Line 648 - 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
| 648 It {waues} <wafts> you to a more remooued ground, | 1.4.61 |
|---|
1793 v1793
v1793
648 remooued] Steevens (ed. 1793): “So in [MND 1.1.59 (169)] ‘From Athens is her house remov’d seven leagues.’
1801 Todd/Milton
Newton
648 waues] Newton (apud Todd, ed. Milton, 1801, 2:227), explaining Wafted by Angels (P.L. 3.521), notes “As Lazarus was carried by Angels, Luke xvi.22 Newton.”
1803 v1803
v1803 = v1793
648 remooued]
1813 v1813
v1813 = v1803
648 remooued]
1821 v1821
v1821 = v1813 +
648 remooued] Boswell (ed. 1821): “It is removed in Mr. Malone’s copy of the first folio.”
1839 knt1
knt1
648 waues] Knight (ed. 1839): Here and in a subsequent line [664], waft appears in the folio instead of waves in the quarto. To waft, is to make a waving motion, to sign, to beckon,—as well as to impel over a wave. In [JC 2.1.245 (886)]. we have:—‘Yet I insisted, yet you answr’d not. But with an angry wafter of your hand Gave sign for me to leave you.’ ”
1843 col1
col1
648 waues] Collier (ed. 1843): “So every quarto: the folio, wafts. But Hamlet, just below [657] according to the same edition, says, ‘It waves me forth again.’ ”
1854 del2
del2 ≈ col1 + in magenta underlined
648 waues] Delius (ed. 1854): “So [wafts] die Fol. hier und nachher: it wafts me still. Die Qs. haben an beiden Stellen, wie sämmtlicher alte Ausgaben an einer dritten: it waves me forth again. To waft ist ‘fortbringen, fortwinken,’ to wave bloss ‘winken.’” [So the folio and later [664]: it wafts me still. The 4tos have in both places, what all old editions have in a third place [657]: it waves me forth again. To waft is to ‘take away,’ to ‘beckon forth,’ to wave merely ‘to signal.’]
By ‘away’ I guess he means ‘away with it,’ not ‘away from it.’
del2 standard + //
648 remooued] Delius (ed. 1854): “= remote. So steht [AYL 3.2.342 (1530)] so removed a dwelling.”
“removed means remote. Thus it is in [AYL 3.2.342 (1530)] so removed a dwelling.”
1857 dyce1
dyce1: cald & knt = F1
648 waues] Dyce (ed. 1857): “Here the folio has ‘It wafts you,’ &c., a little after, ‘It waues me,’ &c., presently again, ‘It wafts me,’ &c.; and so Caldecott and Mr. Knight. But there can be no doubt that Shakespeare in these three places used the same form of the word; and as the quartos in all three have ‘waues,’ they surely are to be followed.”
1858 col3
col3 = col1
648 waues]
1861 wh1
wh1 ≈ dyce1 without attribution + in magenta underlined
648 waues] White (ed. 1861): In 664 “and in the speech of Marcellus above [quotes 648], the folio has ‘wafts’ for ‘waves,’ but in Hamlet’s previous speech [657], the latter word. Plainly the same word is to be used in each instance; and the 4tos. are uniform in giving that one which is most euphonious and descriptive.”
1862 cham
cham ≈ col3 without attribution
648 waues] Carruthers & Chambers (ed. 1862): “So all the quartos: the folio has ‘wafts you,’ but a few lines lower has ‘waves you.’”
1866 dyce2
dyce2 = dyce1 + “1604, &c.” after “quartos”
648 waues]
1866 cam1
cam1: ≈ Boswell on Steevens’ error without attribution
647 more remooued] Clark & Wright (ed. 1866): “Steevens says ‘The first Folio reads —remote,’ We have not been able to find this reading in any copy of that edition which we have consulted. Sir Frederic Madden has kindly collated for us the four copies in the British Museum, all of which have ‘remooued.’ This is also the reading of Capell’s copy, of Malone’s, and of two others to which we have had access, and it is the reading in Mr. Booth’s reprint.”
Ed. note: cln1 should know that Boswell corrected Steevens’s error in v1821.
1872 cln1
cln1: standard + in magenta underlined
648 waues] Clark & Wright (ed. 1872): “So the quarto, as in [664]. The folios have ‘wafts’ in both. Either word means ‘beckon,’ and both are used by Shakespeare. So we have a double form of the verb ‘graff’ and ‘graft.’ In [657] all the copies read ‘waves.’”
cln1: standard gloss; // AYL = del2 without attribution
648 remooued]
1874 Corson
Corson: F1, cam1; ≈ mtby3
648 waues] Corson (1874, p. 14): “‘Whom Fortune with her iuory hand wafts to her.’ [Tim. 1.1.70 (89)].”
Corson has his note at 664 but he might have had it here.
1877 v1877
v1877 ≈ dyce, cln1
648 waues]
Furness (ed. 1877): “
Dyce: Although the Ff here and in [664], but ‘
waves’ in [657], yet undoubtedly Sh. in these three places used
the same form of the word; and as the Qq in all three places have ‘waues,’
the same for have ‘waues,’ they surely are to be followed.
Clarendon: Either word means ‘beckon,’ and both are used by Sh. So we have a double form of ‘graff’ and ‘graft.’”
v1877 = cam1 VN (Steevens, Sir Frederic Madden: Ff mal’s cap, Booth rpt, and +
648 remooued]
Furness (ed. 1877): remooued “is also the reading in my copy of F1.
Ed.”
1877 dyce3
dyce3 = dyce2
648 waues]
1880 Tanger
Tanger
648 waues] Tanger (1880, p. 125) ascribes the variant in F1 as “probably due to the critical revision which the text received at the hands of H.C. [Heminge & Condell], when it was being woven together from the parts of the actors.” He also notes that the Q1 reading, which apparently “confirms, or at least countenances, [the Q2] reading.”
1885 mull
mull : standard
648 remooued]
1939 kit2
kit2: VN
648 waues] Kittredge (ed. 1939): Uses Q2 waves.
kit2: standard
648 remooued] Kittredge (ed. 1939): "remote, distant."
1985 cam4
cam4
648 waues] wafts Edwards (ed. 1985): "F’s reading; it means the same as Q2’s ’waves’, which is probably derived from Q1. Compare [Tim. (F) 1.1.70 (0000)], ’Whom Fortune with her ivory hand wafts to her’. ’wafts’ for Q2’s ’waves’ occurs again at [648], but both texts agree on ’waves’ at [657]."
1987 oxf4
oxf4
648 waues] Hibbard (ed. 1987): "beckons."
oxf4: standard; OED
648 remooued ground] Hibbard (ed. 1987): "secluded place. Compare [AYL 3.2.342 (1530)}, ‘so removed a dwelling’, the first instance cited by OED (removed ppl. a. 2a) of removed in this sense."
2006 ard3q2
ard3q2: cam3
648, 664 waues] Thompson & Taylor (ed. 2006): “gestures by waving its hand or arm. ’Shakespeare is thinking in terms of the theatre. The platform is out of doors in Elsinore, but at the Globe the Ghost stands by one of the stage exits and waves forth [657]’ (Dover Wilson).”
ard3q2: standard
648 remooued] Thompson & Taylor (ed. 2006): “removèd; secluded”
648