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.

-1845 mhun1

mhun1

1206 Exit King & Queene.] Hunter (-1845, f. 241v): “Hitherto the newly discovered Hamlet has kept pace with the play as before known in the ordering its scenes & the business of them. But then is a remarkable variation. Where Hamlet comes in it is to make his famous soliloquy— in which he debates with himself on suicide. This a suitable & solemn reintroduction of him in his new character. He has received the frisit of Revenge but such was the way to excarto it, & his mind becomes moody and preys upon itself.”

1845 hunter

hunter

1206 Exit King & Queene.] Hunter (1845, p. 229): <p. 229>“To this point the newly discovered Hamlet keeps pace with the copies previously known, both in the order of its scenes, and the business of them. But at this point they separate, and the two courses are remarkable. Here Hamlet enters solus, and gives expression to the thoughts of his mind, then brooding on the calamities of life, in the well-known soliloquy. This is a suitable re-introduction of him, in his new character, under a solemn engagement to execute judgment for a dead father murdered; but, seeing the difficulties which attend it, feeling something of doubt whether his uncle were so guilty as the ghost declared him to be, and perhaps feeling something of that natural repugnance to the deed which all kindly natures must feel, his mind is become moody and preys upon itself. Such reflections as are embodied in that speech are suitable here, and, what is remarkable, they are not suitable to the situation of the speaker at the time to which it is now assigned, as will be shewn hereafter. The first thought was here the best. When Polonius enters, he assumes the madman, and talks exceeding wildly.”</p. 229>