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Line 1724 - 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.

1724 For who would beare the whips and scornes of time,	3.1.69

1747 warb

warb

1724 For . . . time] Warburton (ed. 1747): “The evils here complained of are not the product of time or duration simply, but of a corrupted age or manners. We may be sure, then, that Shakespear wrote, ‘— the whips and scorns OF TH’TIME.’ And the description of the evils of a corrupt age, which follows, confirms this emendation.”

1752 Dodd

Dodd

1724-8 For . . . takes] Dodd (1752, pp. 239-240): “The ills of human life are very finely and concisely enumerated in the 4th Scene of the 1st Act of The Two Noble Kinsmen: and probably the lines are Shakespear’s, which may render them the more agreeable to the reader:”

1754 grey

grey

1724 whips] Grey (p. 295): “Qu. Quips? which signifies gybes, jeers. shouts, or taunts, See Minshieu’s Guide into the Tongues, col. 597. So used by Ben Johnson, Cynthia’s Revels, act. ii. sc. iv. ‘Phil. Faith, how liked you my quippe toHedon, about the garter; was’t not wittie?’”

1765 john1

john1 = warb +

1724 For . . . time] Johnson (ed. 1765): “I doubt whether the corruption of this passage is not more than the editor has suspected. Whips and scorns have no great connection with one another, or with time; whips and scorns are evils of very different magnitude, and though at all times scorn may be endured, yet the times that put men ordinarily in danger of whips, are very rare. Falstaff has said, that the courtiers would whip him with their quick wits; but I know not that whip can be used for a scoff or insult, unless its meaning be fixed by the whole expression. I am afraid lest I should venture too far in correcting this passage. If whips be retained, we may read, For who would bear the whips and scorns of tyrants. But I think that quip, a sneer, a sarcasm, a contemptuous jest, is the proper word, as suiting very exactly with scorn. What then must be done with time, it suits no better with the new reading than with the old, and tyrant is an image too bulky and serious. I read, but not confidently, For who would bear the quips and scorns of title. It may be remarked, that Hamlet, in his enumeration of miseries, forgets, whether properly or not, that he is a prince, and mentions many evils to which inferior stations only are exposed.”

1765- Davies

Davies

1724 Davies (1765-): “‘Whips & scorns of Time’ — The calamities & disappointments wch: Life especially long life is subject to—”

1773 v1773

v1773 = warb, john +

1724 For . . . time] WARBURTON (ed. 1773): “The evils here complained of are not the product of time or duration simply, but of a corrupted age of manners. We may be sure, then, that Shakespeare wrote: ‘--the whips and scorns of TH’ TIME.’ And the description of the evils of a corrupt age, which follows, confirms this emendation.”

1724 For . . . time] JOHNSON (ed. 1773): “I doubt whether the corruption of this passage is not more than the editor has suspected. Whips and scorns have no great connection with one other, or with time: whips and scorns are evils of very different magnitude, and though at all times scorn may be endured, yet the times that ordinarily put men in danger of whips, are very rare. Falstaff has said, that the courtiers would whip him with their quick wits; but I know not that whip can be used for a scoff or insult, unless its meaning be fixed by the whole expression. I am afraid lest I should venture too far in correcting this passage. If whips be retained, we may read: ‘For who would bear the whips and scorns of tyrants.’ But I think that quip, a sneer, a sarcasm, a contemptuous jest, is the proper word, as suiting very exactly with scorn. What then must be done with time? it suits no better with the new reading than with the old, and tyrant is an image too bulky and serious. I read, but not confidently, ‘For who would bear the quips and scorns of title.’ It may be remarked, that Hamlet, in his enumeration of miseries, forgets, whether properly or not, that he is a prince, and mentions many evils to which inferior stations only are exposed.

