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Act I Scene 1 3 Long ... King Barnardo's exclamation is not a password. He is saying something so that Francisco can recognize his voice. They cannot see each other well enough yet to identify each other by sight. Barnardo's reflexive choice of phrase is ironic. 4 "You are very punctual." Arden's attempt at equivalent phrasing is obviously wrong. It is a fact in the play that Barnardo is slightly late to relieve Francisco, for one thing. It's expressly stated that the midnight bell has already struck when Barnardo relieves Francisco. Barnardo is not, in fact, punctual. He is late. Francisco is not praising Barnardo for his punctuality, of course, he is remarking on the fact that Barnardo startled him. When Barnardo saw the human shape ahead of him in the darkness, he stopped and called out, in case it might be the Ghost. Such carefulness, by Barnardo in arriving to replace Francisco, is unusual, and elicits the remark by Francisco on Barnardo's unexpected behavior. Normally, Barnardo would simply walk up and say a "hello," but the Ghost has changed things. It is, of course, expected as a routine matter that Barnardo will normally arrive on time. Mere punctuality is an ordinary thing that would elicit no comment from Francisco. Arden's obliviousness to both the explicit facts of the play, and common sense, makes for an inauspicious beginning to their attempt at presenting Hamlet. 18 Say ... there There is no such presumption that Arden claims. Barnardo does see Horatio, but only as a human shape in the darkness near Marcellus, at first. One again, as he did with Francisco, Barnardo is checking to be sure the human shape is not the Ghost. The line requires punctuation to indicate a pause after "Say." Also, A ... him Horatio's remark would be commonly expressed in modern terms that he's freezing his a-- off. He also means his thoughts are elsewhere, as he thinks about being inside by a nice, warm fireplace. In undertone, in advance of the Ghost, Horatio's remark carries allusion that a ghost is only a piece of a person, not the entire, living person. There is irony that Horatio, when he speaks and identifies himself as not being the Ghost, expresses himself in a way that the Ghost could be described: only a "piece" of a person. 20 SP [speech prefix] Q2 gives the line to Horatio, and there is no sound editorial reason to imagine it should be otherwise, and certainly not in a presentation of the Q2 text. Since Arden purports to present Q2 in this volume, their note is inappropriate. Discussion of differences between Q2 and the Folio, and Q1, belong elsewhere than within a presentation that is supposed to be specific to the Q2 text, itself. Horatio's reason for asking is that if the Ghost has already appeared, he can leave at once, since there would be no point to his continued presence. We can be fully confident that the line is Horatio's, exactly as Q2 shows, because he is the one who has the immediate motivation to ask. 29 Sit down awhile Since the location is a cannon platform, the sentinels most reasonably sit on the carriage of a cannon. If cannons are not available in stage production, a simple bench would do. In literature, however, cannons are available to the imagination, of course. The men should not sit on the ground, because they're on serious sentinel duty, with the nation under a military threat. 43 *harrows Q2 "horrows" ought not have been changed in the playtext. The word, horrows, is not difficult to interpret as a plausible combination of "horrors" and "harrows," and may be viewed as a Shakespeare coinage. It's an editorial blunder to alter a word which can be interpreted an authorial coinage, simply to get a familiar word. One denies proper credit to the author. The OED is not a source for Shakespeare, rather, quite the contrary. 45-7 usurp'st ... Denmark Arden's comment is peculiar, and can only be seen as foolish. There has never been any rational contention that the Ghost is the actual person of the former king. The issue Arden is apparently trying to answer in their note is one which has never arisen, at least not among sane people who can read. 49 offended Arden overlooks the distinct possibility that the Ghost might be offended by Horatio's phrase "by heaven." It is a continuing question in the play whether the Ghost is genuinely the spirit of Hamlet Sr, or an evil imposter. If an evil imposter, the Ghost would object to being asked to do something "by heaven." 59 the very armour The persistent uncertainty, which has somehow endured in commentary, of how Horatio knows the armor, is manifestly imbecilic, and should be firmly put to rest. Steel armor does not evaporate and disappear when a person takes it off. It continues to exist. Anybody with the slightest bit of sense knows that. The obvious likelihood is that Horatio saw the armor on public display, as part of the memorial exhibits for King Hamlet. A person does not have to be 500 years old to know what the armor of Henry VIII looked like. Several suits of armor that belonged to Henry VIII still exist, and are on display to public view in the Tower of London. That editors and commentators on Hamlet should overlook this simple point, over and over again, about the endurance of steel armor, is sadly unfortunate, and a disgrace to Shakespeare scholarship. It makes Shakespeare scholars look like idiots. There is an extremely easy answer to the question of how Horatio knows the armor: it still exists, and has been on public display since the death of Hamlet Sr. Horatio could easily have seen the armor within only the last few days, and would remember it well. Indeed, he could have seen the actual armor earlier in the day. There is no mystery in Horatio's remark. 62 sledded Polacks FIrst, if one is sincerely presenting the Q2 text, the first word should have been left "sleaded" as Q2 shows. The word is interpretable as "sleided," which is a weaver's term. It means, arranged in neat rows or columns, like threads for weaving cloth. From sley. A variant spelling of "sley" includes an "a." The author knew the word. See Pericles Act IV: "Be't when she weaved the sleided silk," also, Lover's Complaint stanza 7: "With sleided silk ..." A pun on "sledded" is likely intended, in connection with "ice," but "sleided" is sensibly the primary word. The Poles were in good military formation, for combat, well arrayed in orderly lines. The parley turned angry and became a battle, which Hamlet Sr won, in icy conditions. The weaving term implies a large number of Poles, many lines of men, or a few long lines. It was a major victory for Hamlet Sr. Also, the phrase carries advance allusion to Hamlet's "smiting" of Polonius, the "Pol-" character, during Hamlet's "angry parley" with Gertrude in the Closet Scene, when Polonius is hidden behind the "sleided silk" tapestry. This advance allusion is further evidence in favor of "sleided" being the correct word in the playtext. (Historical documentation mentions the tapestries at Kronborg Castle being woven of silk, by the way.) 74 impress Although "impressment" has the definition of conscription, it ought to be noted that the sense is most likely figurative. The "press" is reasonably the press of the urgent circumstances. 82 Horatio is saying that Fortinbrasse Sr wanted to become a king. His "emulate pride" was his ambition to emulate his brother, Norway, and his enemy, Hamlet Sr, in being king of a nation. The phrase "emulate pride," if it's given a simple gloss, should be equated to "ambitious pride," but simple gloss is inadequate. 85 sealed compact The meaning is not "sworn," but "official and binding." The agreement may indeed have been sworn to, and probably was, but "sealed" means it was made final and binding on the parties, officially. 92 co-mart "Comart" can be directly interpreted from the prefix and root, and means "mutual bargain," or "mutual agreement." It's the correct word in the playtext, and there is no reason to add the hyphen which is not present in Q2. The word is apparently another Shakespeare coinage, since it seems to be unknown elsewhere. Strangely, while purporting to present the Q2 playtext, Arden calls a change that was made in the Sixth Quarto "sensible," which is ridiculous. It is hardly sensible to overlook a genuine Shakespeare coinage. 93 carriage ... design "Design" means "intent," and the line means simply that when Hamlet Sr won, the agreement was carried through as it had been designed and was intended to be. Lines 93 and 94 also carry an undertone in advance of the fencing match scene. Ostrick will speak of the design of the "carriages" of the swords Laertes wagered, and at the match Laertes's poisoned foil will "fall" to Hamlet. 