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Line 1804-05 - Commentary Note (CN) More Information

Notes for lines 1018-2022 ed. Eric Rasmussen
For explanation of sigla, such as jen, see the editions bib.
1804-5 but one shall liue, the rest shall keep | as they are: to a {Nunry} <Nunnery,> go. Exit <Hamlet>. 
1773 gent
gent
1804-5 Gentlemen (ed. 1773): “This scene is admirably supported for Hamlet by the author, and contains many excellent strokes of sportive, lively, well-adopted satire, pleasingly couched.”
1784 davies
davies
1804-5 Davies (1784, p. 79): "The assumed madness with Ophelia was, by Garrick, in my opinion, made too boisterous. He should have remembered, that he was reasoning with a young lady, to whom he had professed the tenderness of passion. Wilks retained enough of disguised madness; but, at the same time, preserved the feelings of a lover and the delicacy of the gentleman. Barry was not so violent as Garrick, and was consequently nearer to the intention of the author. Sheridan, Smith, and Henderson, have all, in this scene, avoided a manner too outrageous."
1790 mal
mal
1804 all but one shall liue] Malone (ed. 1790): “By the one who shall not live, he means, his step-father.”
1819 cald1
cald1
1804-5 Caldecott (ed. 1819): “This part of Hamlet’s conduct has been frequently charged as wantonly and unnecessarily harsh and brutal. It has to us, on the contrary, appeared to grow naturally and necessarily out of the cruel perplexity of his situation. Certainly it was not so felt by her who experienced it: neither does a disposition to such a carriage and conduct any way consist with his first feeling, when here he discovers her; for his language then, says Johnson, not recollecting that he is to personate madness, "is correct, consonant with his soliloquy, in which no disguise would be worn, and a touch of nature." His change of tone was then an act of recollection, and was, as is conceived, persisted in as an act of necessity; and that tone probably heightened from the very circumstance of his having previously tripped, and thence under a stronger conviction of this necessity.
“Take a view of the state of his mind and his situation at this period. While deeply in love with Ophelia, to whom, by letter and otherwise, he had made the strongest protestations of it, his mind is overwhelmed by the sudden and mysterious death of his father, and the mysterious and scarcely less sudden marriage and coronation of his uncle and mother. Agitated, and with his faculties, from the effect of disappointed hope, suspicion, and fear, almost suspended, he sinks into despondence, and grows tired of life. Presently, but the preternatural disclosure made, his vengeance also is roused. Pledged too to the execution of it, and beset with spies, and danger and difficulty increasing round him, he becomes more and more indifferent to life, and even desirous of death. In this distracted and desperate state, and sworn to "bend every corporal agent," to strike that blow which would probably recoil upon himself, an object, the only one in this world that had any power to hold him to it, is thrown in his way. For a moment he forgets his situation; but recollection presently restores it, and, as a necessary precaution, dictates the course he pursues. Yet still, in spite of himself, we find him touching, again and again, the subject nearest his heart. It would have been base so to have trifled with her, as to have kept alive a flame which he was assured must soon be fatally extinguished.
“We fully approve, therefore, of the feeling of a distinguished modern actor, and fall in with the sentiment of a writer who witnessed it. He says, "after having gone to the extremity of the stage, from a pang of parting tenderness, Mr, Kean came back to press his lips to Ophelia’s hand. It had an electrical effect on the house. It explained the character at once (and such as Shakespeare meant it) as one of disappointed hope, of bitter regret, of affection suspended, but not obliterated, by the cruelty of his fate, and the distraction of the scene around him."
1843- mlewes
mlewes
1804 all but one] Lewes (ms. notes in Knight, ed. 1843): “Qy: a reference in thought to his mother? The secret of his treatment of Ophelia is in his ‘O frailty thy name is woman.’ If the person he most held sacred is false and treacherous, may not also the person he most loves be so? This is his doubt; but having nothing more precise than this doubt he cannot speak openly to Ophelia. Pg 96.[2022]”
1856 hud1 (1851-6)
hud
Hudson (ed. 1856): Cites Coleridge: "Observe this dallying with the inward purpose, characteristic of one who had not brought his mind to the steady acting-point. He would fain sting the uncle’s mind;--but to stab his body!--The soliloquy of Ophelia which follows, is the perfection of love,--so exquisitely unselfish!--Coleridge."
1881 hud2
hud2
1804-5 Hudson (ed. 1881): “Throughout the latter part of this fine scene, Hamlet’s disorder runs to a very high pitch, and he seems to take an insane delight in lacerating the gentle creature before him. Yet what keenness and volubility of wit! what energy and swiftness of discourse! the intellectual forces in a fiery gallop, while the social feelings seem totally benumbed. And when Ophelia meets his question, ‘Where’s your father?’ with the reply, ‘At home my, lord,’ [3.1.129-30. (1785-6)] how quickly he darts upon the true meaning of her persence! The sweet, innocent girl, who knows not how to word an untruth, having never tried on a lie in her life, becomes embarassed in her part; and from her manner Hamlet instantlly gathers what is on foot, and forthwith shapes his speech so as to sting the eavesdroppers.”
1882 elze
elze
1804 all but one] Elze (ed. 1882): “Every hearer and reader is, of course, aware that Hamlet hints at his uncle; to Ophelia, however, these words convey no meaning whatever and cannot but be taken by her as a proof of mental aberration on Hamlet’s part.”
1953 Alexander
Alexander
1804 all but one shall liue] Alexander (lecture 1953, published 1955, p. 180): “Hamlet’s victim must know what is coming to him. Hamlet cannot tell the King in so many words what to prepare for, although he does this as near as need be in the nunnery-scene when he suspects that the King is listening . [. . . ].”
1899 ard1
ard1
1804 all but one] Dowden (ed. 1899): “a shaft meant to strike the eves-dropping King.”
1804 1805