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Line 3080 - Commentary Note (CN)

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.

Notes for lines 2951-end ed. Hardin A. Aasand

For explanation of sigla, such as jen, see the editions bib.

3080 {I haue} <I’ue> seene my selfe, and seru’d against the French,	4.7.83

1754 grey

grey

3079 -81 Here . . . well] Grey (1754, 2: 301): <p. 301>“The thought is humorously expressed by Butler in banter of Hudibras , part I. canto ii. 446, &c. ‘That which of Centaur long ago Was said, and has been wrested to Some other knights, was true of this, and his horse were of a piece. One spirit did inform them both, The self same vigour, fury, wroth; Yet he was much the rougher part, And always had a harder heart.’ And again, part iii. canto I. 1344. ‘And growing to thy horse a Centaur.’

“The Spaniards were taken for such upon Cortez’s conquest of the Mexicans , who had never before seen a horse, and had taken the horses with their riders to be fierce monsters, half man and half beast. See De Solis’s History of the conquest of Mexico , by T. Townshend , Esq; 8vo edit. vol. I. p. 107.”</p. 301>

1819 cald1

cald1

3079-80 Heere . . . French] Caldecott (ed. 1819) : “With this punctuation [the comma after “Normandy”], that of the quartos also, the construction may be, ‘Here was a gentleman [whom] I’ve seen myself, and [I have also] served against the French, and they, &c.’ or, if the reading of the folio of 1632 is adopted, viz. ‘Here was a gentleman of Normandy.’[the period after “Normandy”] we must read and punctuate the next line with the modern editors: ‘I have seen myself, and serv’d against, the French.’ They, also, with the quartos, read can instead of ran .”

1832 cald2

cald2=cald1

3079-80 Heere . . . French]

1877 v1877

v1877 : cald2 (subst.)

3079-80 Heere . . . French] Caldecott (apud Furness, ed. 1877): “With the punctuation [the comma after “Normandy”], that of the quartos also, the construction may be, ‘Here was a gentleman [whom] I’ve seen myself, and [I have also] served against the French, and they, &c.’”

1937 pen1a

pen1a :

3980-1 Harrison (ed. 1937) observes that French hosemen were "famous" at this time.

1980 pen2

pen2

3079 Normandy] Spencer (ed. 1980): “As the play is vaguely set in late Anglo-Saxon times, the introduction of a Norman is appropriate enough.”

1985 cam4

cam4

3080-7 Edwards (ed. 1985): “This enthusiastic comment on Lamord’s superb horsemanship—even in the midst of plotting Hamlet’s death is an interesting insight into Claudius, perhaps to be compared with Hamlet’s enthusiasm for the players, in a sense which has already deepened our perspective on him by his confession of his total love for Gertrude.”