95 unimproved mettle The phrase means that Fortinbrasse Jr is "just like his father." His character is the same, not more restrained, or tame, or domesticated. "Mettle" is a reference to Fortinbrasse Jr's nature, or character, and "unimproved" means "no better" than his father was. The Q1 mistake deserves no mention in a playtext note, especially when one is supposedly presenting the Q2 playtext, specifically. One begins to get the impression that the Arden notes were originally intended for a conflated text, and were inadequately rewritten when the decision was made to present only Q2 in this volume. Be that as it may, the Arden notes consistently display a lack of focus on Q2, itself, and even a lack of focus on Hamlet, itself. 97 Sharked up "Sharked" is most easily understood as "scavenged" in an aggressive way. Also lawless When Fortinbrasse arrives at the end of the play, he and his army have just taken the castle by force. It's rather charitable to dismiss the question of that being lawful. 108 sort Means "sort out" or "turn out." Barnardo is asking what the appearance of the Ghost may predict for future events. He's wondering if events will turn out well for Denmark, based on viewing the Ghost as an omen. 111 mote Should be "moth" as Q2 shows. Horatio is using "moth" to mean "an unpredictable thing." It's unpredictable where a moth will land, when one sees it fluttering about at night. Horatio is not talking about the sight of the Ghost irritating his eye, he's talking about the future that the Ghost may foreshadow. There is, indeed, an intended pun on "mote," strictly in connection with "eye," but "mote" is only the pun. Although a moth is an unpredictable thing, in general, it's well known that moths are attracted to light, such as firelight. That is exactly where the Ghost "moth" will later tell Hamlet it landed: "in sulfurous and tormenting flames." The common expression is: like a moth to a flame. 116 *At stars The Q2 wording ought not have been changed in the playtext. Q2 says "As," and good editorial practice would respect that. The line does not require any change in wording to be interpreted. Punctuation is enough. Lines 116 and 117, as originally printed in Q2, can be read: 'As stars with trains of fire... and dews of blood... Disasters in the sun.' Horatio is thinking of each of those things, pausing, then dismissing it. He and the sentinels have not seen any showers of shooting stars, or dews of blood, or any disasters in the sun. All they've seen, that might be an omen, is the Ghost. The phrases are not intended to be a grammatical sentence, they are a list of things Horatio ponders momentarily. It is unlikely the living Romans were bothered that the Roman dead gibbered at phenomena, rather, the problem was, the Roman dead were gibbering at them, the living. The emendation adopted by Arden, without authority, does not make sense. Concerning the historical suggestions for emendation offered by Jennens et al, none of that belongs in a footnote to a genuinely scholarly playtext of Q2. Commentators on, and editors of, Hamlet have, over the years, suggested the most amazing variety of changes for things they did not easily understand, with many of the suggestions being purely idiotic, and indeed, with some suggestions (Collier) being fraudulent. All that the historical commentators have proven is that none of them showed any sign of having been Shakespeare reincarnated, however much some of them might have wished they were. Historical oddities should be relegated to a separate volume on the shelf, preferably a dusty one, entitled perhaps "The Pathology of Hamlet Commentary," and not be allowed to contaminate a sound, respectable presentation of Shakespeare's text. There is no reason to suppose that any of the four persons mentioned was right, and every reason to conclude, firmly, that each of them was stupidly wrong, and is unworthy of mention, if the intent is genuine to present Q2, itself. 117 Disasters Apparently with no presence of mind at all, Arden calls the sun "a star or planet." The phrase in the playtext is "Disasters in the sun," which is obviously specific to the sun. Arden's note is peculiarly useless. Technically, Arden's phrase would include the sun, but, good heavens. Horatio's phrase most likely refers to sunspots. The first illustrated account of sunspots was by an Englishman, John of Worcester, in A.D. 1128, showing two large sunspots observed with the naked eye. 120 *feared The word in Q2 is "feare," and it is known the author was casual about grammatical forms. A misprint is hypothetically possible, here or anywhere, but one does not so easily assume misprint, when the word in the original text has an interpretable meaning. Arden purports to be presenting the Q2 playtext, but fails to do so. The original "fear" should be in the text, with the suggestion of "feared" in the note, if the latter deserves mention at all. Arden has done it backwards, and has been remiss in their stated objective of presenting the Q2 text. If one is going to claim to present the Q2 text, it is only proper to do that in reality. "Fear events" are events to fear, or events of fear. The phrase is not difficult to interpret, as it genuinely appears in Q2. It is also unprofessional, unscholarly, and just plain unintelligent to speculate on the possibility of wording in a manuscript the editors have never seen, and never will see, at the expense of a clear, sensible presentation of the play as it was printed. 122 omen Arden's note reveals a lack of understanding of the play. The Ghost, the omen, is certainly not "the terrible event itself." The terrible event, itself, in the play, will be the death of the protagonist Hamlet, which does not happen in this passage, of course. 124 climatures Arden's note is unacceptably deficient. The phrase demands gloss, not just the isolated word out of context. The phrase is "our climatures," which Horatio mentions because Denmark is in northern Europe, whereas Rome, of which he has been speaking, is in southern Europe. Horatio means that, although he has been speaking of phenomena which have been observed in southern Europe, the same sorts of things have been observed in northern Europe, where Denmark is. Horatio mentions that to show that what he's been saying about Rome is not irrelevant to them, in Denmark. 126 SD [stage direction: "It spreads his arms."] Arden fails to mention the known fact of Elizabethan usage that the word "his" was often used as the neuter pronoun at that time. The word "its" was only beginning to be used in that era. Sensibly, the word "his" should be understood as "its" and the SD refers to the Ghost, ignorant speculation by some {White (1861) et al} in the history of Hamlet commentary notwithstanding. The Ghost's gesture is ironic. After Horatio said he would cross the Ghost, the Ghost "crosses" Horatio, by imitating the posture of Christ on the cross. That is the reason for the stage direction, in Q2. It's an attempt to ensure the irony is understood (and further implies the Ghost heard what Horatio said.) 153 extravagant and erring Although Arden lists the entire phrase, they fail to note "erring." The phrase means approximately "wandering and straying." 164 and ... it The Arden note is careless of the dialogue. The fairies and witches just mentioned by Marcellus are not "ghost-lore." The part Horatio believes is about Christmas being a special time. He is not sold on fairies and witches, because, although he has now seen a ghost, he has not seen them. 166 eastward Whether Hibbard personally preferred a word different from what is genuinely in the Q2 text is irrelevant, and Arden's note is a foolish waste of space in what is supposed to be a presentation of the Q2 text. "Eastward" is, of course, the correct word, as we know, because "ward" is from a root meaning of "watch," which alludes to the sentinels' watch. It reveals Shakespeare's knowledge that "ward" comes from "watch." The sun, rising in the east, is now taking over the "watch" for the sentinels. 169 young Hamlet "Assumed??" The use of the word is madness. Have the Arden editors lost their minds? There is no honest question in the play that Hamlet is the son of King Hamlet. Are the Arden editors certain Hamlet is in the play at all, or is his presence also a matter for speculation, as far as they can tell? Madness is a theme of Hamlet but that doesn't mean the editors of a publication of Hamlet have to make themselves appear crazy. Act I Scene 2 2 us befitted The correct meaning is "did befit." Claudius uses the simple past tense, as he announces that the mourning period for Hamlet Sr is over. 22 message The original printing is correct with the singular. Although several communications have been sent by Fortinbrasse, they have all carried the same, single message. A distinction is being made between the communication, and the message which it carries. Multiple communications can carry the same message. 