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Line 952 - 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.

952 There falling out at Tennis, or perchance	2.1.57

1854 del2

del2

952 falling out at Tennis] Delius (ed. 1854): “ ‘er gerieth beim Ballspiel in Händel,’ und Polonius erläutert damit, was er vorher als quarreling bezeichnet hatte.” [‘he becomes quarrelsome at playing ball.’ And Polonius thus shows what he had meant before by quarreling.]

1929 trav

trav: Minsheu

952 Tennis] Travers (ed. 1929): Minsheu writes of the French as incomparable tennis players.

1939 kit2

kit2 ≈ del2 without attribtution

952 falling out] Kittredge (ed. 1939): "quarreling."

1957 pel1

pel1 = kit2 without attribution

952 falling out] Farnham (ed. 1957): “quarrelling.”

1957 pen1b

pen1: analogue

952 at Tennis] Harrison (ed. 1957): “a natural form of exercise for Laertes in Paris. ’As for the exercise of Tennis play … Methinks it is also strange how apt they be here to play well, that ye would think they were born with rackets in their hands, even the children themselves manage them so well, and some of their women also, as we observed at Blois’ (Robert Dallington, The View of France, 1604). In England tennis was a courtiers’ game.”

1970 pel2

pel2 = pel1

952 falling out] Farnham (ed. 1970): “quarrelling”

1982 ard2

ard2: //s; analogues;

952 Tennis] Jenkins (ed. 1982): “Often referred to in Elizabethan literature, it was a favourite game of the aristocracy (Sh.’s Eng. 2: 459-62), and notoriously popular in France. (Cf. H81.3.30.) France became almost synonymous with tennis - cf. Dekker, Gull’s Hornbook (Dramatic Works, ed. Grosart, 2: 240), ’the sweating together in France (I mean the society of tennis)’—and it was said that there were more tennis-courts in Paris than drunkards in England. That tennis, like fencing, was a typical pastime of youthful roisterers one could infer from the habits of Poins (2H4 2.2.19); the occupations that go with it here are exactly repeated in Tomkis, Lingua, 3.4.10-12, ’I . . . sought you in every ale-house, inn, tavern, dicing-house, tennis-court, stews, and such like places’. See also Nashe, 1: 209.”

1987 oxf4

oxf4: Nashe analogue (= ard2 without attribution + gloss

952 Tennis] Hibbard (ed. 1987): "i.e. royal tennis, court tennis, not lawn tennis. Nashe (1.209.31-3) links tennis with dancing and fencing as recreations of ‘the unthrift.’ "

1988 bev2

bev2: standard

952 falling out] Bevington (ed. 1988): “quarreling.”

2006 ard3q2

ard3q2: standard; //

952 Tennis] Thompson & Taylor (ed. 2006): “like fencing (see [917 and CN]), notorious for attracting the wilder young men; see Prince Hal’s claim that the tennis-court keeper will be familiar with the minimal supply of shirts owned by Poins (2H4 2.2.16-19).”