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.

1730 theol

theol

3600ff Ham. No. . . ] Theobald (26 Mar. 1730, [fol. 123v] [Nichols 2:579]): <fol. 123v> “‘—Igniculum brumœ si tempore poscas, Accipit endromidem; si dixeris ŒSTUO, SUDAT. ‘ Juven. Sat. iii.102,3.” </fol. 123v>

1733 theo1

theo1

3599 Cour. I thanke your Lordship] Theobald (ed. 1733) : “The humourous Compliance of this fantastic Courtier, to every thing that Hamlet says, is so close a Copy from Juvenal, (Sat. III) that our Author must certainly have had that Picture in his Eye. ‘—Rides? majore Cachinno Concutitur: flet, si lacrymas aspexit amici, Nec dolet: igniculum brumœ si tempore poscas, Accipit endromidem: si dixeris, Œstuo, sudat.’”

1877 v1877

v1877 : theo1 (Juvenal analogue only)

3599 Cour. I thanke your Lordship]

1877 neil

neil ≈ v1877 +

3599-3602 Neil (ed. 1877, Notes): “[following Juvenal’s Latin] ‘All Greeks are actors, and in this vain town Walk a short road to riches and renown. Smiles the great man? they laugh with noisy roar; Weeps he? their eyes with bidden tears run o’er; Asks he a fire in winter’s usual cold? The warmest rugs their shivering lims enfold; Pants he beneath the summer’s common heat? Lo! they are batched in sympathetic sweat’ —Francis Hodgson, M.A.

“Perhaps the character of Osric is not unindebted to Terence, whose Gnatho, the parasite, describes himself as one who sets himself among men: ‘’Sed his ultro arrideo, et eorum ingenia admiror simul; Quicquid dicunt laudo; id rursum si negant, laudo id quoque; Negat quis, nego: ait, aio, postremo, imperavi egomet mihi, Omnia assentiari’—Eunnuchus, II, ii, 19-21. ‘For gain To laugh with them and wonder at their parts: Whate’er they say, I praise it; if again They contradict, I praise that too; does any Deny? I too deny; affirm? I too Affirm; and in a word I’ve brought myself To say, unsay, swear, and forswear at pleasure.’—Colman.”

1885 macd

macd

3599 MacDonald (ed. 1885): “‘I thanke your Lordship; (puts on his hat) ‘tis very hot.’”

1899 ard1

Ard1 ≈ v1877 w/o attribution

3599 Cour. I thanke your Lordship]

1982 ard2

ard2

3599 it is very hot] Jenkins (ed. 1982): “An adaptation of an old joke. Cf. Guazzo, Civil Conversation ((Tudor Trans., I. 165)), ‘seeing him bare headed . . . made him put on his hat —He should have put on his hat—He should have put it off again, to have shewed that he was not bare in respect of them, but because of the heat’; Florio, Second Fruits, 1591, p. 111, ‘Why do you stand bareheaded? . . .— . . . I do it for my ease’ ((cf. [3610]below)). Burlesqued in The Malcontent, Ind. 37-9.”