28 Norway ... Fortinbrasse The Arden note is wrong; there is no reason to think Fortinbrasse was King of Norway at his death. Had he been, Hamlet Sr would have won Norway, but we know he did not, since Norway exists as a separate entity in the play. Fortinbrasse Sr was apparently a duke, or some such, and what he risked was his dukedom, not his country. Fortinbrasse Jr is not exactly analogous to Hamlet, and is clearly not intended to be. 31 gait Arden irresponsibly fails to note that the word in the original playtext is "gate." There is no excuse for their failure, nor any excuse for their substitution of the wrong word, since "gate" is also the word in F1. No legitimate source for "gait" exists. The substitution of a word (without even a comment attempting to justify it) that has no proper source is unscholarly and unprofessional. Shakespeare's word "gate" is right, as originally printed, with no factual question about it. It means "access" or "entrance." By ignoring the legitimate Shakespearean word in favor of a mistake made in incompetent later commentary, Arden has mangled the point of Claudius's remark for the play. Claudius's stated diplomatic intent is to keep Fortinbrasse out of Denmark, to deny his access to Denmark, and it is manifestly vital to the play that Claudius's stated intent is not realized. The incorrect notion of "gait" apparently goes back at least to Theobald (1729) and has been for some mysterious reason accepted, mindlessly, by some later editors, even though there is no reason to think he was right, and the word, itself, in the playtext proves that he was wrong. "Gate" is a known Shakespeare word, used by him some 61 times in his various writings, in the same sense the word is currently used, and with the same spelling as is currently standard. Changing Shakespeare's word to "gait" is an act of groundless speculation, and sheer ignorance, and further, doing so without even a comment, that the word has been changed, is a disgraceful editorial lapse. One has a right to demand higher standards in a serious publication. If one is going to present Q2, it really is necessary to pay attention to what Q2 actually says. 31-2 levies . . . proportions The Arden note is inadequate, and wrong as far as it goes. "Full proportions" means the land that Hamlet Sr won is now a full part of Denmark. It has been divided into Danish governmental districts, counties or parishes, and is the same as any other Danish land. The point of Claudius's lines is that the land is not unclaimed territory to be fought over. 33 his subject Arden is exactly wrong. The phrase "his subject" refers to the subject of Fortinbrasse's message, i.e. the land. The land is now legally part of Denmark, so any people on that land would be officially Danish, and certainly not Norwegian. 38 delated Arden misses the crucial point that, although Claudius says "delated," the ambassadors mishear the word as "dilated." The ambassadors take it that Claudius is telling them they may expand on what he's written, although he does not intend to give them that instruction. The ambassadors do proceed to expand on the articles, essentially changing them completely, which results in Fortinbrasse being allowed to enter Denmark unchallenged, which is exactly the opposite of what Claudius originally wants, as he expressly states in this passage. The misunderstanding of this word, by the ambassadors, is what brings Fortinbrasse and his army into Denmark. A proper explanation, of delated/dilated, is vital to comprehension of the events of the play. This is an instance where it's a great stroke of luck that history has preserved both Q2 and the Folio. Q2 shows "delated" and F shows "dilated." Between them, they show both what Claudius says, and what the ambassadors mistakenly hear. There has been some historical argument over which word is correct, but in fact, both words are correct. "Delated" is what Claudius says, but "dilated" is how the ambassadors take it. 42-50 And . . . Laertes? Arden badly misinterprets this passage. Claudius is neither coaxing Laertes, nor ingratiating himself with Laertes, but is rudely talking over him. Claudius repeatedly calls on Laertes, but then obnoxiously keeps talking, preventing Laertes from speaking. Claudius's important diplomatic mission has left him swelled with pride, in his power as King, and he shows it by talking over Laertes. Claudius likes it that when he talks now, as the King, others have to be quiet and listen. The point is important for Claudius's characterization. 77 cold mother The first word is "cooled." The original printing shows "coold," easily interpreted as "cool'd" with the apostrophe omitted. A son/sun pun is implicit. Hamlet is saying a mother without a "son" (sun) would be cooler. Gertrude is cooled by having less "son." Hamlet is expressing his feeling of alienation from Gertrude. 82 shapes The correct word is "chapes," as Q2 shows. The Arden editors fail even to note that they have changed Shakespeare's wording, which is a serious disservice to the reader, and also unprofessional and unscholarly editing. We can be confident that "chapes" is Shakespeare's word, exactly as Q2 shows, because not only does it refer to an outward covering, (specifically a sheath, pertinent to Hamlet's inky cloak,) it has a further meaning of the part of a scabbard that covers the point of a sword, which is advance allusion to the unbated foil at the fencing match. "Chapes" is a nicely chosen word by Shakespeare, and will be respected in any good presentation of the playtext. 83 *denote Arden errs in changing the correct playtext word "devote." The editors try to justify their misrepresentation of Q2 by claiming they can read a manuscript they have not seen, and never will see. They cannot read such a thing. There is no misprint in Q2. "Devote" is the correct word, and it makes good sense. Hamlet's lines mean that his true devotion to his father is an inner thing, in his heart, and not something he puts on, like clothes. It's as easy as that. 107 unprevailing The word does not mean "ineffective," it means exactly what it says. Claudius is casting Hamlet's continued mourning for his father as a contest of wills. Claudius has announced the end of mourning for Hamlet Sr, thus he would have it that Hamlet's continued mourning is something by which Hamlet would hope to prevail over him, in disobedience to his wishes. 113 school We do not "learn ... that Hamlet is 30." We "learn" no such thing in the play. The Gravedigger is a Clown, explicitly and unmistakably identified as such. Not only is "Clown" his name at entry, it is his speech prefix, throughout. The Clown does not say what many have imagined. 126 tell It means "speak." Figurative. 132 canon There is a delicious double meaning. In undertone, by "fixed" Hamlet means aimed, "His" means Claudius, "canon" means cannons, and "self-slaughter" means Claudius slaughtering himself. Hamlet is saying that he wishes when Claudius fires his cannons during his rouse, they'd be aimed so he'd shoot himself with them. 135 fie Arden fails to note that Hamlet's "fie" goes back, in mockery, to the "fie" Claudius spoke to him. 137 merely Arden's gloss is wrong. The word means "only." Hamlet is saying the problem with the world is only that things rank and gross possess it. 138 two months Ophelia makes no such claim, as Arden claims, at the 'Mousetrap' play. Her remark there is a slip of the tongue, and something Shakespeare used for undertone. Hamlet's "two months" is the correct statement of the passage of time. 141 might not Arden's note is such a bad misreading that it deserves to be called bizarre. "Might not beteem" means, would not permit. Hamlet is saying that his father was so protective of his mother that he would not even allow strong winds to blow on her face. 143 should Arden is incorrect that admonition is implied. Imperative is implied. "Should" is the past tense of "shall." 163 change . . . you The name Hamlet means is, of course, "Horatio," the name he has just spoken emphatically. The failure of editors, over the years, to get this, is surpassingly peculiar. It's as though editors experience some mental obstacle that prevents them from looking back only two lines. It's another of those odd phenomena in Hamlet commentary. Hamlet is saying that, with the way things are for him, he'd rather be Horatio than Hamlet. He wishes he could trade names, i.e. identities, with Horatio. The theme of change of identity recurs in the author's writings, and he alludes to it here, but without using it for Hamlet and Horatio. 164 make you from Horatio's remark is not puzzling in the least. He's joking. Horatio is being facetious. An editor of Hamlet who is puzzled by such a simple thing should be doing something other than trying to edit the play. Further, it is not surprising at all, (to anybody who can read the play with normal comprehension and retention,) that Hamlet was unaware of Horatio's earlier presence in the area. There have been three major social events, undoubtedly with large crowds, and Hamlet has been a V.I.P. at each event. In a class-conscious society, commoners such as Horatio are kept apart from the V.I.P.s. Further, Hamlet has been depressed, and almost certainly has not been mingling with the crowds, where he might have seen Horatio. Even further, his romantic interest in Ophelia has taken some of his free time. It is entirely credible, based on the known facts of the play, for Hamlet and Horatio not to cross paths until Marcellus arranges their meeting. 