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Line 2945 - 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.
2945 His beard {was} as white as snow,4.5.195
1773 v1773
v1773: Eastward Ho analogue
2945-7 His beard . . . gone] Steevens (ed. 1773): “This seems to have been ridiculed in Eastward Hoe, a comedy written by Ben Jonson, Chapman, and Marston, printed in 1605. Act 3. ‘His head as white as milk, All flaxen was his chin; But now he’s dead, And laid in his bed, And never will come again. Steevens.
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 cald1
cald1 = v1773 (Eastward Hoe analogue) +
2945-7 His beard . . . gone] Caldecott (ed. 1819): “This, and several circumstances in the character of Ophelia, seem to have been riciculed . . . .”
Eastward Hoe ref. added with attrib. to Steevens.
1832 cald2
cald2 = cald1
1843 col1
col1: Eastward Ho analogue
2945-7 His beard . . . gone] Collier (ed. 1843): “This last stanza is quoted with some variation in ‘Eastward Ho!’ 1605, by Ben Jonson, Marston, and Chapman. See Dodsley’s Old Plays, last edit. vol. vi. p. 223. Both Shakespeare and the authors of ‘Eastward Ho!’ probably adopted the words of a well-known ballad of the time.”
1853 coln
coln
2945 His beard was as white as snow] Collier (1853, p. 429): “the correction in manuscript is,—’His beard was white as snow.’ In the folios it is, ‘His beard as white as snow,’ and the variation may be deemed immaterial.”
1857 fieb
fieb ≈ v1773
2945 snow] Fiebig (ed. 1857): “This and several circumstances in the character of Ophelia, seem to have been ridiculed in Eastward Hoe, a comedy written by Ben Jonson, Chapman and Marston, printed in 1605, Act III: ‘His head as white as milk,/All flaxen was his hair/But now he’s dead /And laid in his bed/And never will come again,/God be at your labor! St.”
1858 col3
col3 = col1 minus “Both Shakespeare . . . time.”
1865 hal
hal = v1793 for His beard . . . gone (2945-7)
1877 v1877
v1877 ≈v1773, sing1
2945-50 His . . . you] Furness (ed. 1877): “Steevens: This and several circumstances in the character of Oph. seem to have been ridiculed in Eastward Hoe by Jonson, Chapman, and Marston, 1605: ‘His head as white as milk, All flaxen was his hair; But now he is dead, And lain in his bed, And never will come again,’ 3.1. Singer: Hamlet is the name of a foolish footman in the same scene. I know not why this should have been considered an attack on Sh.; it was the usual license of comedy to sport wth everything serious and even sacred. Hamlet Travestie may as well be called an invidious attack on Sh.”
1882 elze2
elze2: v1773 (Eastward Hoe analogue)
2945 as white] Elze (ed. 1882): “Compare Gyrtred’s song in Eastward Hoe, 3.2 (Marston, ed. Halliwell, III, 41 seq.), first quoted by Steevens.”
1903 p&c
p&c ≈ elze (Eastward Hoe analogue)
2945 Porter & Clarke (ed. 1903): “For the ridiculing echoes of this song in ‘Eastward Hoe’ (1605), see Selected Criticism.”
1904 ver
ver: Eastward Ho!, White Devil, Dutchess of Malfi, Sheridan analogues; TNK, MND, Mac. //s
2945 ] Verity (ed. 1904): “Ophelia’s singing of this verse, and other features of her part, are burlesqued in the Comedy of Eastward Ho! (1605), written by Jonson, Chapman and Marston, and in it a footman is addressed ironically as “Hamlet.” (F.) We have already remarked on the element of personal satire in the Elizabethan drama.
“In The Two Noble Kinsmen the part of the Gaoler’s daughter in her madness [3.4.141-186 (2524-62)] is modelled on that of Ophelia, even to the circumstance of the attempted drowning (4.1); just as the Morris-dancers’ scene of rehearsal (3.5) is an obvious imitation of the rehearsal in MND, and the Doctor’s scene (4.3) an echo of Mac. (5.1 and 3). Of course, these imitations belong to Fletcher’s share of The Kinsmen.
“Another obvious reproduction of Ophelia’s madness occurs in Webster’s tragedy The White Devil (1612), V. 4 (Cornelia’s “There’s rosemary for you; and rue for you; and rue for you” etc.). Webster’s sombre genius (characterised so wonderfully by Charles Lamb) was much influenced by Shakespeare. The Duchess of Malfi, perhaps the masterpiece of Jacobean tragedy, has more than one Shakespearian reminiscence. See Index (II.) to Mac. One of the wittiest ‘perversions’ in literature is Sheridan’s parody of this mad scene (The Critic).”
2945