1724 For . . . time] STEEVENS (ed. 1773): “I think we might venture to read the whips and scorns of TIMES, i.e. of times satirical as the age of Shakespeare, which probably furnished him with the idea. In the times of Elizabeth and James (particularly in the former) there was more illiberal private abuse and peevish satire published, than in any others I ever knew of, except the present ones. I have many of these publications, which were almost all pointed at individuals. Whips and scorns are surely inseparable companions, as public punishment and infamy. Quips, the word which Dr. Johnson would introduce, is derived, by all etymologists, from whips. Hamlet is introduced as reasoning on a question of general concernment. He therefore takes in all such evils as could befall mankind in general, without considering himself at present as a prince, or wishing to avail himself of the few exemptions which high place might once have claimed.

1773 jen

jen=warb

1777 anon

1724 For...time] ANONYMOUS (SJC, 1777, p. 4): <p. 4>“Hamlet, in the celebrated Soliloquy of To be or not to be, enumerates the various Ills to which Human Life is Subject, without, as Dr. Johnson well observes, remembering those which are peculiar to his own princely Station.

The Meaning of the Whips and Scorns of Time is differently understood by our two last Editors. Dr. Johnson thinks that Whips and Scorns are not connected together, and would read, but not confidently, ‘The Quips and Scorns of Title.’

Mr. Steevens approves Dr. Warburton’s Emendation of ‘The Whips and Scorns of th’ Time,’ and observes that the Age of Elisabeth and James was particularly distinguished for private Abuse and personal Slander.

I own I see no Reason for altering the Text as it stands; Shakespeare is of all Authors the most licentious in his Language; he breaks Metaphors and confounds Terms frequently; he often catches a general Idea, and expresses it in Words seemingly most distant from the Sense. Surely, without much straining, we may well suppose that Shakespeare meant, by the Whips and Scorns of Time, the Calamities and Disappointments, the Distress and Afflictions which Life, and long Life especially, is sure to bring along with it.” </p. 4>

1778 v1778

v1778

1724 For . . . time] STEEVENS (ed. 1778): “I think we might venture to read the whips and scorns o’th’ times, i.e. of times satirical as the age of Shakespeare, which probably furnished him with the idea. In the reigns of Elizabeth and James (particularly in the former) there was more illiberal private abuse and peevish satire published, than in any others I ever knew of, except the present one. I have many of these publications, which were almost all pointed at individuals. Daniel, in his Musophilus, 1599, has the same complaint: ‘Do you not see these pamphlets, libels, rhimes, These strange confused tumults of the mind, Are grown to be the sickness of these times, The great disease inflicted on mankind?’ Whips and scorns are surely inseparable companions, as public punishment and infamy. Quips, the word which Dr. Johnson would introduce, is derived, by all etymologists, from whips. Hamlet is introduced as reasoning on a question of general concernment. He therefore takes in all such evils as could befall mankind in general, without considering himself at present as a prince, or wishing to avail himself of the few exemptions which high place might once have claimed. In part of K. James Ist’s Entertainment Passing to his Coronation, by Ben Jonson and Decker, is the following line, and note on that line: ‘And first account of years, of months, OF TIME. By time we understand the present.’ This explanation affords the sense for which I have contended, and without alteration.

1780 mals

mals

1724 whips] Malone (ed. 1780, p. 355): “The word whips is used by Marston in his Satires, 1599, in the sense required here: ‘Ingenuous melancholy — Inthrone thee in my blood; let me entreat, Stay his quick jocund skips and force him run A sad-pac’d course, until my whips be done.’ Malone.”

1784 davies

davies

1724 For . . . time] Davies (1784, p.75): “Notwithstanding all the learned commentators have said on these words, it seems to me very obvious, that, without any particular allusion to his own age, the author meant a general sentiment concerning such common wrongs and afflictions to which life, and especially long life, is never exposed. Mr. Steevens, in additions to his large note on this quotation, assures us, that there was more illiberal private abuse, and peevish satire, published in the reigns of Queen Elizabeth and King James I. than in any other age, except the present. This is not very clear to me: but happy is the man, who can, with a good conscience, affirm, he never was guilty of the base practice of wounding the fair reputation of others, or of disturbing the peace of families by malicious and rancorous slander. The propagation of obloquy, to gain wealth and preferment, may admit of some exculpation; but, of all abuse, that, which is spontaneous and unprovoked, is the most unaccountable:--What does Mr. Steevens think of a gentleman, who, when at this country-seat, found no amusement so pleasing as writing, libels upon his neighbours, and throwing them over their garden-walls, with the malevolent design to torment those who had never offended him?"

