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Line 569 - 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.

569 Doe you belieue his tenders as you call them?	1.3.103

1604 Marston

Marston

569-73; 581; 593 Marston (The Malcontent [Webster] Augmented by Marston, 1604, apud Ingleby et al. 1932, 1: 131): “Of his troth la beleeue him not . . . promise of matrimony by a yong gallant, to bring a virgin Lady into a fooles paradise . . . of his troth la, beleeue him not, traps to catch polecats [5.4 sig. H4v].”

1832- mLewes

mLewes: sing1 glosses without attribution +

569 tenders] Lewes (1832 -): “Pol. plays upon the double meaning of the word—tender, to offer, & to respect. On p. 52 are instances of the two meanings. The latter meaning is exemplified in a passage in the King’s Warrant of 17 May 1603 for the issue of a patent authorizing the company of actors of whom Sh. was one. ‘commanding you, as you tender our pleasure, not only to permit and suffer them herein’ &c.”

Ed. note: Lewes’s ref. is to TN “your minion, whom, I know, you love, And whom, by heaven, I swear, I tender dearly, &c. Next to this, in pencil there are these page references: 910 (Ham.), 62 (Tmp), 367 (R2), 456 (H5), 564 (R3), 651 (Tro.), 610 (H8)"

1873 rug2

rug2

569 tenders] Moberly (ed. 1873): “In the Dutch war of 1674, Pepys tells us that many English seamen fought on the enemy’s side, and were heard during an action to cry, ‘Dollars now; no tickets,’ the latter being the only pay they had received in their own service. This seems to explain the opposition intended [ in 572] between ‘tenders’ and ‘true pay.’”

1881 hud3

hud3 :

569-73 tenders . . . tender] Hudson (ed. 1881): “Polonius is using tender in different senses; first in a business or financial sense, as in the phrase ‘legal tender’; then in the sense of being careful of a thing, or of holding it precious or dear.”

1887 v1887

v1887: rug2

569 tenders]

1899 ard1

ard1

569 tenders] “Compare Middleton, Women Beware Women, I. ii: “If now this dughter so tender’d—let me come to your own phrase, sir.”

1939 kit2

kit2: standard

569, 572, 573, 575 tender(s)] Kittredge (ed. 1939): "Polonius puns on tender in the sense of ’an offer’ [569, 572], of ’hold’ or ’regard’ [573], and finally of ’furnish’ or ’afford’ [575]: ’Hold youself at a higher rate,—don’t make yourself so cheap,—or you’ll furnish me with a fool for a daughter (by making a fool of youself).’ "

1987 oxf4

oxf4

569 Hibbard (ed. 1987): "Polonius’s disapproval of and scepticism about Ophelia’s use of tender is of some linguistic and social interest. The earliest example of tender, in the sense of ‘an offer of anything for acceptance’, dates only from 1577, according to OED, whereas the legal use of the word goes back to 1542-3. Shakespeare has Old Capulet say ‘I will make a desperate tender Of my child’s love’ [Rom. 3.4.12-13 (2006-7)] as early as Romeo (c. 1595). For Polonius, as for all men of position in Shakespeare’s day, the only reliable ‘tender of marriage’ is a legal document, concerning dowries and the like. To him Hamlet’s tender of affection is highly suspect. As it says nothing about money, it is not true pay [572] and not sterling [573]."

1995 Kliman

Kliman

569 tenders] Kliman (1995): Polonius’s question to Ophelia suggests that she, too, is given to image-making and that he, the image-maker, comically questions her image.