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Line 2351 - Commentary Note (CN) More Information

Notes for lines 2023-2950 ed. Frank N. Clary
For explanation of sigla, such as jen, see the editions bib.
2351 And now Ile doo’t, and so {a} <he> goes to heauen,3.3.74
1733- mtby3
mtby3
2351 Thirlby (1733-): “note the guise of execution!”
BWK transcription, with adjustments by me for BWK’s “guile of executions.”
1747-53 mtby4
mtby4
2351 Thirlby (1747-53): “nb the custom of executions.”
1875 Marshall
Marshall: contra col2
2351 And now Ile doo’t] Marshall (1875, p. 163): “From the version in the Quarto 1603 it is evident that Hamlet is intended either to enter with his sword drawn or to draw it immediately he sees the King; in the speech, as it stands now, the sword should not be drawn till the words—[quotes clause] . It was, therefore, I think, an unnecessary exercise of ingenuity on the part of Mr. Collier’s ‘Old Corrector’ to insert the stage direction ‘his sword drawn.’ Mr. Collier adds—‘ready to kill the King if his resolution had held’; but Hamlet had made no resolution to kill the King at this moment; on the contrary, he was on his way to his mother’s closet, and comes upon the King unexpectedly.”
Collier has the SD referred to by Marshall (2349), but I do not find the addendum to which he refers.
Marshall
2351 and so a goes to heauen] Marshall (1875, p. 164): “Hamlet may have caught sight of the effects of his proposed act of vengeance, not only on his victim’s soul, but on his own; the corollary to this proposition, which may have passed through his head is ‘and I (go) to hell.’ But though his actions may betray his doubts as to his right to exact, by his own individual act, a life for a life, or as to the justice of the principle that one murder can justify another, his words, spoken to himself, must contain no such admission. . . .
“The whole argument on which Hamlet proceeds to abstain from action is ridiculously false—it is based upon the barbarous assumption (quite consistent with the rude and vague religion which Hamlet seems to profess) that any man, however, wicked his life may have been, if killed in the act of prayer, whether he be praying from his heart or no, must go to heaven; while a man whose life has been noble and pure, if killed after eating, without preparation, through no fault of his own, must go to hell. This is simply the meanest superstition. A Catholic is bound to believe that any person dying in mortal sin is in danger of eternal damnation; also that any sinner truly penitent, who dies fortified by the rite of the Church, after severe contrition for and full confession </p.164><p.165> of his crimes, will, by the mercy of God, obtain everlasting happiness: but the sentence may, in the first case, according to the strictest Catholic doctrine, be remitted by the same mercy that is extended to the latter case; moreover, of the sincerity of the contrition God alone can judge. The priest must (to a certain extent) take it for granted that the penitent is sincere in is sorrow, no less than he is honest in his confession. However, it is not just to expect from any dramatic poet accuracy on such a subject. The belief which Hamlet here virtually professes was quite general enough among semi-barbarous Christians, even in Shakespeare’s own time, to justify its employment, as a motive, in Hamlet’s case.”
1939 kit2
kit2: xref.
2351 now] Kittredge (ed. 1939): “Here Hamlet draws his sword, which he sheathes again at [3.4.88 (2363)].”
1980 pen2
pen2
2351 a goes to heauen] Spencer (ed. 1980): “At first Hamlet uses the conventional phrase, meaning ‘he dies’. Then he begins to analyse it literally. He supposes that the King is in a state of contrition, and so his death at this moment will, quite literally, enable him to go to heaven.”
1982 ard2
ard2 ≈ kit2 without attribution magenta underlined
2351 Jenkins (ed. 1982): Draws his sword] “That the sword, sheathed again at [2363], was drawn at this point, appears from the wording of Q1: ‘Ay so, come forth and work thy last’.”
1987 oxf4
oxf4: MND, Lr. //s
2351 pat] Hibbard (ed. 1987): “very conveniently. The word seems to have been associated in Shakespeare’s mind with the perfectly timed stage entrance. See MND [3.1.2 (815)] and [5.1.187 (1990)]; Lr . [1.2.134 (463)].”
2006 ard3q2
ard3q2
2351 And. . . it] Thompson & Taylor (ed. 2006): “Hamlet draws his sword at this point as is explicit in Q1’s ’come forth and work thy last’.”
2351