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Line 1144-45 - 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 1018-2022 ed. Eric Rasmussen

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

1144 Doubt thou the starres are fire, {Letter.}	2.2.116

1145 Doubt that the Sunne doth moue,	2.2.117

1725-? mtby2

mtby2

1144-5 Doubt...moue] Thirlby (ms notes in ed 1725, 5:207): “As cerain as I know the sun is fire. Also, V.257.30. They (the stars) are all fire, & every one doth shine.”

1805 seymour

seymour

1144-5 Doubt...moue] Seymour(1805, p. 168-9): “Here is a bare-faced instance of common abuse of the verb ‘todoubt,’ which commonly and properly signifies, to be unsettled in opinion:--doubting is a modest and retiring action of the mind; but sometimes it is made, as here, impertinently officious as the third line of these rhymes: ‘Doubt truth to be a liar.’ i. e. Suspect or believe this. ‘But never doubt I love.’ i. e. Never suppose or believe that I do not love. ’—Most best.’

“I know not whether the degrees of comparison formerly exceeded three, or that the forms of the <page 169> second and third degrees have been altered. We commonly find, in the writings of Shakespeare’s time, ‘more richer,’ ‘more worthier,’ ‘most worthiest,’ ‘most unkindest,’ &c. Are these an augmentation of the comparative and the superlative—richer—more richer—richest—most richest, &c. (which extends the degrees to five) or was the order of the three degrees anciently this: rich—more richer—most richest?”

1872 cln1

cln1

1144 Doubt] Clark & Wright (ed. 1872): suspect, as in i. 2. 256."

1882 elze

elze : halliwell

1144-47 Doubt...loue] Elze (ed. 1882): “Compare Marston, The Insatiate Countesse, 74 A. II (Works, ed. Halliwell, III, 125): —‘Thou shalt as soone finde truth telling a lye,Vertue a bawd, Honesty a courtier,As me turn’d recreant to thy least designe.’

This passage which at the same time seems to allude to § 110 (the power of beautie will sooner transforme honestie from what it is to a bawd &c.) is not contained in Dr Ingleby’s Centurie of Prayse.”

1899 ard1

ard1

1144-6 Doubt...moue] Dowden (ed. 1899): “In the first two lines and the fouth ‘doubt’ means be doubtful that; in the third it means suspect. Hamlet’s letter begins in the conventional lover’s style, which perhaps was what Ophelia would expect from a courtly admirer; then there is a real outbreak of passion and self pity; finally, in the word ‘machine,’ Hamlet indulges, after his manner, his own intellectuality, though it may baffle the reader; the letter is no more simple or Homogeneous then the writer. T. Bright, in A Treatise of Melancholy (1586), explains the nature of the body as that of a machine, connected with the ‘soul’ by the intermediate ‘spirit.’ He compares (p. 66) its action to that of a clock.”

1934a cam3

1145 Doubt...moue] Wilson (ed. 1934): “According to the accepted astronomy, fixed in its sphere, moved round the ‘centre,’ which was the earth.”