168 Arden's note is oddly unhelpful. Horatio is commenting, in a facetious way, that he isn't at the university. He's giving a jocose spin to the obvious. Horatio most certainly does not think he's wasting his time. Then, re "good my Lord," there is no apology in Horatio's usage. Horatio's deference is because Hamlet's father has recently died, and Horatio is a respectful person. Horatio is honoring Hamlet's grief, as one would naturally expect a good friend to do. 179 Thrift The mention of the Romanian dictator is mere prating, at the expense of a sane gloss that a reader might actually find helpful in understanding the play. Such comments belong in an appendix, or a supplemental volume. The word "Thrift" refers to economic benefit. 185 I . . . once In fact, Horatio's line raises no question at all about his age, unless he were presumed to be younger than two months, which he is not. 191 Season The word means "delay," until the right time. Horatio is asking Hamlet to wait for the right "season" to express his wonder. The usage is figurative based on the seasons of the year. Horatio means the right season for Hamlet to express his wonder will be later, after he's heard the account of the Ghost. 192 attent The word means "waiting," or "awaiting," and there is nothing illogical about it. Horatio is asking Hamlet to delay his admiration with a waiting ear, i.e. both to delay his admiration, and also to have a waiting ear. 203 truncheon's Arden is wrong. A truncheon is a club. In this case, the word refers to King Hamlet's cudgel, which the Ghost appeared to carry. The Ghost, armed for battle, carried his weapon of war. It was not a staff, in the modern sense of the word. There are at least two existing illustrations of King Hamlet's cudgel, odd as that may seem. Also, Arden's notion that somehow the Ghost measured his pace with his truncheon is foolish. Horatio is speaking of how closely the Ghost passed by the sentinels, of course. The length of the King's truncheon would be about three feet. 204 act The word means "actions." 208 Where, as Arden has taken it upon themselves to alter the true Q2 wording, with no justification to the reader why they have done so. It is unscholarly and unprofessional conduct. The word in Q2 is "Whereas," and it is the correct word in the playtext. Horatio is speaking legalistically about his eyewitness evidence, in confirmation of the Ghost. The Folio also shows "Whereas," so there is no question that it is the correct word in the text, while Arden's phrase is not. 212 platform The platform is an earthen mound outside the castle wall. See pictures of Kronborg Castle on the web. 234 Very like It doesn't mean "possibly," it means "very likely." It's Gertrude's "very like" in Scene 7 (A2s2) that means "possibly," that is, her meaning as she speaks the words is "possibly," as she takes a skeptical attitude there in response to what Polonius says. Her doubt is not literal in her words there, and the literal meaning of her words there is also "very likely." Hamlet is not doubtful here that the Ghost would have amazed him, thus, what he means, and what his words mean literally, are the same. Arden's note here refers the reader ahead to Gertrude's phrase. The gloss here is "perhaps, possibly." However, Arden's gloss at that later line is "probably, possibly." Arden thus equates "perhaps" with "probably" which is not going to be helpful to any reader. 236 hundred The word in Q2 is "hundredth," which ought not have been changed, because it is technically correct for counting in general. By changing the word, with neither justification for the change, nor even any footnote to show the true Q2 word, Arden has given Shakespeare a technical error in arithmetic which he, in fact, did not make. In general counting, to one hundred, one stops when one has told (assigned a number to) the hundredth item. 240 A sable silvered At the 'Mousetrap' play, Hamlet is not saying, particularly, that sable is black. He is saying something different in that Scene when he says "suit of sables." (For one thing, he means what Polonius is wearing.) 241 walk It is definitely not the case that either the F or Q2 word is acceptable when one is allegedly presenting the Q2 text, specifically. The impression continues that the Arden notes were originally intended for a conflated text, and were given inadequate attention when the decision was made to present separate texts in different volumes. That would be understandable, but still not good. 246 tenable Hamlet does not mean "capable of being held," he means actually held. 252 Hamlet is not rejecting the use of the word "duty" by the others, and it is not a "colder" word. Arden's note is wrong headed. Servants, or lower class persons, have duty to a Prince, and especially so for the military personnel, Barnardo and Marcellus. Duty extends from a subordinate to a superior. The others are correct to express duty to their Prince, Hamlet. There is nothing "cold" in that. Quite the contrary, it's an affirmation of loyalty, an expression of closeness, not a distancing. When Hamlet expresses "love" in reply to their "duty" he is also using the correct word, with knowledge of the respective social status. It would simply be improper for him to express "duty" to them. A Lord "loves" his people. Hamlet extends his expression of "love" to acknowledge their personal friendship, which is quite correct for him to express. The same pattern of language is seen in the religious context, where a god is said to "love" his people, and the people, in turn, have "duty" to obey their god. There is no implication of coldness in the word "duty," and indeed, the more dutiful the people are to their god, the warmer and more intimate the relationship with the god is supposed to become, ideally. The English class terms are not much different from religious terms, a fact the author made significant use of in Hamlet, to the point one can't tell the difference, sometimes. 255 *foul What is misleading to a reader is when Arden purports to present the Q2 text, but fails to do so. The word in Q2 is "fond." Nor is "fond" hard to interpret, nor is it "plausibly" explained as a misreading (of a nonexistent manuscript which the Arden editors have never seen, and about which they know next to nothing, if the truth were faced.) It is stupid of editors to pretend they can read a nonexistent manuscript, so they can see what the "real" word was that Shakespeare wrote. That is flatly impossible, and anybody with any sense knows it. Such Hamlet "scholarship," which habitually ignores and demeans the original source, is disgraceful, and diminishes Shakespeare scholarship in general. An honest editor would face the truth of his ignorance, openly admit he knows no such thing as what the manuscript "really" said, and allow himself to be guided by the truth. The Q2 word is, in fact, "fond" (in modern spelling) and that is the only "plausible" possibility for the correct word in Q2 in this instance. The Arden substitute has no authority for a Q2 text. Hamlet is using "fond" to mean foolish, which makes perfect sense in the text. There is no sound reason to suspect any misreading by a compositor. Hamlet is hoping that the Ghost can tell him of something foolish Claudius has done, (such as, perhaps, provable bribery to get the crown - Claudius expressly refers to bribery later, in the Prayer Scene) that he can use against Claudius. Act 1 Scene 3 2 as The Arden gloss is wrong. "As" means "the same way as." 3 *convey is assistant The Q2 phrasing is correct, and ought not have been changed. Laertes means as follows. ~~~~~ And sister, (the same) as the winds give benefit (to me) And convey (me,) (likewise,) in assistant... ~~~~~ Laertes means Ophelia should be an assistant to him, the same as the winds that convey his ship. The phrasing is concise, but interpretable to make good sense as it stands in Q2. 6 toy in blood "Toy" means "idea," and "blood" means "passion." Laertes is asserting that Hamlet's interest in Ophelia is an idea from his passion, not his heart. 12 thews and bulks Since "thews" is plural there is no good reason to question "bulks" being correctly plural, as printed in Q2. The reasonable decision is that the Folio is in error. 27 The "main voice" being referred to by Laertes is the voice of the King. Denmark was not a popular democracy. Correct understanding of this is important in anticipation of Polonius's later efforts to get Claudius involved, which leads to the Nunnery Scene. Laertes's phrase, meaning the King, is significant in the flow of events. 41 Contagious blastments "Contagious" refers to transmission from one person to another, and "blastment" means swelling. The phrase refers to pregnancy. Laertes means the possibility of Hamlet "transmitting a swelling" to Ophelia. 43 Laertes means that if no authority is available to rebel against, youth will rebel against itself. The saying concerns the intrinsic rebelliousness of youth. 