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Line 1966 - Commentary Note (CN) More Information

Notes for lines 1018-2022 ed. Eric Rasmussen
For explanation of sigla, such as jen, see the editions bib.
1966 Ham. Lady shall I lie in your lap?3.2.112
1778 v1778
1966 Steevens (ed. 1778): “To lie at the feet of a mistress during any dramatic representation, seems to have been a common act of gallantry. So, in the Queen of Corinth, by B. and Fletcher: ‘Ushers her to her coach, lies at her feet / At solemn masques, applauding what she laughs at.’ Again, in Gascoigne’s Green Knight’s Farewell to Fancie: ‘To lie along in ladies lappes, &c.” This fashion which Shakespeare probably designed to ridicule by appropriating it to Hamlet during his dissembled madness, is likewise exposed by Decker, in his Guls Hornbook, 1609. See an extract from it among the prefaces.”
1790 mal
mal
1966 Lady shall I lie in your lap?] Malone (ed. 1790): “I do not conceive that this fashion was intended to be ridiculed by Shakspeare. Decker, in his Guls Hornebooke, inveighs in general against the custom of sitting on the stage, but makes no mention of lying in ladies’ laps, nor did any woman, I believe, sit on the publick stage, in our poet’s time.”
1882 elze
elze
1966 Lady shall I lie in your lap?] Elze (ed. 1882): “Compare Marston, The Malcontent, Induction (Works, ed. Halliwell, II, 200): Sly. O coosin, come, you shall sit betweene my legges heare. Sink[clow]. No, indeede, coosin, the audience then will take me for a viol de gambo, and thinke that you play upon me. Sly. Nay, rather that I worke upon you, coose. Marston’s Malcontent contains several evident allusions to Hamlet; see Dr Ingleby, Shakespeare’s Centurie of Prayse, 2d Ed., p. 66. Is the present passage to be added to the number?”
1889-90 mtaylor
mtaylor
1966 shall I lie in your lap] Genest (apud J. Taylor, ms. notes in PB 82, HTC, Shattuck 108): “The custom of sitting & lying on the stage accounts for Shakespeare placing Hamlet at Ophelia’s feet—during the representation of the play. What some did from _____(?) others might choose from gallantry. Genest.”
1934a cam3
cam3
1966 Wilson (ed. 1934): “Ham.’s obscenity would, he knew, be interpreted as the natural outbreak of a madman crazed for love (cf. Oph.’s song [(2790)] ff.); at the same time he enjoys insulting Woman in her person.”
1966