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Line 847 - 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.
847 Come {on,} <one> you heare this fellowe in the Sellerige,1.5.151
1773- mstv1
mstv1
847 Sellerige] Steevens (1773-): “cellaridge, that part of ye building where ye cellars are.
Ed. note: This note does not get in Steevens’ later editions.
1885 macd
macd
847 MacDonald (ed. 1885): “While Hamlet seems to take it so coolly, the others have fled in terror from the spot. He goes to them. Their fear must be what, on the two occasions after, makes him shift to another place when the Ghost speaks.”
1904 ver
ver
847 you heare] Verity (ed. 1904): “But do they? The Queen does not in [3.4], though the audience must. The introduction of the supernatural cannot but involve these superficial inconsistencies.”
1929 trav
trav
847 Come on] Travers (ed. 1929): equivalent to “Come! now then!”
trav: Brander Matthews
847 in the Sellerige] Travers (ed. 1929): “under the stage, as the original edityions direct. ‘Shakespeare might call the place where he laid the story, Ephesus or Athens, Bohemia or Illyria; none the less did he lay it not in any of these fabled places but, frankly, on the stage of his theatre.’ (Brander Matthews, Shakspere as Playwright, 1913).—lines start here
1936 cam3b
cam3b: Travers; Chambers
847 Sellerige] Wilson (ed. 1936, rpt. 1954, add. notes): “This reference to the space under the stage is at once topical and metaphorical, since the cellarage was commonly called ‘hell,’ a name derived from the miracle plays. Cf. Travers, note 1.5.6 and Chambers, Eliz. Stage. ii. 528, n. 3, quoting Dekker, News from Hell (1606, Works, ii. 92, 139): ‘Marry the question is, in which of the Play-houses he [[the Devil]] would have performed his prize . . . Hell being vnder euerie one of their Stages, the Players (if they had owed him a spight) might with a false Trappe doore haue slipt him downe, and there kept him, as a laughing stocke to al their yawning spectators.”
1980 pen2
pen2: xref
847 you . . . fellowe] Spencer (ed. 1980): “It is not certain that they do hear the Ghost any more than the Queen does in 3.4.103-40.”

pen2
847 Sellerige] Spencer (ed. 1980): “(not a particularly appropriate word for a platform (1.2.252). But the space under the stage in the Elizabethan theatre was known as the cellarage).”
1982 ard2
ard2 contra ver; Kitto
847 you heare] Jenkins (ed. 1982): “There is no ground for the suggestion of Verity and Kitto (i Form and Meaning in Drama, p. 263) that they do not hear. Lines 856, 861 point to the contrary.”
1985 cam4
cam4
847 in the Sellerige] Edwards (ed. 1985): "down below, in the cellars."
1987 oxf4
oxf4: OED + in magenta underlined
847 Sellerige] Hibbard (ed. 1987): "cellars (collectively) – earliest instance of this sense in OED; not elsewhere in Shakespeare. Could it have been a theatrical name for the space under the stage?"
1990 NVAnt.
spevack: NV Ant.
847 on] Barroll (1969, ShakS, p. 224 n. 17; apud Spevack, Ant, ed. 1990): “F2 emends One to On [in “I binde | One paine of punishment . . . (1.1.39 (50)] and we might concur as we recall [[Compositor]] B’s tendency to carry in his mind more than he can remember.”
spevack: NV Ant.
847 on] Spevack, Ant, ed. 1990): “For one as a possible spelling and homophone of on, see franz §270. See also p. 374.” At p. 374, Spevack refers to Wilson (ed, Ant. 1950) who consider one a Shn spelling for on.
2006 ard3q2
ard3q2
847 Come on] Thompson & Taylor (ed. 2006): “Hamlet presumably gestures the others to move away from the sound of the Ghost’s voice.” Ed. note: Or towards it.

ard3q2; xref; Q1; performance choice
847 you . . . fellowe] Thompson & Taylor (ed. 2006): “It is not clear from the dialogue whether anyone other than Hamlet does hear the Ghost, though it might be argued that if his companions can see the Ghost they can also hear him, unlike the Queen in 3.4. Q1’s version of this line, ’come you here, this fellow in the selleridge’, could be interpreted as an aural error (’here’ for ’hear’), or it could be taken to imply that Horatio and Marcellus do not in fact hear anything.”

ard3q2: oxf4; OED; D&T
847 Sellerige] Thompson & Taylor (ed. 2006): “cellars (plural), a term more appropriate to the stage than to the platform setting of the fiction. Hibbard suggests cellarage might have been a technical term for the space under the stage, though OED does not have any examples of such a usage; nor does it occur in Dessen and Thomson.”
847