48 puffed Ophelia tossed a meaning of "swelled up" back at Laertes. This is significant to Ophelia's characterization as a bright girl. Ophelia is saying to Laertes, "Don't get all swelled up, yourself, brother." 49 primrose . . . dalliance A "primrose path" is a self-indulgent path that goes wherever the flowers grow. 51 SD (Enter Polonius) Arden has placed the stage direction incorrectly. It belongs between the speeches of Ophelia and Laertes, as Q2 shows. The reason why Laertes says, "I stay too long" is because he spots his father approaching. Then, the reason he says "my father," even though he knows Polonius is the father of them both, is because he's sure Polonius will want to talk to him in particular. Polonius's approach, upon his entry, is slow. He's an old man, and he doesn't move very fast. 51 stay too long There is no real implication in Laertes's phrase that he doesn't want to hear Ophelia (although it's doubtful he'd take it seriously if he did listen to her more.) Laertes says, "I stay too long," because of his father's approach, which would be understood if Arden had been faithful to their goal of presenting the Q2 text accurately, and had placed the SD correctly. 53 The significant point of Laertes's lines is that upon seeing his father he recites a saying, which is one of Polonius's verbal habits. Laertes is unconsciously imitating Polonius. This observation is important for Laertes's characterization (and Polonius's.) In Polonius's following speech we get to see how Polonius taught Laertes to recite sayings. 55 The Arden note is correct enough, but deficient at explaining "shoulder." Reference is to the shoulder blade area. The wind is right to move the ship ahead, the same way a push to the shoulder blades will move a person ahead. 57 these few precepts It would be most inappropriate to have Polonius read the sayings. Sayings are a normal part of Polonius's speech habit. He just talks that way. This is important for his characterization, and relevant to later comment by Hamlet. 58 [Look thou] character Polonius's phrase does mean what Arden says, but it also means, "look like what you are." Both meanings apply. It is one of the innumerable instances of ambiguity intentionally written into the play by Shakespeare. The author's verbal ingenuity was phenomenal. The phrase is not only an instruction to Laertes, but also, a saying in itself. 62 Far more relevant than Othello is Hamlet's encounter with the pirates, later in Hamlet. Polonius's "grapple" saying anticipates Hamlet's pirate encounter. 63 dull thy palm It means to wear a callus on your palm, figuratively speaking. There is a further implication, in the word "dull," of "dirty," as in shaking hands with a person who is "dirty," figuratively speaking. 64 courage Arden unfortunately misses the allusion to the Ghost. See the Hamlet (Regained) Notes. It's a certainty that "courage" is Shakespeare's word, because "courage" is also "spirit," and spirit = ghost. The Folio word is wrong, and must be editorial. 73 *Are . . . that Arden blunders in changing the Q2 wording. The line ought to have been reproduced as Q2 shows it. Q2 is correct, and interpretation is not difficult, if one understands the play. Polonius has momentarily lost his way in his rhetoric. The same thing will happen again later when he's talking to Reynaldo. It is not any kind of misprint in Q2, it is characterization of Polonius. He tends to lose his way after talking for a while, and that is what happens in this line. It is not supposed to be a grammatical sentence. Polonius leaves off, after getting lost in his thoughts, and recovers by reciting a very common saying in his next line. 76 *dulleth th'edge The Q2 wording ought not have been changed merely for the sake of schoolroom grammar. Nothing is really gained, and the authentic Shakespeare wording is lost. Changing Shakespeare's words, merely for the sake of schoolroom grammar, is madness. The article is not in Q2, and not required, and is further not desirable for sound, as "-th" and "th-" run together. It is conceivable that the sound could be why the author would have omitted the article in the first place. 80 season The primary meaning of "season" is more likely as in seasoning food, to make it better. The word is ambiguous, intentionally so, undoubtedly. 82 invests The Q2 word is correct. It means essentially "ordains." Polonius is saying that time (personified) has invested Laertes with the power of departure. Arden should not have repunctuated to put "go" in the next sentence. "To" is implicit before "go." 90 of late Hamlet has been at Elsinore for some two months, so there is nothing remarkable that he would have found time to spend with Ophelia. Polonius's "of late" is from the perspective of an old man. Time perception changes with age. The last two months is very recent time from the perspective of the elderly. 91 It should be noted that "private time" does not necessarily imply seclusion or intimacy. It means time that Hamlet has for himself, to spend as he wishes. Hamlet could talk to Ophelia in the Lobby with a crowd of 100 people there, and if he had nothing in particular else to do, it would be his "private time." There is somewhat less to Polonius's phrase than meets the modern eye. When Claudius allowed Laertes to go to France he was giving him "private time." This is not to say that Ophelia and Hamlet have not enjoyed some privacy, but that isn't exactly what Polonius means. 92 audience It ought to have been noted that the word is thematic. The idea of "Putting On A Show" runs through the play. Polonius is casting Ophelia as the "audience" for Hamlet's "performance," which implies insincerity by Hamlet, as Polonius goes on to make more explicit in his remarks. 107 Arden is wrong. Polonius is referring to flatulence. He is saying he doesn't want to do the phrase wrong by saying it so abruptly it sounds like passing gas. There is self reference; it is part of the characterization of Polonius's odor problem. "Crack the wind of" = break wind with. It leads to Hamlet's "fishmonger" and "dead dog" remarks, also Hamlet's "nose him," and to Claudius's exclamation about something "smelling to heaven," just after Polonius has left his presence. Polonius, himself, has (unintentionally) begun his "odor" characterization here, with his reference to flatulence. 113 almost . . . heaven Arden fails to note that Ophelia, in an attempt at self defense, is hinting to Polonius that she and Hamlet are engaged. Holy vows = marriage vows, holy matrimony. "Almost" means they are "almost" at the altar, or in other words, they are engaged. Wrapped up in his lecturing, Polonius missed it. The engagement of Ophelia and Hamlet is a crucial fact for understanding of later events, as is Polonius's ignorance of their engagement. 117 more light than heat Arden fails to note that Polonius has gotten it backwards. He means more heat than light. This is not printing error in Q2, it is characterization of Polonius: too many words with too little thought behind them. So intent on his lecturing, he got it backwards, and didn't notice. 127 their investments The irony of this in relation to Hamlet's black mourning clothes should be noted, instead of irrelevancies about white garments. 132 moment leisure The best gloss, if a simple gloss is demanded, is simply to reverse the phrase. Leisure moment. Act 1 Scene 4 1 *shrewdly The correct word is "shroudly," as Q2 shows. Once again, the Arden editors, while pretending to present Q2, have changed the real Q2 wording. "Shroudly" means "like a shroud of death." It is a genuine Shakespeare coinage, which the Arden editors have missed identifying. It's the perfect word to begin the scene where Hamlet sees the Ghost. When Hamlet says the air bites shroudly, he means the cold night air seizes him like a shroud of death, figuratively speaking. The Folio "shrewdly" most likely came from the Q1 word, "shrewd," and is therefore suspect, at best. Whether "shroudly" occurs elsewhere is quite beside the point. A Shakespeare coinage can easily be unique, and when it has gone unrecognized it is very likely to be unique, for what should be obvious reasons. 2 nipping Horatio's word follows from Hamlet's. Horatio agrees that, indeed, the air "bites." 4 struck Whether "Riv" prints 'strook' is as beside the point as anything. If one is going to give an exact spelling in an earlier printing, the appropriate printing to cite is that of Q2, when the intent is to present Q2. 7 Horatio's question concerns customs at the castle. It raises no issue about Horatio being a native of Denmark. The average pub in Denmark would not supply trumpets, kettledrums and cannons to sound while the patrons drink. Horatio is simply from a different part of Denmark, and is unfamiliar with the King's rouse at the castle. 