially of a religious or otherwise imposing kind).”

1982 ard2

ard2: Wilson; OED

594 inuestments]] Jenkins (ed. 1982): “(1) clothes; (2) sieges (OED invest v. 7). The metaphor asserts that the language in which the vows are couched does not indicate their real nature. The only other instance of this word in Shakespeare (2H4 4.1.45) also refers to vestments of a colour which belies the wearer’s inward character. Its conjunction here with brokers suggests to Dover Wilson and others a further pun on monetary investments, but it is not clear that the activities of Elizabethan brokers (in laying out money on goods for resale) were commonly so called.”

1985 cam4

cam4

594 inuestments] Edwards (ed. 1985): "vestments, robes. The brokers wear the garments of dignitaries."

1987 oxf4

oxf4: standard

594 inuestments] Hibbard (ed. 1987): "clothes, vestments. On the only other occasion when Shakespeare employs this word, [2H4 4.1.45 (1913)], it appears in the course of an extended diatribe against the evil of false appearances, especially as they are found in the Archbishop of York, ‘Whose white investments figure innocence’. The brokers Polonius has in mind would be dressed soberly to figure rectitude."

1988 bev2

bev2: standard

594 die] Bevington (ed. 1988): “color or sort.”

bev2: standard

594 inuestments] Bevington (ed. 1988): “clothes. (The vows are not what they seem.)”

2006 ard3q2

ard3q2: standard

594 that die] Thompson & Taylor (ed. 2006): “that colour”

ard3q2: standard; //; xref

594 their inuestments] Thompson & Taylor (ed. 2006): “their garments. The assumption is that the clothes worn by the personified vows are deceptive: perhaps, using traditional terms, we should imagine white garments concealing black intentions? Investments in this sense seems to be a Shakespearean coinage, first occurring in 2H4 4.1.45 : ’Whose white investments figure innocence’ (see also [275 CN])”

2008 Crystal

Crystal: xref

594-5 inuestments . . . imploratotors] Crystal (2008, p. 166): Hamlet is not the only speaker who clusters neologisms [see 632-5]; Polonius uses conventional language “before breaking out into [these] two neologistic images in quick succession.”