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Line 2910 - 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.
2910 {Tell} <Till> our scale {turne} <turnes> the beame. O Rose of May, 29104.5.158
1730 mtheo2
mtheo2
2910 beame] Theobald (letter to Warburton, 3/31/1730 [Nichols, Illus. 2: 592]): [BWK summarizes: uses this line to justify an emendation in R3, 3.7, from Balance to Beam because] “he always uses balance in the sense of a scale, and never, that I can remember, for the beam that poses the scales.”
Transcribed by BWK, who adds: “and he cites several //s, including the Ham.
1854 del2
del2
2910 beame] Delius (ed. 1854): “Das Bild ist vom Wiegen in Wagschalen entlehnt; in der einen Wagschale liegt als erlittene Kränkung Ophelia’s Wahnsinn, der in der andern durch die gebührende Rache so vollwichtig aufgewogen werden soll, dass dieses Gewicht jene andere niederdrückt.” [The image is taken from weighing in a balance scale; in one pan lies the offence of Ophelia’s insanity which is to be balanced so fully in the other by the appropriate revenge that the weight of the latter overcomes the former.]
1857 fieb
fieb ≈ del2
2910 beame] Fiebig (ed. 1857): “Beam means that part of a balance to the ends of which the scales are suspended. the poet persists in the metaphor of weighing: till our scale may sink, i.e. my revenge shall be more horrible than the injury.”
1872 del4
del4 = del2
1888 mulls
mulls: xrefs.
2910-26 Mull (1888, p. 20-22): <p.20> “[Suggested Sequence of Speeches is given before the following explanation] On the entrance of Ophelia, Laertes is filled with anguish at the strange manner and grotesque appearance of his sister—at what he sees; and after giving vehement expression to his feelings, he is induced by her silence to address her, which he does in the tenderest language, full of emotion, ‘O rose of May!’ &c. His imploration, however, is cut short by Ophelia breaking out into pathetic threnody, no response to his appeal or recognition of himself being indicated; this again stirs him to deeply-moved, but now calm and restrained utterance, caused by what he has just heard. The whole passage—[‘O how . . . it’ [4.5.183 (2934)], followed by ‘O heavens . . . loves [4.5.160-164 (2912-16), and then ‘Fare you . . . thus.’ [4.5.168-170 (2920-22)], all spoken by Laertes]—is palpably prompted by Ophelia’s pathetic utterance: placed as it is in all the copies, it has no connection or application.
“The dislocation which is in all the copies, seems capable of demonstration. Line [4.5.183 (2934)] I give to Laertes; the second clause of line [4.5.168 (2920)], I also transfer to him, for this can only be the expression of the agonized brother to his sister—corresponding to similar ardour before expressed in line 2911, but all the copies give it to Ophelia, in whose mouth it has no application whatever, while it is so fit and harmonious where I place it. </p.20>,p.21>
“It may be pointed out, that in the 1623 Folio, ‘Fare you well, my dove!’ is printed as the fourth line of the stanza sung by Ophelia; but the refrain, ‘Down a-down, a-down-a,’ is what properly completes the stanza, and so I have placed it—that is, before [4.5.183 (2934)]. A slight glimmer of recognition of her brother seems here to flash out, for she addresses to him a pointed reminder, ‘You must sing an you call (remember) him,’ and this she strangely mixes up with the refrain. This line is confusedly printed in all copies: some make Ophelia to call upon Laertes to sing these phrases, ‘Down a-down, an you call him a-down-a,’ which is nonsense; while others have turned it into this equally absurd form: ‘You must sing a-down a-down, An you call him a-down-a.’ What Ophelia really sings, is that which is an integral part of the stanza; thus, </p.21><p.22> ‘And on his grave rain’d many a tear; Down a-down, a-down-a.’ but in her distraction she intermixes it with her spoken direction to Laertes.
“The mistaken ascription to Ophelia of the ardent exclamation, ‘O, how the wheel becomes it!’ renders it as meaningless as the misplacement just noticed. It seems obvious that the true dramatic structure of these speeches is as I have set them out, and the disposition I give of each speech is that which appears to be required.” </p.22>
1891 dtn
dtn
2910 turne the beame] Deighton (ed. 1891): “cause the beam of the balance to bow owing to the greater weight in our scale.”
dtn
2910 of May] Deighton (ed. 1891): “i.e. in the bloom of life’s spring-time.”
1947 yal2
yal2
2910 of May] Cross & Brooke (ed. 1947): “early-blooming, delicate.”
1957 pel1
pel1
2910 beame] Farnham (ed. 1957): “bar of a balance.”
1980 pen2
pen2 ≈ pel1
2910 beame] Spencer (ed. 1980): “horizontal bar of balance.”
pen2
2910 Rose of May] Spencer (ed. 1980): “The English wild rose first flowers in May; Ophelia is in her early bloom.”
1982 ard2
ard2
2910 turn the beam] Jenkins (ed. 1982): “tilt the bar joining the two scales of balance.”
1984 chal
chal ≈ pel1
2910 beame] Wilkes (ed. 1984): “horizontal bar joining the scales.”
1987 oxf4
oxf4: Tilley
2910 Rose of May] Hibbard (ed. 1987): “proverbial (Tilley F389).”
1988 bev2
bev2 ≈ chal
2910 beame] Bevington (ed. 1988): “crossbar of a balance.”
2006 ard3q2
ard3q2
2910 Till] Thompson & Taylor (ed. 2006): “Q2’s ’Tell’ seems erroneous. (as at 2.2.482).”

ard3q2
2910 turn the beam] Thompson & Taylor (ed. 2006): “tilt the bar joining the two scales.”
2910