9 the . . . reels The Arden note is wrong. Hamlet's phrase means: swaggering = overbearing upspring = upwell reels = staggers (Hamlet and his friends) Hamlet is saying that the overbearing upwell of noise staggers him and his friends. Shakespeare wrote the line with a double meaning, however, as he did so many times in Hamlet. It additionally means: swaggering = overbearing upspring = upstart reels = staggers (in reference to Claudius's drunkenness) Hamlet is additionally saying that the overbearing upstart, Claudius, is staggering with drunkenness. Both the meanings are present, simultaneously. Hamlet is calling Claudius an overbearing upstart, who is staggering with drunkenness, and also commenting on the loud noise making his friends and him reel. There is no reference to any dancing. The "dance" notion was apparently picked up, at random, from a German publication of 1634 that had nothing to do with Hamlet (and still doesn't.) 11 bray out The Arden note misinterprets the play. It is not that Hamlet is being uncomplimentary to the instruments, it's that he's being uncomplimentary to Claudius, who is responsible for sounding the instruments. Hamlet is calling Claudius a jackass, who is using the instruments and cannons to "bray." 19-20 with . . . addition The Arden note is inadequate. "Addition" has a more specific meaning. For example, in the name John Smith, Esquire, the word "Esquire" is the "addition." It means a title that is customarily used after a name. "Ph.D." would be another example. Hamlet is objecting to other peoples calling the Danes "Danish pigs" as though "pigs" were their proper addition. A neutral addition would be simply the word "people": Danish people. 21 though . . . height The Arden note is incorrect. Hamlet is saying that for the Danes to carouse after they have truly reached a height of achievement is natural and acceptable. There is no height of national achievement here for Claudius's celebration. 22 The . . . attribute "Attribute" doesn't imply "name," it implies "tribe," which is the root meaning. Hamlet is saying it's natural for the "tribe" to celebrate when they've accomplished something truly notable. 23 So It means "very." 53 glimpses Most sensibly, it's a cloudy night, with the moon visible intermittently. 54 we . . . nature Hamlet doesn't mean the Ghost has turned them into anything, but is referring to what the men are, i.e. living. "Nature" is reference to the natural world, the world of the living. "Fools of nature" means living fools. "Fools," itself, refers to the men being fools not to believe in ghosts, earlier. 56 reaches "Extents" is better, for synonym. The "reach" of the soul of a living person is only as far as he can extend his hand, since his soul is confined to his body while he lives. Thoughts that go beyond the "reach" of Hamlet's soul, within his living body, are thoughts about the soul, or spirit, being outside the body. 71 beetles . . . base "Beetle" is from a root meaning of "bite." Horatio is saying that the cliff has an "overbite," since the upper part projects farther than the lower. "Beetles over" = overbites. Shakespeare used "beetle" in continuation of the "bite" idea with which this scene began. Horatio is worried about Hamlet being "bitten" at the cliff with the "overbite." 82 *artery The Q2 word should have been left as it was originally printed. "Artery" has a modern meaning which it could not have had in Elizabethan times, and the substitution is misleading to the reader. The Q2 word, "arture," is better left, and then noted. It is certain Shakespeare did not mean "artery" in the modern sense, but any modern reader, seeing "artery," will immediately take it that way. 87 *imagination Arden has blundered in not honoring the genuine Q2 word, and has missed another chance to identify a Shakespeare coinage. "Imagion" is the correct word, as Q2 shows. The word is formed from a root of "image" and a suffix of "-ion" which means "the result of." Horatio means Hamlet has grown desperate as a result of the image, of his father. "Imagion" = image result. 90 state Arden is wrong to reject "condition." The line has a double meaning, intentionally written so by Shakespeare. Act 1 Scene 5 3 sulphurous . . . flames It's an open question, at this point in the play, whether the Ghost is genuine or an imposter. It therefore cannot be taken that the flames are necessarily those of Catholic Purgatory. The flames may be those of Hell. Purgatory is never specified in the play. The Ghost does intend to suggest Purgatory, but he would, either way. An imposter Ghost would not tell Hamlet he's from Hellfire. Arden errs in identifying the flames as specifically those of Purgatory, which they may not be. 21 blazon It means a description, or explanation, in words, as opposed to a pictorial illustration, and is a term from heraldry. "Blazon" is from a root meaning of "shield." The word is used in a punning way, following the mention of fire. The heraldic term hints of Hamlet being his father's son, and now the senior male of the family, who carries onward the family coat of arms. 53-7 The wording of Q2 is correct in this speech, Arden was wrong to change the wording, and the Arden note is wrong. In his lines 53 through 57, the Ghost means as follows: But Virtue - since it will never be moved to evil Even though Lewdness might court Virtue with a Heavenly appearance - So, but although linked to a radiant angel (Lucifer,) (Virtue) will sort its way in(to) a heavenly resting place, And pray on garbage (something thrown away.) "Virtue" is the subject of "will sort." The Q2 wording is sensible and reasonably grammatical, and should have been respected, and definitely so in a presentation that is allegedly specific to Q2. On page 517, in Appendix 2, the editors comment on why they refused to accept the Q2 wording, but in the lines they used for illustration, they cut the utterance so short they lost the subject! Of course a person cannot understand an utterance if he abridges it in such a way that he loses the subject. The subject of "will sort" is "Virtue." The Ghost is casting Gertrude as "Virtue." (Hamlet will, in a way, do the same thing later, in the Closet Scene.) The Ghost means that Virtue (Gertrude) cannot be moved to do evil, even though lewdness (Claudius) may court her in the shape of heaven (pretending to be a virtuous man,) and so, even though Gertrude is linked to the radiant angel (Lucifer, by her marriage to a murderer,) she will make her way to a celestial bed, (a resting place in Heaven,) and also, she will pray about something thrown away (which is the general definition of "garbage.") The implications of the utterance, in the flow of events of the play, will not be understandable to most readers from the utterance, itself. What Shakespeare wrote, in that speech, becomes understandable only with a detailed (and correct!) knowledge of the play. The Ghost's prediction of Gertrude sorting her way to Heaven anticipates the Ghost saying shortly after: "leave her to Heaven." The reason for the Q1 wording, generally followed in error by the Folio, is something beyond these comments. 55 *Lust Q2 "but" is correct. 56 *sate Q2 "sort" is correct. 57 garbage It means something that gets, or will get, thrown away. 62 hebona The word should probably have been capitalized, just as Q2 shows, since there is reference to Hecate, a proper name, as we learn at the 'Mousetrap' play. 69 eager droppings Should probably be more specific, referring to acid or vinegar, since there is likely reference to alchemy, a subject with which the author had some familiarity. 72 lazar-like Should have been glossed. Reference is to the "other" Lazarus in the Bible. 80 Yeah, and my cousin's brother-in-law's neighbor's dog thinks the Martians have landed in Poughkeepsie. It really is long past the time when respectable scholarly standards should have been applied to Hamlet, and duly recognized, and generally observed. Groundless speculation, about altering the Hamlet text, without even the slightest factual basis, is a disservice to the reader, and a disgrace to Shakespeare scholarship in general, and deserves no notice in a serious publication of the playtext. The "horrible" line is the Ghost's line. Period. We know that for a certainty because that's how it's printed in Q2, and in F1, as well. The fact is established. It is not an open question. Johnson's rumor-mongering should be restricted to his own biography, and not be allowed to diminish a proper presentation of Hamlet, (and the same goes for idle rumoring from any other historical figure, no matter how well known.) If an editor can't resist mentioning an unfounded oddity of commentary, he should put it in the last appendix, not in company with the text. Give readers who sincerely want to understand the play a break. 