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Line 1725 - 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.

1725 Th’oppressors wrong, the {proude} <poore> mans contumely,	3.1.70

1754 grey

1725 proude mans contumely] Grey (1754, p. 295): “"The poor man’s contumely.” Folios 1623, and 1632.”

c.1775 mmal1, BL 30,943 (f. 53r)

mmal1

1725 proude mans contumely] Malone (c. 1775): “The proud man’s contumely. The Folio reads The poor man’s contumely which perhaps is right--the insults to which poverty is subject. ‘Nil hsbrt infelia paupertas durius in se Quam quod ridiculos homines facet.’”

1780 mals

mals

1725 proude mans contumely] Malone (1780, p.355): “The folio reads: ---the poor man’s contumely, which may be right;--the contumely which the poor man is obliged to endure: ‘Nil habet infelix paupertas durius in se, Quam quod ridiculos homines facit.’ Malone.”

1791- rann

rann

1725 proude mans contumely] Rann (ed. 1791-): “—the poor man’s, which he is forced to endure.”

1793 v1793

v1793 = mal

1839 knt1

knt1

1725 proude mans contumely] Knight (ed. 1839): “Proud, in the quartos. In the folio we have ‘ the poor man’s contumely.’--- the contumely which the poor man bears. We retain the reading of the quartos, for the transition is abrupt from the wrong ewhich the opressor inflicts to the contumely which the poor man suffers.”

1847 verp

verp

1725 the proude mans contumely] Verplanck (ed. 1847): “The folio reading is, ‘the poor man’s contumely,’ i.e. the contumely endured by poverty. The reading in the text is that of the quartos. They, however, give ‘the pangs of despised love,’ instead of disprized, in the folio [1726]; — a phrase more Shakespearian, and conveying a more poetical sense.”

1853 coln

coln

1725-1726 proude...despiz’d] Collier (1853, p. 424): <p. 424> “The manuscript-annotator adopts two changes in the quartos in Hamlet’s great soliloquy: these are ‘the proud man’s contumely’ instead of ‘the poor man’s contumely,’ as it is given in all the folios; and ‘the pangs of despis’d love’ instead of ‘the pangs of dispriz’d love,’ as also there misprinted.” </p. 424>

1874 corson

corson

1725 Corson (1874, p. 24): “The poore mans Contumely, F. the proud man’s comtumely, C. The Quartos all read ’proud,’ the Folios, ’poor.’ In the two expressions, the genitive is differently used: in the first, it is objective, ’the poor man’s contumely’ meaning the contumely or contemptuous treatment the poor man suffers; in the second, it is subjective, ’the proud man’s contumely’ meaning the contumely or contemptuous treatment the proud man exercises.

1882 elze

elze

1725 the proude mans contumely] Elze (ed. 1882): “Compare B. Jonson, Catiline, I, 1: For contumelies receiu’d, (and such are sure ones).”