HW Home	Previous CN	View CN	View TNM	View TNI	Next CN

Line 992 - 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

For explanation of sigla, such as jen, see the editions bib.

992 {As} <That> it did seeme to shatter all his bulke,	2.1.92

1780 mals1

mals1: on Luc. [467] “Beating her bulk”

992 bulk] Malone (1780, 1:501 n. 9) says, “Bulk is frequently used by our author and other ancient writers for body.”

1790 mal

mal = mals1

992 bulk] Malone (ed. 1790): “i.e. all his body. So in [Luc. 467]: ‘—her heart Beating her bulk, that his hand shakes withal.’ See Vol. VI. ,p. 488, n. 3. [R3 1.4.40 (876), where mal has the same def. and a xref to Ham. 992]”

1791- rann

rann

992 bulk] Rann (ed. 1791-): “frame”

1793 v1793

v1793 = mal

992 bulk]

v1793 R3 = mal

992 bulk] Clarence says about his dream of drowning that he could not give up the ghost but “smother’d it within my panting bulk.” [R3 1.4 37 (873)]: Malone (apud ed. 1793, 10: 510 n. 4): “Bulk is often used by Shakspeare and his contemporaries for body. So again, in Hamlet [and quotes 992].”

1803 v1803

v1803 = v1793 with // in 10:324 n. 8

992 bulk]

1805 Seymour

Seymour

992 As] Seymour (1805, 2:167): “‘As’ for ‘as that.’”

1807 Pye

Pye contra mal

992 bulk] Pye (1807, p. 314): “ ‘All his body.’—Malone !!!”

Ed note: One of Pye’s unhelpful notes, a comment on Malone through punctuation, perhaps denoting horror.

1813 v1813

v1813 = v1803

992 bulk]

1819 cald1

cald1: rann without attribution; mal without attribution

992 bulk] Caldecott (ed. 1819): “Frame. See Clar. [R3 1.4.37-40 (873-6]). ”

1821 v1821

v1821 = v1813 + includes note to R3 and an additional note of his own:

992 bulk] Malone (apud Boswell ed. 1821): “So, in [R3 1.4.37 (873)]: ‘—But still the envious flood Kept in my soul, and would not let it forth But smother’d it within my panting bulk.’ Malone.” Boswell (ed. 1821) adds, “Bulk, is not, I think, all his body, but his breast. Johnson [Dictionary, 1755] derives it from bulke, Dutch, which has that meaning. Pettorata, in Florio, is explained, ‘a shock against the breast or bulk.’ Boswell.”

1826 sing1

sing1: mal, Boswell without attribution

992 bulk] Singer (ed. 1826): “i.e. his breast. ‘The bulke or breast of a man, Thorax, la poitrine.’ —Baret. Thus in [R3 1.4.37 (873)] Clarence says: — ‘—but still the envious flood Kept in my soul, and would not let it forth,— But smothered it within my panting bulk.’ Malone cites this and the following passage, and yet explains it all his body!—‘—her heart Beating her bulk, that his hand shakes withal.’ [Luc. 467].”

1832 cald2

cald2 = cald1

992 bulk]

1856 hud1

hud1 = sing1 through “Baret” (minus all but Boswell part) without attribution

992 bulk]

1856 sing2

sing2 = sing1

992 bulk]

-1857 mstau

mstau ≈ stau; ≈ Boswell, sing without attribution

992 bulke] Staunton (ms. notes in Knight, ed. 1857): “Bulk = breast, not body as the commentators have it. See Baret’s Alvearie — in a. Bulke.”

1857 dyce1

dyce1: Cotgrave

992 bulke] Dyce (ed. 1857, Glossary, apud Furness, ed. 1877): ““The Bulke of the bodie. Tronc, buste.’—Cotgrave.”

1860 stau

stau : sing2

992 bulk] Staunton (ed. 1860): “Mr. Singer rightly explains ‘bulk’ here to mean, not all his body, as some commentators have interpreted it, but his breast. So, in Shakespeare’s ‘Lucrece,’—[and quotes].”

stau attributes this note to Singer but should have attributed to Boswell, especially since he shows some signs of looking into v1821. This note should be in 474 anyway.