1785 v1785

v1785 = mals

1790- anon.

1724 whips and scorns of time] Anon (ms. notes, ed. 1790): “See Basses sword & buckler verse 64 So also in every man out of his humour p. 15 & how I [. . .] the mountain of time.”

1791- rann

rann

1724 whips and scorns of time] Rann (ed. 1791-): “—the wrongs and insults to which all are occasionally exposed; the personal satire and illiberal abuse of a censorious age.”

1815 becket

beckett

1724 For...time] Becket (1815, pp. 42-43): <p. 42> “This reading I cannot by any means admit, and must of course be unsatisfied with the explications, which here are given of it. A clearer sense will be found in,‘For who would bear the scores of weapon’d time.’

‘Scores’ in the sense of stripes, hurts, bodily injuries. ‘Weapon’d time.’ ‘Time always armed; who is ever assailing and doing us mischief.’ </p. 42><p. 43>Scores and scorns might be easily confounded either by transcriber or printer; while weapon’d and whip and are so much alike in sound that in reading aloud the ear might be deceived in regard to them, as we find of many expressions of the poet, when well considering his works.

“I formerly thought that we might read, ‘Scores of whiphand time.’

‘Scores’ will then signify charges against, imputations. The sense of the passage this— ‘Time who always has the whiphand, the advantage: who, while we are endeavouring to seize on and engage him for our particular purposes, is still too nimble for us: Time, likewise, who is ever preferring some charge, who is ever laboring an impeachment of our character.’ This agrees with the slanderous quality of Time, as represented in Troilus and Cressida.‘Beauty, wit, high birth, desert in service,‘Love, friendship, charity, are subjects all ‘To envious and calumniating Time.’

“I readily acknowledge that the proposed reading ‘whip hand’ is neither easy nor elegant. Yet the epithet has in it something that may be called forcible: while it will be thought, perhaps, to have much of the manner of Shakspeare.

“These emendations were made, as already hinted, at different times; he, therefore, who disapproves of the text, will make choice of that which appears to be best.” </p. 43>

1826 sing1

sing1

1724 Singer (ed. 1826): “Time, for the time, is a very usual expression with our old writers. Thus Ben Johnson’s Every Man Out of his Humour: ‘Oh, how I hate the monstrousness of time.’ In Cardanus Comfort, by Thomas Bedingfield, 1599, is a description of the miseries of life strongly resembling that in the text:-- ‘Hunger, thirste, steape not plentiful or quiet as deade men have, heate in somer, colde in winter, disorder of tyme, teroure of warres, controlment of parents, cares of wedlocke, studye for children, slouthe of servaunts,contention of sutes, and that which is most of all, the condycyon of tyme wherein honestye is disdayned as folye, and crafte is honoured as wisdome.’”

-1845 mhun1

mhun1: warb

1724 time] Hunter (-1845, f. 225r): “I assent to Warburton’s emendation ‘th’time.”

