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Line 2484 - 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.
2484 Saue me and houer ore me with your wings3.4.103
1784 Davies
Davies
2484-85 Saue . . . gards] Davies (1784, p. 108): “At the appearance of the Ghost, in this scene, Hamlet immediately rises form his seat affrighted; at the same time he contrives to kick down his chair, which, by making a sudden noise, it was imagined would contribute to the perturbation and terror of the incident. But this, in my opinion, is a poor stage-trick, and should be avoided; it tends to make the actor solicitous about a trifle, when more important matter demands his attention.”
1875 Marshall
Marshall: xref.
2484-85 Saue . . . gards] Marshall (1875, p. 51): “In the former scene, as in this, Hamlet, on first seeing the apparition, calls on the angels for protection; but whereas before the words of his prayer were ‘Angels and ministers of grace defend us!’ [1.4.39 (624)] they are now [quotes this passage]. The use of the singular number may be accidental; on the other hand it may show that he was sensible that this visitation of his father’s spirit was directed to him alone.”
1877 v1877
v1877 ≈ Marshall
2484 me . . . me] Furness (ed. 1877): “Marshall (p. 51): The use of the singular number may be accidental, or it may intimate that Ham. felt this visitation to be addressed to him alone. On the former occasion he used the plural.”
1879 Halliwell-Phillipps
Halliwell-Phillipps: Rowe (picture), Garrick (performance)
2484-85 Saue me . . . gards] Halliwell-Phillipps (1879, pp. 69-70)” <p.66> “Another old stage-trick was that of Hamlet starting to his feet, and throwing down the chair on which he had been sitting, in his consternation at the sudden appearance of his Father’s spirit in act iii. sc. 4. This incident is pictured in the frontispiece to the tragedy in </p.69><p.70> Rowe’s edition of Shakespeare, 1709, and it is no doubt of much greater antiquity. It is said that Garrick had a chair made expressly for the scene with feet so constructed that a slight touch would overturn it.
“Traditional usages of the kind just cited, belonging in all probability to Sh’s own time, should not be lightly discontinued.” </p.70>
1885 macd
macd ≈ Marshall (xref. only)
2484 MacDonald (ed. 1885): “almost the same invocation as when first he saw the apparition.” See [1.4.39 (624)].
1930 Granville-Barker
Granville-Barker
2484-96 Granville-Barker (1930, rpt. 1946, 1: 229-30): <p. 229> “When the Ghost appears—and she is spared the yet deadlier blow of a revelation of the murder—she is blind to its presence, deaf to its voice: [quotes 2513-16] and it implies, we feel, a blindness of soul in her besides . . . He has battered her </p. 229> <p. 230> into admission of her fleshly sin; but spiritual perception—what can give her that? The division between mother and son is here at its deepest, in this picture of mother, father and son, united but divided, together, but in understanding curelessly apart. And here is intrinsic tragedy, the tragedy of what human beings are; and the action is stayed while we absorb the sense of it.” </p. 230>
1934 cam3
cam3 = macd (xref.)
1939 kit2
kit2 = cam3 (xref.)
1982 ard2
ard2 = kit2 (xref.)
2001 Greenblatt
Greenblatt
2484-85 Saue . . . gards] Greenblatt (2001, p.223): “Hamlet’s response is a confused succession of terror, guilt, and pity, each passion cutting across what he has barely been able to articulate. At first, deeply alarmed, he prays for supernatural protection [quotes]. The prayer—in a reiterated first person that does not include Gertrude—seems to indicate that Hamlet instinctively senses that the apparition is for him alone and that he is personally menaced by it, as by a demonic spirit.”
2006 ard3q2
ard3q2
2484-5 Save. . . guards] Thompson & Taylor (ed. 2006): “Hamlet appeals to angels for protection.”
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