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Line 1368-9 - Commentary Note (CN) More Information

Notes for lines 1018-2022 ed. Eric Rasmussen
For explanation of sigla, such as jen, see the editions bib.
1368-9 target, the Louer shall | not sigh gratis, the humorus Man shall end 
1872 cln1
cln1
1369 humorus Man] Clark & Wright (ed. 1872): “full of humours or caprices. See King John, iii, 1, 119: ’her humorous ladyship,’ i.e. Fortune."
1872 hud2
hud2
1369 humorus Man] Hudson (ed. 1872): “Humorous man here means a man made unhappy by his own crochets. Humour was used for any wayward, eccentric impulse causing a man to be full of ups and downs, or of flats and sharps. The melancholy Jaques in As You Like It is an instance.”
1881 hud3
hud3 = hud2
1369 humorus Man] Hudson (ed. 1881): “Humorous man here means a man made unhappy by his own crotchets. Humour was used for any wayward, eccentric impulse causing a man to be full of ups and downs, or of flats and sharps. The melanchoy Jaques in As You Like It is an instance.”
1885 macd
macd
1369 humorus Man] MacDonald (ed. 1885): “—the man with a whim.”
1899 ard1
ard1
1369 humorus Man] Dowden (ed. 1899): “‘Not the funny man or jester . . . but the actor who personated the fantastic characters . . . for the most part represented as capricious and quarrelsome’(Staunton). ‘Such characters as Faulconbridge, Jaques, and Mercutio’ (Delius). The characters of the stock company suit the present play -King Cladius, who recieves such tribute as he deserves from Hamlet; Laertes, the fencer; Hamlet, the lover, who sighs grattis; Polonius, who ends his part as ‘most secret and most grave’; the grave-digger; and Ophelia, who speaks her mind in madness somewhat too freely.”
1909 Subbarau
Subbarau: ard1
1366-72 He that playes the King . . . . hault for’t] Subbarau (ed. 1909): “[Dowden’s] identification is not correct, and it is altogether a mistaken appreciation of the text. It is not that ‘the characters of the stock company suit the present play,’ but Hamlet imports into and imagines in the company, characters which represent himself and the persons by whom he is surrounded; and he speaks, as usual, with a double meaning: (i.) outwardly, extending a free and hearty welcome to the several characters of the company, whom he expects to hear; (ii.) inwardly, referring to and reflecting upon his own life and surroundings. Thus:— ‘I promise the best hearing and most liberal appreciation to all the characters of the company. To begin with, I promise my hearty applause to him that plays the king’s part; (my uncle Claudius who is now King of Denmark shall receive his due from me — I will soon discharge my duty to him): the knight-errant who goes in quest of adventures shall have full opportunity of using his sword and shield and displaying his valour; (the courtier-suitor who, at the King’s instigation, has ventured to present addresses to my fiancée shall soon answer for his conduct): there shall not be wanting a due appreciation of the lover for playing his pathetic part; (the anguish I am now silently enduring on account of my love for Ophelia, which has been rudely interrupted, shall not go in vain): the capricious and quarrelsome character shall not, as usual in the plays, be interrupted and brow-beaten, but allowed his full opportunity of venting his spleen; (Laertes, my whimsical and fretful friend shall soon be reconciled to me and my love): the clown, too, shall be greeted with the heartiest laughter for his jokes; (Polonius shall be greeted with ridicule for his foolish interference with youthful love): and last, not least, we shall be most indulgent in our appreciation of the lady’s performance; she shall speak out her mind without stop and restraint, and if she halt in her speech, it shall be attributed to her bashfulness; (Ophelia shall speak out her mind openly against the new suitor, and if she does not, her breaks and pauses shall reveal her love to me).”
1926 TLS
Lawrence
1368-70 the . . .peace] Lawrence (1926, p. 264) places the 1st Globe performance of Q2 Hamlet in 1600, as early as Easter but probably in late summer. A topical ref. in 1368-9, very poorly understood till now, gives it away. A Ben Jonson play, Every Man Out of His Humour, caused a scene when a character broke the frame and prayed for the queen, brought in effigy on stage. The humourous man was not allowed to end his part in peace. “The principle of a [play’s] run had not then been established” but the play was no doubt performed a few times during the season, during which time, Hamlet’s line would work.
1934a cam3
cam3
1368-70 humorus Man] Wilson (ed. 1934): “i.e. I will applaud the sighs of the Lover and not interrupt the sallies of the ‘Humerous Man.’ The latter = the fantastic, like Jaques, whose supposed topical or personal references were often in danger of interruption by victims of their partisans. The F1 list of players at the end of 2 Hen. IV describes Falstaff and his companions as ‘irregular humorists.’ W.J. Lawrence (Sh.’s Workshop, p.101) suggests a reference to trouble caused by the ending of Jonson’s E.M.O. in 1599 (v. Chambers, Will. Shak. I. 423, Eliz, Stage, iii. 361).”
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