|683 Ghost. Marke me.||1.5.2|
683 Marke me.] Stubbs (1736, p. 23): “The Reader of himself must easily see why the Spectre would not speak to the Prince, but a-part from those who were with him. For it was not a Secret of a Nature fit to be divulg’d.”
683-776 Gentleman (1770, 1: 18): “a narration of a very affecting nature is delivered by the Ghost, in language worthy that inimitable author, who created character s from the force of imagination, and, from the same inexhaustible source, furnished a peculiar mode of expression for each.”
683-776 Marke . . . . me] Knight (ed. 1839, 1:170): “and when the revelation comes, who could have managed it like Shakspere! The images are of this world, and are not of this world. They belong at once to popular superstitions, and to the highest poetry, Nothing can be more distinct than the narrative of the vision; nothing more mysterious than the ‘eternal blazon’ that ‘must not be to ears of flesh and blood.’ How exquisite are the last lines of the ghost;—full of the poetry of external nature, and of the depth of human affections, as if the spirit that had for so short a time been cut off from life, to know the secrets of the ‘prison-house,’ still clung to the earthly remembrance of the beautiful and the tender that even a spirit might indulge: [quotes 774-6].”
ard2: xref; analogue
683 Ghost ] Jenkins (ed. 1982): “Only now, alone with Hamlet and in response to his questioning, does the Ghost speak for the first time. Cf. 59, 67, 170 and CN. For the voice associated with ghosts, see 124+9 and CN. the pre-Shakespearean Hamlet was said by Lodge to have ’cried . . . miserably . . . like an oyster-wife’. The ’whining ghost’ of the popular stage, ’screaming like a pig half-stick’d’, was mocked in A Warning for Fair Women (1599), Induction.”
683 Hibbard (ed. 1987): "having remained silent through two previous scenes, the Ghost speaks at last, taking complete control of the situation. Wielding the threefold authority of supernatural being, king, and father, he very appropriately begins with a command."
683 Marke me] Mowat & Werstine (ed. 1992): “pay attention to me”
ard3q2 = fol2 without attribution
683 Marke me] Thompson & Taylor (ed. 2006): “pay attention to me”
Wilson: Hawke; Derrideans
683 Marke me] Wilson (2007, pp. 228-9): <p.228> "Taking a cue from </p. 228> <p. 229> Hawke’s perception in his famed essay ’Telmah’ that reprise, back-tracking, ’running events over out of their time-sequence,’ is a fundamental aspect of Hamlet [Hawkes, Rag, 96], Derrideans read the chiasmic reversals of this play as in fact a deconstruction of the illusion of laying things to rest; an anamnesis effected in letters, like Hamlet’s notification of his return to Denmark [3054-7]; the ’letter-bomb’ Rosencrantz and Guildenstern carry to their doom ; or the messages of the Ghost  which eerily cross the bourn from which no traveler supposedly returns ." [See Russell Samolsky Angles on Derrida: Jacques Derrida and Anglophone Literature: Oxford Literary Review. 25 (2004); also Margaret Ferguson, "Hamlet: Letters and Spirits" in Parker and Hartman. pp. 292-309, esp. p. 300.] </p. 229>"