124-5 There . . . this Skepticism correctly describes Horatio's attitude. He doubts the Ghost went to all the trouble, merely to say what Hamlet says. 132 More sensibly, Horatio is concerned about Hamlet's state of mind. 137 honest Hamlet is saying that it's "honestly" a ghost. He phrases it in an ambiguous way, which is no surprise in Hamlet. It further means "honorable," that it's his "honorable" father. "Truthful" is implied, but is not exactly what he says. 145-6 not I . . . Nor I Horatio and Marcellus are not refusing to swear, and the question of that should not even arise. Their uses of the negative follow directly from the negative in their "we will not." 150 truepenny There is demonstrably reference to Ralph Roister Doister [RRD] shown by relating various utterances in Hamlet to utterances in RRD, both in this scene and elsewhere. RRD was far better known in Elizabethan times than now. RRD was the first comedy play printed in English. Hamlet says "truepenny" here because RRD contains the line: 'Ye are a slow goer, sir.' Hamlet is facetiously observing that although the Ghost said "adieu," it has not left yet. The Ghost is a "slow goer." 151 The repunctuation by Arden, to make the line a question, is an error. The original shows a comma. Hamlet is making a declaration, not asking a question. Thus, it is not a question in the play whether Horatio and Marcellus hear the Ghost. They do. Understanding of the "swear" sequence requires knowing they hear. 156 Hic et ubique In RRD the maids do a passage about Truepenny always rushing around and being "everywhere." 161 Well said, old mole RRD contains the line: 'Well said, Truepenny.' 164 Hamlet (i.e. Shakespeare) is alluding to RRD. RRD contains two relevant passages about welcoming a stranger. 172 encumbered Hamlet means with the hands held out in front, palms upward, as if carrying something. Try it yourself, while staring straight ahead, slightly open-mouthed, and you will recognize the gesture. 180 Rest . . . spirit Horatio and Marcellus do not swear on the sword. Hamlet changes his mind, and puts the sword away. This is why there is no line in the Q2 playtext for them to swear. It is not a printing oversight that they have no such line. The reason Hamlet changes his mind is because he realizes he cannot get away from the Ghost, and he's aware of the possibility it might be an evil spirit, a tool of the Devil (as Hamlet expressly speculates later in the play.) When the Ghost calls out the order to "swear," it puts Horatio and Marcellus in the position of swearing both to Hamlet and to the Ghost, if they do swear. Hamlet doesn't like that, because it would put his friends in the position of possibly swearing to the Devil (without even knowing it.) Hamlet does not want to risk making his friends swear to the Devil, (if it is.) That would obviously not be friendly to them. So, when Hamlet finds he cannot escape the voice, he puts his sword away. His gesture is an act of friendship, but Horatio and Marcellus don't understand, and to them it looks even more peculiar. First, Hamlet insisted they swear on the sword, but then he puts it away without allowing them to. This somewhat anticipates the Prayer Scene, when Hamlet sheaths his sword without carrying through his intent. 188 Nay, come There is the significant point that Hamlet wants his friends close to him after what he's been through in his encounter with the Ghost. Act 2 Scene 1 0.1-2 There is no uncertainty in the SD, and it is not truly the case that "only one man is needed." There is only one speaking part for a servant. However, Polonius is a wealthy individual of high status, and he assuredly has more than one servant employed. What the SD means, is that if the playing company can provide it, more than one servant should appear attendant on Polonius, to signify his wealth and status. If a second servant is not readily available (in proper costume, etc.) Reynaldo alone is enough to play the scene. Polonius would have livery for his servants, so the company would need two matching costumes, the second only for a non-speaking extra. The notion of "uncertainty" by Shakespeare is oblivious, and unfair. More sensibly, the author preferred two servants for Polonius, as a display of his status, but recognized the reality that the company might have personnel and proper outfitting for only Reynaldo, the speaking part. A well-supported performance of Hamlet, then, will have a second servant "extra" in this scene, in proper costume, which is Shakespeare's option, so stated in the SD. The SD "...or two" means "or two servants, properly outfitted, if the company can do that." Although the source from which the Second Quarto was printed was very probably written especially as a closet drama, the author was still very attentive to the practical realities of the stage. On the stage of the imagination, which a person forms in his own mind while reading the play, the second servant should always be there, and he and Reynaldo should both be neatly outfitted in the livery of Polonius. Since Reynaldo is leaving, the second servant is present to attend Polonius after Reynaldo departs. Thus, Polonius, the top aide to the crown of the nation, will not be inappropriately left without any servant to attend him. Ophelia's entrance prevents the second servant from being called upon, so he remains waiting at the side, or in the background. Shakespeare dotted his I's and crossed his T's magnificently, within the limits that practicality imposed on him. The misguided conceit, that keeps popping up in Shakespeare commentary, that "Shakespeare made a mistake," or "Shakespeare was uncertain" needs to be gotten rid of. It continually leads editors and commentators into their own blunders, and the Arden misinterpretation of this SD is a good example. There is no uncertainty by the author. It's an option, to better display the wealth and status of Polonius, if the playing company can easily do it. 6 Look you, sir It is not anxiety by Polonius, it is characterization by Shakespeare. Polonius is habitually insistent that others pay attention, even if they already are. It's the way he is. Observe in the play that he says "mark" even to the King and Queen when they are already looking at him and listening to him. He is not anxious here, he is being himself. Telling others to "mark" or "look," even when they already are, is one of his speech mannerisms. Polonius may, indeed, be viewed as an anxious individual, (and a bossy one,) but that is not specific to this line, and should be dealt with in a section describing the personalities of the play characters. 8-9 It deserves comment that Polonius's lines have an amusing undertone, as if Polonius is asking Reynaldo to "case" the Danes in Paris, with the plan of Polonius robbing them. The word "means" refers to money, and the immediately following phrase, "where they keep," makes it sound as if he's asking where they keep their money. The undertone provides, quite intentionally by Shakespeare, an image of old, slow Polonius as a burglar in Paris. 11-12 The Arden note is wrong. Polonius is trying to tell Reynaldo that encompassment will come nearer to finding the truth about Laertes than specific questions about Laertes would. A rephrasing of the sentiment would be: 'with encompassment you will come nearer the truth than you would with particular questions.' Polonius expresses approximately the same idea to Claudius, in a later scene, in the speech where he says, "if circumstances lead me..." 19 Addicted "Addicted" certainly has pejorative implications, as Polonius uses it. Polonius is talking about the habitual misbehavior of his son, which he suspects. He is using "addicted" in connection with thoughts of misbehavior. 22 usual Means "typical." Polonius takes it that youths will typically misbehave. 24 youth and liberty Means "youth at liberty," away from mature supervision. The Arden editors have gotten carried away with identifying hendiadys, which interferes with meaningful gloss. The Arden note is unintentionally amusing: the parenthetical "hendiadys" following the phrase "young men" makes it appear Arden believes that young men are more commonly called hendiadys. 26 drabbing The Arden note misses the point. Polonius's dismissiveness is deception by him. What Polonius is really most concerned about is Laertes getting involved in a sexual scandal in Paris involving some low-class woman. It is important, for the flow of events in the play, that this point be clear, because it leads directly to Polonius's instructions to Ophelia about Hamlet. Polonius's thoughts about Hamlet, with Ophelia, are tainted by his fears about Laertes and the women in Paris. 28 season Means to make more palatable, so to speak, as in seasoning food. Polonius is telling Reynaldo to phrase the accusation of drabbing so that it will be "easier to swallow." 30 incontinency Polonius's denial is a falsehood. Polonius's worry about Laertes being incontinent is exactly his meaning, it's what he most wants Reynaldo to find out about. He's most worried about a sexual scandal that would hurt the family name, and that he'd have to pay for. We know this because Polonius so expressly denies it, specifically. (And Edwards's notion, that Arden for some unfathomable reason chooses to mention, is insane, and does not belong in a respectable presentation of Hamlet, at least not in company with the playtext.) 33-4 It is an irony, certainly intended by Shakespeare, that as Polonius is trying to tell Reynaldo how to downplay Laertes's suspected faults, he uses such high-flown, dramatic terms that they would be sure to draw attention if Reynaldo used them. This is characterization of Polonius, that he lacks perception of what is fitting, and that he is a poor instructor. 