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Line 2494 - 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.
2494 Conceit in weakest bodies strongest workes,3.4.114
1783 malsii
malsii: Luc. //
2494 Conceit] Malone (1783, p. 58): “Conceit for imagination. So, in the Luc.: ’And the conceited painter was so nice—.’”
1785 v1785
v1785 = malsii
1790 mal
mal = v1785 +
2494 Conceit] Malone (ed. 1790): “See also Vol. VI. p. 536, n. 8. Malone.
1793 v1793
v1793 = mal
1803 v1803
v1803 = v1793
1813 v1813
v1813 = v1803
1819 cald1
cald1: Lr., Per. //s; xref.
2494 Conceit] Caldecott (ed. 1819): “The wanderings of imagination; fond and idle fancies and conceptions; as in [4.5.45 (2787)]. ‘Conceit upon her father.’ King. And Lr. [2.4.192 (1483)]. ‘And yet I know not how conceit may rob The treasury of life.’ Edgar. And Per. 3.1. ‘Who, if it had conceit, would die.’ Lychor.”
1821 v1821
v1821 = v1813
1826 sing1
sing1 ≈ malsii + magenta underlined
2494 Conceit] Singer (ed. 1826): “Conceit for conception, imagination. This was the force of the word among our ancestors. Thus in Luc.: ‘And the conceited painter was so nice.’”
1832 cald2
cald2 = cald1 + Err., Rom. //s
2494 Conceit] Caldecott (ed. 1832): “Err. [4.2.65-66 (1181-82)] Adr. and Rom. [2.6.30 (1423)] Jul.”
1854 del2
del2
2494 Conceit] Delius (ed. 1854): “Conceit ist allgemeiner, was eben vorher im Besondern amazement hiess, wogegen die Seele der Königin vergebens anringt (fighting soul). Diese Phantasieen üben gerade bei dem weiblich schwachen Körper den schlimmsten Einfluss.” [Conceit is more general that the directly preceding particular term amazement, against which the queen struggles in vain. Such fantasies have the worst influence on the weak bodies of women.]
1856 hud1 (1851-6)
hud1 ≈ sing1 minus Luc. //
2494 Conceit] Hudson (ed. 1851-6): “Conceit for conception, imagination. This was the common force of the word in the Poet’s time.”
1856 sing2
sing2 = sing1
1857 fieb
fieb ≈ hud1
2494 conceit] Fiebig (ed. 1857): for imagination.”
1872 hud2
hud2 ≈ hud1
2494 Conceit] Hudson (ed. 1872): “again, for conception, imagination.
1872 del4
del4 = del2
1872 cln1
cln1 ≈ fieb + R2 // magenta underlined
2494 Conceit] Clark and Wright (ed. 1872): “imagination. See R2 [2.2.33, 34 (985, 986)], and our note on the passage.”
1873 rug2
rug2
2494 Moberley (ed. 1873): “Emotion has most power when the body is weak.”
1875 Marshall
Marshall: xref.
2494 Conceit] Marshall (1875, pp. 51-2): <p.51> “We must take ‘conceit’ here to mean ‘imagination,’ though this interpretation does not make the gist of the passage very clear to me; the line— ‘O, step between her and her fighting soul’ [3.4.113 (2493)] would certainly seem to support the meaning which I would </p.51><p.52> attribute to this portion of the speech—namely, that the anxiety of the ghost is mainly directed towards the thorough awakening of the Queen’s conscience, so as to bring her to repentance; but it would be more consistent with this interpretation if the word ‘conceit’ expressed ‘caprice,’ or ‘vanity,’ more than ‘imagination.’ It may be that Sh. intended to represent the spirit of the elder Hamlet as retaining so much of the tenderness of his nature, that it could not bear to witness the terrible alarm, into which Gertrude was thrown by the sight of Hamlet holding discourse with what seemed to be ‘the incorporal air;’ and that therefore the ghost earnestly bids Hamlet speak to her, in order to convince her that this conduct, which seems so inexplicable to her, is not the result of madness. Perhaps both explanations are equally true; and the intention of this speech may embrace both these objects.” </p.52>
1877 v1877
v1877: xrefs; Rom. //; Craik
2494 Conceit] Furness (ed. 1877): “Imagination. See [2.2.553 (1593)], [4.5.45 (2787)]; Rom. 2.6.30 [1423]. and Craik’s note (English of Shakespeare, p. 135).”
1877 neil
neil: cald (Lr. //) + AYL magenta underlined
2494 Conceit] Neil (ed. 1877): “fancy, imagination. See Lr. [4.6.42 (2483)]; AYL, [2.6.8 (958)].”
1878 rlf1
rlf1 ≈ cln1 (R2 //) w/o attribution + WT // magenta underlined
2494 Conceit] Rolfe (ed. 1878): “Imagination. Cf. WT 3.2.144 (1326)]: “with mere conceit and fear”; R2 [2.2.33 (985)]: “T is nothing but conceit,” etc.”
1881 hud2
hud2 ≈ hud2 + magenta underlined
2494 Conceit . . . bodies] Hudson (ed. 1881): “again, for conception, imagination. Bodies is here put for minds, or persons; as corpora also is in classical Latin.”
1889 Barnett
Barnett:
2494 Conceit] Barnett (1889, p. 52): “imagination, is strongest in the weakest.”
1890 irv2
irv2 ≈ hud2
2494 Conceit] Symons (in Irving & Marshall, ed. 1890): “imagination.”
1888 Savage
mPudsey
2494 Pudsey (apud Savage, 1888, p. 75): “Conceites in weakest bodies strongest workes.”
Savage’s transcription is said to be from a notebook attributed to Edward Pudsey, which was supposedly compiled by 1616 (the dates on the last two page are 1615 and 1616, respectively).
1891 dtn
dtn ≈ Barnett
2494 Deighton (ed. 1891): “imagination works most powerfully in those who, like women, are physically weakest.”
1899 ard1
ard1 ≈ v1877 (xref.) + magenta underlined
2494 Conceit] Dowden (ed. 1899): “imagination, as in [2.2.553 1593)].”
1903 rlf3
rlf3 = rlf1
1934 rid1
rid1
2494 Conceit] Ridley (ed. 1934): “fancy.”
1939 kit2
kit2
2494 Conceit] Kittredge (ed. 1939): “imagination (which forms, in the Queen’s mind, a vivid image of her guilt).”
1957 pel1
pel1 = evns1
1974 evns1
evns1 = fieb for conceit
1982 ard2
ard2: Florio (Montaigne)
2494 Conceit in weakest bodies] Jenkins (ed. 1982): “Florio’s Montaigne (i.20) says that it is ‘the weakest and seeliest, whose conceit and belief is so seized upon, that they imagine to see what they see not’. Conceit, imagination.”
1980 pen2
pen2 = pel1
1987 oxf4
oxf4: OED
2494 Conceit] Hibbard (ed. 1987): “imagination (of a morbid kind) (OED sb. II).”
1984 chal
chal = pel1
1988 bev2
bev2 = chal
1997 evns2
evns2 = evns1
2006 ard3q2
ard3q2: 2492 xref
2494 Conceit] Thompson & Taylor (ed. 2006): “imagination. The Ghost seems to assume that the Queen is particularly vulnerable to the amazement (108 [2492]) caused either by Hamlet’s previous behaviour or by his present reaction which is incomprehensible to her.”
2494