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Line 2556 - 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.
2556 {Ger.}<Qu.> What shall I doe?3.4.180
1907 Werder
Werder
2556-62 Werder (1907; rpt. 1977, p. 61): <p. 61> “When the Queen asks, “What shall I do?” Hamlet answers with bitter irony [quotes passage]. That is Hamlet’s feeling! Here we see what weighs upon his very soul, the shame of his misery and the horror of it.
“These words, in spite of the frenzy with which he utters them, are not spoken rantingly; when he seeks to more his mother, as he does in this interview, he would adopt a tone far removed from rant, but much more terrible, more cutting, more effective. He allows his wrath, his horror, his loathing, to flow in fullest expression in his accusations; but the shame he feels would naturally cause him to moderate his tone; for Hamlet does not forget that it is a son who speaks these frightfully plain words to his mother.”</p.61 >
1930 Granville-Barker
Granville-Barker
2556-7 Granville-Barker (1930, rpt. 1946, 1: 237): “What shall she do? That she can still ask such a question!. And in the sarcasm of [Hamlet’s response, quotes 2557] sounds his despair of her . . . .”
1968 Burckhardt
Burckhardt
2556-72 Burckhardt (1968, p. 271): “One of the oddest passages in the play is Hamlet’s answer to Gertrude’s contrite question: ’What shall I do’ [2556]? ’Not this, by no means, that I bid you do’ [2557], he replies and then, in loathsome detail, bids her betray his secret to the king. Why the elaborate double negative? Because language draws its force and urgency from the representation of what is sordid, ’rank,’ ’stew’d in corruption’ so that good is a negation of evil, rather than evil a deficiency of good. ’Custom has this potential of negative goodness; though it is ’damned’ and ’monstrous,’ though it transforms drunkard Danes into beasts and hardens grave-diggers into insensibility (elsewhere in Shakespeare, ’customer’ means ’whore’), yet [quotes 2544+1-2544+5, That . . . put on]. ”
1993 ShSu
O’Brien
2556-84 O’Brien (1993, p. 33): “Perhaps the most devastating cut occurred in the closet scene itself, eliminating both Hamlet’s appeal to the Queen not to reveal that his madness is feigned and her vow to do so. Here we have the most direct manifestation of an association between Gertrude and her son, yet with overwhelming consistency, the acting editions and promptbooks of the day [nineteenth-century] cut the final twenty-eight lines of the Folio text. . . [TLN 2556-2584, III.iv.180-217]”
2556 2557