1845 hunter

hunter

1724 For...time] Hunter (1845, p. 239): <p. 239>“Whips is probably equivalent to quips. The meaning of which is, satirical remarks, idle censures. Warburton proposes to read th’ time, not having observed how ‘time’ is used by our early writers, as equivalent to the modern expression The Times. ‘The time has got a vein of making him ridiculous, and men laugh at him by tradition.’— Bishop Earle’s Microcosmography. But we have it as in Shakespeare, without the article, in the nervous English of Clarendon. ‘Yet he who shall diligently observe the distempers and conjunctures of Time [the Times], the ambition, pride, and folly, of persons, and the sudden growth of wickedness, from want of care and circumspection in the first impressions, will find all their miseries to have proceeded, and to have been brought upon us by the same natural causes, and means which have usually attended kingdoms swollen with long plenty, pride, and excess, towards some signal mortification and castigation of heaven.’— History of the Rebellion, Prologue. Shakespeare himself seems to use time in another place in the same manner: ‘Then hath the course of justice wheel’d about And left thee but a very prey to Time; Having no more but thought of what thou wert To torture thee the more, being what thou art.’ King Richard III.iv.4.

“One passage may be added from a writer who gives us, more than any of his contemporaries, the language of the less cultivated part of society in the time of Shakespeare, Taylor the water poet. ‘mock’d in rhyme, And made the only scornful theme of Time.’”</p. 240>

1856 hud1 (1851-6)

hud1

1724 time] Hudson (ed. 1856): “Time, for the time, is a very usual expression with our old writers. In Cardanus Comfort, by Thomas Bedingfield, 1599, is a description of the miseries of life strongly resembling that in the text: ‘Hunger, thirste, sleape, not plentiful or quiet as deade men have, heate, in somer, colde in winter, disorder of tyme, terroure of warres, controlment of parents, cares of wedlocke, studye for children, slouthe of servaunts, contention of sutes, and that which is most of all, the condycyon of tyme wherein honestye is disdayned as folye, and crafte is honoured as wisdome.’”

1856b sing2

sing2=sing1+

SINGER (ed. 1856): “In the 4to, 1603, this soliloquy occurs in an earlier scene, and is immediately preceded by the king’s remark ‘See where he comes poring upon a book’. The poet therefore meant it as reflections upon what he had been reading, and Mr. Hunter thinks from some other passages which he cites that this very book of Cardanus’ Comforte was in Shakespeare’s mind, and by him placed in the hands of Hamlet. The book was first published in 1573.”

1872 cln1

cln1

1724 of time] Clark & Wright (ed. 1872): "Warburton proposed ’of th’ time.’ But Hunter (Illustrations of Shakepeare, ii. p. 240) has shown that ’time’ was once used for ’the time’ or ’the times,’ and quotes from Taylor the Water Poet: ’Mock’d in rhyme And made the only scornful theme of time.’ Compare also Southwell, Saint Peter’s Compalint, stanza v. 1. 4: ’The scorne of time, the infamy of fame.’ "

1882 elze

elze contrawarb; john

1724 the whips and scornes of time] Elze (ed. 1882): “The conjectures of Warburton, Dr Johnson, &c. have done no more than to show that the passage can hardly be right.”

1874 NSS’s Transactions

Hickson

1724-30 For who would bear . . . bare bodkin] Hickson (1874, p. 32*): Hamlet among other plays has "a cataloguing of circumstances altogether peculiar to Shakspere."

1899 ard1

ard1

1724 time] Dowden (ed. 1899): “the times, the world, as in King John, V. ii. 12, ‘a sore of time.’ But perhaps it may mean time as opposed to eternity.”

1934a cam3

cam3

1724 Wilson (ed. 1934): “Life is thought of as a beadle whipping us through the streets, like the vagabond or the whore, with jeering mobs around. Cf. Lear, [4.6.163-4. (2605-6)], and note [(1571-2)] above.”

1981 wright

wright

1724 whips and scornes] Wright (1981, p. 182): These, “which Hamlet . . . doubts we would want to bear if we did not fear death, also come from different categories: one is concrete and metaphorical, the other abstract and immediate, and together they might seem out of focus if we were not so accustomed to the pattern of hendiadys. Time or a satirist’s scorn may make us feel whipped, or the two words may express tow ways time has of punishing us (wrinkles and disappointment), but the terms seem to interweave their meanings as simple conjoined nouns do not usually do.”