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Line 703 - 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.
703 Thy {knotted} <knotty> and combined locks to part,1.5.18
1733 theo1
theo1
703 knotted] Theobald (ed. 1733, 5:143n) on Lr., 2.3. 10 (1261), “I elfe all my hair in knots”: i.e., “. . . . twisted . . . . Hairs so intricately interwove, as not to be disengage’d; and by Superstition suppos’d to have been twisted by Elves, or Fairies.” He then refers to Rom., 1.4.53 (510), the Queen Mab speech, and to Ben Jonson’s Magnetick Lady, a.s.l. “Elf-Lock.”
1747 warb
warb
703 knotted] Warburton (ed. 1747): “Thy knotty—]] Or as the old quarto read knotted, for curled.”
Ed. note: warb thus ignores theon (with its note on the next line) but since theo1 and of course theo2 do not have a note, he may not have recalled this. He did not own theon but borrowed it from Theobald before 1733.
1773- mstv1
mstv1 = warb
703 knotted] Steevens (1773-): “i.e. curled. Warb.”
1854 del2
del2
703 Delius (ed. 1854): “Der Satz hängt, wie der vorige und der folgende, von make ab, nur dass hier to part und to stand steht, während start, dem make näher stehend, auch ohne to hinlänglich als Infinitiv bezeichnet ist.” [The clause depends, as in the preceding and following ones, on make, only that to part and to stand while start, which is closer to make is, though without a to, is sufficiently shown to be an infinitive.]
1880 Tanger
Tanger
703 knotted] 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 points out also that F1 has a similar variant, with the -ly ending in 248 and 439.
See Tanger n. 248
1917 yal1
yal1
703 knotted and combined] Crawford (ed. 1917): “neatly arranged” and “smoothly combed.
1929 trav
trav
703 to part] Travers (ed. 1929): the infinitive emphasizes the construction, of multiple subordinate clauses.
1934 Wilson
Wilson MSH
703 knotted] Wilson (1934, 1, 49-50) <p.49> claims that F1 “has a preference for adverbial and other forms in -y or -ly in place of the more Shakespearian usages, citing as examples knotty, nightly (248), </p.49> <p. 50> grisly (439), conueniently (174), parley (589), inquiry (893). </p.50>
1939 kit2
kit2
703 knotted . . . locks] Kittredge (ed. 1939): "Another suggestion of a detail of Hamlet’s personal appearance. Cf. [2502]: "your bedded hairs."
1981 Wright
Wright
703 knotted . . . locks] Wright (1981, p. 182) are “ . . . not two different kinds of locks but locks that are combined by being knotted, by growing together.”
1982 ard2
ard2:
703 combined] Jenkins (ed. 1982): “wound together—as opposed to the separation into single (particular) hairs.”
1987 oxf4
oxf4
703 knotted . . . locks] Hibbard (ed. 1987): "hair carefully and intricately arranged, possibly in curls. During the first act Hamlet should be ‘The glass of fashion’ [3.1.15, (1809)]."
1988 bev2
bev2: standard
703 knotted . . . locks] Bevington (ed. 1988): “i.e., hair neatly arranged and confined.”
2006 ard3q2
ard3q2 = oxf4: standard gloss; xref
703 knotted and combined] Thompson & Taylor (ed. 2006): “combinèd, i.e. combed and wound together. Hibbard argues that this means elaborately coiffed —’During the first act Hamlet should be the glass of fashion [[see [1809]]]’— but this may not be compatible with his mourning garb.”
703