Commentary notes (CN):

1. SMALL CAPS Indicate editions. Notes for each commentator are divided into three parts:

In the 1st two lines of a record, when the name of the source text (the siglum) is printed in SMALL CAPS, the comment comes from an EDITION; when it is in normal font, it is derived from a book, article, ms. record or other source. We occasionally use small caps for ms. sources and for works related to editions. See bibliographies for complete information (in process).

2. How comments are related to predecessors' comments. In the second line of a record, a label "without attribution" indicates that a prior writer made the same or a similar point; such similarities do not usually indicate plagiarism because many writers do not, as a practice, indicate the sources of their glosses. We provide the designation ("standard") to indicate a gloss in common use. We use ≈ for "equivalent to" and = for "exactly alike."

3. Original comment. When the second line is blank after the writer's siglum, we are signaling that we have not seen that writer's gloss prior to that date. We welcome correction on this point.

4. Words from the play under discussion (lemmata). In the third line or lines of a record, the lemmata after the TLN (Through Line Number] are from Q2. When the difference between Q2 and the authors' lemma(ta) is significant, we include the writer's lemma(ta). When the gloss is for a whole line or lines, only the line number(s) appear. Through Line Numbers are numbers straight through a play and include stage directions. Most modern editions still use the system of starting line numbers afresh for every scene and do not assign line numbers to stage directions.

5. Bibliographic information. In the third line of the record, where we record the gloss, we provide concise bibliographic information, expanded in the bibliographies, several of which are in process.

6. References to other lines or other works. For a writer's reference to a passage elsewhere in Ham. we provide, in brackets, Through Line Numbers (TLN) from the Norton F1 (used by permission); we call these xref, i.e., cross references. We call references to Shakespearean plays other than Ham. “parallels” (//) and indicate Riverside act, scene and line number as well as TLN. We call references to non-Shakespearean works “analogues.”

7. Further information: See the Introduction for explanations of other abbreviations. Click here for more information about browsing the entries and here for more information about the special symbols used in Hamletworks. Click the question mark icon above to remove this help message.

1773 v1773

v1773

2584 Steevens (ed. 1773): “Shakespeare has been unfortunate in his management of the story of this play, the most striking circumstances of which arise so early in its formation, as not to leave him room for a conclusion suitable to the magnificence of its beginning. After this last interview with the Ghost, the character of Hamlet has lost all its consequence. Steevens.”

1773 gent1

gent1

2584 Gentleman (ed. 1773): “The third Act is supported greatly by spirit, business, sentiment, and dialogue; if Hamlet is equal to it, the conclusive scene must send him off with remarkable eclat.”

1774 gent2

gent2 = gent1

1778 v1778

v1778 = v1773

1785 v1785

v1785 = v1778

1790 mal

mal = v1785

1793 v1793

v1793 = v1785

1803 v1803

v1803 = v1793

1813 v1813

v1813 = v1803

1819 anon ann

anon ann ≈ v1773

1821 v1821

v1821 = v1813

1877 v1877

v1877 = Hunter

2584 Furness (ed. 1877): “Hunter (ii, 257): This scene has always been admired as one of the masterpieces of this great dramatic writer; and there are in it undoubtedly fine opportunities for the display of an actor’s powers,—striking situations, and also fine poetry. But the question arises, To what purpose all this excitement and bustle? The scene appears to have been written for its own sake, not helping forward the story. Except that Pol. is accidentally killed in the course of it, the parties are left where they were, Ham. having only in this forcible manner signified to his mother the displeasure which he felt at her conduct. But as the play was originally written this scene had a purpose. Ham. reveals to his mother his knowledge of his uncle’s guilt, and his purpose of revenge; and she engages to conceal and to assist. From this time the Queen keeps up appearances with her husband, but is secretly a friend to Ham.; and there is an entire scene, afterwards withdrawn, between her and Hor., in which Hor. communicates to her confidentially the return of Ham. from England, when the dialogue ends with her saying: [see Appendix, p. 77, [3.1.123-5 (1779-1781)] This removes all ambiguity respecting the part which the poet intended the Queen should take; according to the present regulation, her precise situation is not clearly exhibited.”

1937 pen1

pen1

2584 Harrison (ed. 1937): “In the second Quarto the scene ends here, and the next scene begins Enter King and Queen, with Rosencrantz and Guildenstern, to whom at line 4 the Queen says ‘Bestow this place on us a little while.’ Stage direction and words are omitted in the Folio, which continues the episode as one scene. The Act division, marked in modern texts, was first made in a quarto of 1676 and since followed by editors. It is wrong; for the scene does not end until p. 111, l. 27.”