1.SMALLCAPSIndicate 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 SMALLCAPS, 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.”
130grace] Tschischwitz (1869, apud Furness, ed. 1877) “quotes Simrock (Mythologie, p. 488, ed. 2):‘A ghost can be not infrequently laid, especially when a living person accomplishes that for him which he, when alive, should have himself accomplished.’”
v1877: Abbott § 512
See n. 3-4 on extra-metrical elements and Abbott
130ease] Furness (ed. 1877): “Tschischwitz quotes Simrock (Mythologie, p. 488, ed. 2): ‘A ghost can be not infrequently laid, especially when a living person accomplishes that for him which he, when alive, should have himself accomplished.”
130doe . . .grace to mee] Travers(ed. 1929): “[obsolete or archaic, ] set me in a gracious (i.e., favourable light,” with, as usual with Sh., religious overtones.
130 132 129 3 4
130Speake to me] Travers(ed. 1929): “The solemnity of the appeal, or charge rather, makes the three words fully equivalent, in effect, to a whole ordinary line. Cp. , just two intensely pathetic syllables; also, e. g. .”
kit2 ≈ tsch without attribution
130doe ease] Kittredge (ed. 1939): “relieve thy conscience and let thee rest in peace.”
kit2 ≈ trav without attribution
130grace to me] Kittredge (ed. 1939): “be set to my credit as a virtuous action. Only on this condition does Horatio promise to carry out the apparition’s wishes, for he cannot be sure that it is not a malignant ghost or even a demon.”
130Spencer (ed. 1980) considers that short lines indicate Hor.’s pause for a response. See also 132.
130Greenblatt (2001, p.103) says that it was believed that ghosts might speak only to the one person it came for.