1861 wh1

wh1 ≈ sing

992 bulk] White (ed. 1861): “Here ‘bulk’ is not a general, but a specific term, and means the chest. ‘The bulke or breast of a man, Thorax, la poitrine.’ Baret’s Alveare. Apud Singer.”

1868 c&mc

c&mc: standard

992 bulk]

1872 cln1

cln1

992 As] Clark & Wright (ed. 1872): “For ‘as’ thus used compare [LLL 2,1,172 (670)]: ‘You shall be so received As you shall deem yourself lodged in my heart.”

cln1 : Cotgrave; mal Luc. // without attribution

992 bulke] Clark & Wright (ed. 1872): “Cotgrave has ‘Buste: the whole bulke or body of a man, from his face to his middle.’ Compare Lucrece, 467: ‘Her heart Beating her bulk.’”

1872 hud2

hud2 = hud1

992 bulk]

1877 v1877

v1877 = Boswell minus Johnson; mal on //s, sing, dyceG +, cln1 (Cotgrave), +

992 bulke] Furness (ed. 1877): “Boswell: This is not, I think, all his body, but his breast. Pettorata, in Florio, is explained, ‘a shock against the breast or bulk.’ [[Dyce (Gloss.) also cites this definition of Pettorata from Florio, but neither the word nor definition is in my copy of Florio, 1598. Malone cites [Luc. 467] ‘her heart Beating her bulk, and [R3 1.4.40 (000)], ‘my panting bulk,’ but defines ‘bulk’ by ‘all the body.’ Ed.]] Singer: ‘The Bulke or breast of a man.’—Baret’s Alvearie. Dyce (Gloss.): ‘The Bulke of the bodie. Tronc, buste’—Cotgrave. Clarendon also cites Cotgrave: ‘Buste, the whole bulke or bodie of a man, from his face to his middle.’ [[Minshieu gives: ‘Pechuguéra, the whole bulke of the breast.’ Ed.]]”

1880 Tanger

Tanger

992 As] Tanger (1880, p. 126) 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.”

1881 hud3

hud3 = hud2 minus (Baret) +

992 bulke] Hudson (ed. 1881): “The usage was common.”

1883 wh2

wh2

992 As it did seem] White (ed. 1883): “the folio, ‘That is,’ etc., a modernization.”

wh2

992 bulke] White (ed. 1883): “body, exclusive of head and limbs, trunk.”

1939 kit2

kit2: standard

TLN As] Kittredge (ed. 1939): "that."

kit2: standard

992 his bulk] Kittredge (ed. 1939): "his whole body,—litersally, the trunk. Cf. I Ieronimo,i, 3, 6, 7 (in Kyd, ed. Boas, p. 304): ’I haue mischiefe Within my breast, more then my bulke can hold.’ "

1980 pen2

pen2: standard

992 bulke] Spencer (ed. 1980): “body from neck to waist.”

1982 ard2

ard2: standard; analogue; xrefs

992 bulke] Jenkins (ed. 1982): “Often equated with ’breast’, as in Baret, Alveary, ’the bulk or breast of a man’. But more properly the whole trunk. See Elyot, Castle of Health, IV, ’The boulke, called in latyn thorax, whiche conteyneth the brest, the sides, the somake, and entrayles’ (1541 edn, fol. 89v). In R3 1.4.40, Clarence describes how his soul could not escape from his ’panting bulk’. Cf. Lucrece, 467, ’her heart . . . Beating her bulk.’ ”

1985 cam4

cam4

992-3 shatter . . . beeing] Edwards (ed. 1985): "Ophelia discerns rightly. This sigh is Hamlet’s expulsion of his past life."

1987 oxf4

oxf4: standard

992 bulke] Hibbard (ed. 1987): "bodily frame, trunk. Clarence speaks of the sea smothering his soul ‘within my panting bulk’ [R3 1.4.37-40 (873-6)]."

1988 bev2

bev2: standard

992 bulke] Bevington (ed. 1988): “body.”

1996 Kliman

Kliman

992 As] Kliman (1996): note that 988 begins with As, and perhaps the eye of the compositor caught that.

2006 ard3q2

ard3q2: standard gloss; xref; //

992 bulke] Thompson & Taylor (ed. 2006): “frame, body; see [475] and R3 1.4.40, where Clarence imagines the sea smothering his soul ’within my panting bulk’.”