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Line 2920 - 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.
2920 Fare you well my Doue.4.5.168
1723- mtby2
mtby2
2920 Doue] Thirlby (1723-): “fsql honey or dear or love.”
1733- mtby3
mtby3 = mtby2
1774 capn
capn: xref.
2920 Capell (1774, 1:1:144): “The folio’s have committed a blunder in making [4.5.179 (2930)] a part of the song, and the moderns have all follow’d them.”
1843 col1
col1
2920 Collier (ed. 1843): “In the folio, these words are erroneously printed in Italics, as if part of the song.”
1853 coln
coln
2920 Collier (1853, pp. 428-9): <p.428> “When Ophelia re-enters, ‘Fare you well, my dove’ (p. 310), is </p.428><p.429> given in all the folios as part of the ballad; but it is marked by the old corrector as spoken, and notsung.”
1866b cam1
cam1: cap
2920 Clark and Wright (ed. 1866): “Capell was the first to print these words as not forming part of the song. In the Folios they are printed like the former lines in italics. As there is no change of type in the Quartos, it is impossible to say on which side their authority is. There is a comma after ‘teare’ (or ‘tear’) in all the Quartos and Folios, except the sixth Quarto, which has a full stop.”
1882 elze2
elze2
2920 Elze (ed. 1882): “Printed in italics in F1, as if belonging to the song.”
1888 mulls
mulls
2920 Mull (1888, p. 24): <p.24> “Laertes expresses this parting (not Ophelia, as I explain above (see n. [4.5.158-174 (2910-26)]), because he regards her as though she were dead—her wits have become mortal [4.5.160-61 (2910-26)]—no further intercourse can exist between them.” </p.24>
1934 cam3
cam3: cap; MSH
2920 Fare . . .dove] Wilson (ed. 1934): “Q2, F1 do not distinguish this from the song; Capell first printed it as if it were an observation on the part of Oph., addressed to Laer. as she recognizes his presence. MSH. pp. 227-28.”
1980 pen2
pen2
2920 my Doue] Spencer (ed. 1980): “(perhaps Laertes).”
1982 ard2
ard2
2920 Jenkins (ed. 1982): “Printed by F as though part of the song, and indistinguishable from it in Q2, but more plausibly an endearment added by Ophelia to it.”
2006 ard3q2
ard3q2
2920 Fare. . . dove] Thompson & Taylor (ed. 2006): “If this is Ophelia’s own addition to the song, my dove seems more appropriate to a lost love than to a dead father; again she is alternating between the two (and possibly mistaking Laertes for Hamlet here).”
2920