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Line 1203 - Commentary Note (CN) More Information

Notes for lines 1018-2022 ed. Eric Rasmussen
For explanation of sigla, such as jen, see the editions bib.
1203 Enter Hamlet <reading on a Booke>...
1773 gent1
gent1
1203 Gentleman (ed. 1773): “The idea of an assumed madness in Hamlet, is vastly well conceived, as it occasions a fine variation of character and action: this is a scene of an embassy previous to this, in the original, which we think properly omitted.”
1858 col3
col3
1203 Collier (ed. 1858): “This stage-direction comes too early in the old copies: Hamlet is seen approaching before he enters.”
1934a cam3
cam3 ≈ gent
1203 Wilson (ed. 1934): “S.D. Hamlet...reading a book, etc.Q2, F1 and Q1 all give Ham.’s entry on to the outer-stage . That Sh. himself intended Ham. here to enter on the inner-stage is I think shown by Ham.’s first words to Pol., which gain point only if we suppose [(1190-1)]to have been overheard by him. If Sh.’s manuscript contained a double-entry, it is easy to see how the earlier one came to be omitted.”
1203 Wilson (ed. 1934): “disorderly attired Cf. Oph’s description at [(974-7)], obviously designed to prepare us for this entry, and Anthony Scoloker, Daiphanus (1604), cited by J.Q. Adams (Life of Shkespeare, p. 310): ‘Puts of his clothes, his shirt he only wears, | Much like mad Hamlet---’which gives us the contemporary stage effect.”
1982 ard2
ard2 : wilson
1203 Enter Hamlet] Jenkins (ed. 1982): "Dover Wilson’s transfer of the entry to l. 159 [1190] has no authority beyond his assumption that Hamlet must overhear Polonius’s plot in order to provide an explanation for his subsequent behaviour to Ophelia (see esp. WHH, 101-14). But the belief that Hamlet’s attitude to Ophelia is due to his knowledge of her role as decoy has itself no warrant in the text and in my view rests on a misconception (HO, pp. 145 ff. See also Sh.Jahr. (West), 1975, pp. 114-15). Whatever his attitude to her is, it has had its first appearance since his ’transformation’ (l. 5), and ’the madness wherein now he raves’ has now to be exhibited. The effect of this would be dissipated if, instead of watching Hamlet himself, we had to watch him watching others. One manifestation of the ’exterior’ change has already been described not witnessed and could only have been a distraction from the display of Hamlet’s mind through dialogue. That they were, nevertheless, represented in contemporary performance is suggested by Anthony Scoloker’s Daiphantus (1604, E4V), ’Puts off his clothes ; his shirt he only wears, Much like mad Hamlet’. "
1203 reading Dessen & Thomson (1999): a “widely used” SD. One of the few entrances in Ham. (F1 only) that specifies an action. See n. 3.
1203