35 Of general assault "Assault" refers to temptation, an assault on morality. Polonius means temptations into evil which entice men in general. 38 fetch of wit The phrase as it stands in Q2 is exactly the phrase from Shakespeare's hand. We can be confident of that, because of the wonderful irony. Polonius is saying to Reynaldo that he thinks he's come up with a bright idea, that it's something fetched up by his intelligence. It is not a bright idea. It's such a stupid idea that it's going to get Reynaldo killed. The reason Reynaldo is not seen again in the play is because he's dead. The Folio error is a different subject. Perhaps the Folio editor(s) simply liked "warrant," since it was wrongly substituted twice in the Folio. 39 sallies It is not the case that "either seems acceptable" in a text which is supposed to be presenting Q2. That makes the Q2 word the only acceptable word. As Arden themselves show, there is no reason to question "sallies" since it has a good, interpretable meaning. 56 *o'ertook in's rouse The Q2 wording and punctuation are correct, and Arden is wrong with their changes. Particularly, by putting a comma after "gaming," a comma which does not exist in Q2, they have lost the Q2 meaning. If a comma is to be inserted, it should go after the first "There." Polonius means, 'There, he was gaming there, or (he was) "taken" by drink...' Likewise, a comma should be inserted after "There" in the next line, for the modern eye. 61 we . . . reach "Reach" does not mean comprehension, it is the idea of extending the hand. Polonius is saying he can "reach" to Paris. 68 The correct meaning is 'don't misbehave in Paris the way he is.' Polonius is assuming Laertes's misbehavior before he has heard Reynaldo's report. 69 ply his music Misinterpreted by Arden. Polonius means, 'have his fun (until I find out about it.)' "Music" is figurative, used as a reference to enjoyable activity. 71 SD1 Reynaldo's exit is placed in the original printing so that it will not interrupt Polonius's speech. Thus, Reynaldo's exit is placed slightly early. However, the original marking of the exit serves another purpose as well. It is fully consistent with Polonius's characterization, and with the play overall, that he speaks to somebody who has left. That will happen again, later, more significantly. Reynaldo's exit before Polonius says "Farewell" is directly interpreted as intentional here, in anticipation of that later scene, giving the effect that Polonius is 'madly' talking to nobody, or is 'madly' saying "farewell" to Ophelia instead of "hello." Arden's negligence, with their unfaithful placement of the stage direction, loses the 'madness' element which is part-and-parcel of the play. 103, 108 I am sorry Ophelia will find little solace that her father immediately tries to blame her. Polonius starts to say he's sorry, stops, and abruptly questions Ophelia. This is the bureaucrat in Polonius showing. If something goes wrong, look for somebody else to blame. Polonius instinctively thinks of perhaps being able to blame Ophelia. The point is significant to Polonius's characterization. 107 That . . . mad Arden errs in mentioning "antic dispostion" in relation to Hamlet's behavior in question. There is no such thing. The historical misunderstanding of "antic disposition," and the continual attempts by confused and incompetent commentators to explain the whole play with it, has badly hurt real understanding of Hamlet. That issue is too much to go into here, but editors who want to present the play in an understandable way, and who want to understand it themselves, are well advised to ignore "antic disposition" completely, as it has no further application to the play, after Hamlet originally says it, except that it keeps Horatio in his seat at the 'Mousetrap,' a point which is not very prominent. Hamlet says the phrase specifically to Horatio, and Marcellus, and since Marcellus does not appear again, the phrase is specific to Horatio's point of view. Horatio is the one who heard Hamlet say it. Hamlet rushed to Ophelia's room because he had a nightmare about her. "Bad dreams" is the relevant phrase. 109 *quoted Q2 "coted" is correct. Polonius is using it figuratively to mean "gotten ahead of" or "anticipated." Polonius is regretting he did not anticipate Hamlet's reaction. In addition to its easy interpretation, "coted" is verified by the amusement of old, slow Polonius describing himself in terms of a greyhound. That humor is Shakespeare's work. Further, "coted" accords with Polonius later speaking of his brain hunting the trail of policy, which is more dog imagery. 110 wrack A note is absolutely required that "wrack" puns with "rack," the torture device. "Bad dreams." 112 cast beyond ourselves Polonius means "fish" beyond himself. As he goes on to say, he is going to "fish" to get the King involved. Polonius is going to "cast" to try to catch Claudius, as we see him do in subsequent events, leading to the Nunnery Scene. The phrase follows Polonius's mention of "bait" and "carp" to Reynaldo. It also anticipates Hamlet calling Polonius a "fishmonger." 115-16 might . . . love The line has a double meaning, with "hate" being read both as "hate" and "have it." The explanation is too long to go into here. The word "hate" appears four times in the play, and has the double meaning each time. Act 2 Scene 2 0.2 *other Courtiers The Queen's "some of you" that Arden mentions need not be addressed to courtiers, but can be spoken to ordinary servants. The Queen's remark does not necessarily imply more "courtiers" (persons who attend the court, specifically,) rather it can imply the typical servant extras who would be present in the background in many scenes. "Courtiers" are persons who attend the royal court, specifically, as the word implies. They are under royal orders while the monarch is holding court, but are not servants in the general way. So, there will be the courtiers, who are attendants at court, and then there will be the usual servants who attend, not the court, but various high-ranking persons, themselves. Queen Gertrude should usually have one or two ladies in waiting nearby, who are certainly not "courtiers" but are her personal attendants, that a Queen would naturally have. Likewise, it would be correct for King Claudius to have one or two personal servants nearby, usually. Of course when the dialogue indicates privacy, as in the Closet Scene or Prayer Scene, the servants will not be there. If one casts the play so that additional courtiers are indeed present, which is reasonable enough, they need not be given an entrance, however, since the parts are non-speaking. The additional courtiers will walk on behind the speaking parts, and stand in the background. Arden's notion that additional courtiers would somehow require an entrance is a misunderstanding of how entrances were used in the original Q2 Hamlet. The implication that there might be some oversight in the Q2 stage direction is wrong headed, and Arden's specification of courtiers is not necessarily correct. 10 dream The Folio word may be defended by anybody, but that doesn't make it relevant to the Q2 text which Arden is allegedly attempting to present in their volume. As to which word is correct, the Q2 word is Shakespeare's, since there is allusion to actual dreams which are implicit in the play, and that feature of the play is the work of the author. "Bad dreams." 12 sith Means "because," as usual. Claudius means R & G should be helpful because they've always been close to Hamlet, as far as he knows. 13 That This "That" is a different "that." The "That" in line 11 means "in that." Lines 11 and 12 are Claudius's explanation of why he is entreating R & G. The "That" in line 13 begins his consequent request, and is the start of a new utterance. 21 more adheres There is no question raised about the role of Horatio. Horatio is a university friend of Hamlet, who has become his best friend. R & G are friends of Hamlet from his pre-university days. The difference is like U.S. high school versus college, for a person's friends and acquaintances. Gertrude best knows Hamlet's friends from his pre-university days. This is entirely typical, and is not surprising in the least. What is surprising, and disappointing, is that editors who have considerable university experience would be befuddled by something they have personally seen every day: college students with new friends (and the mothers of the students not present to observe.) Typical college social changes, for the students, are no mystery, nor is it a mystery for the parents to sometimes be surprised. Shakespeare obviously knew of the general phenomenon of newer friends versus older friends. How could he not? 28 your dread pleasures The Arden note is unhelpful. "Dread" is a reference to stereotype, that a monarch is a powerful person, to be dreaded. It's an implication of power, so "dread" can be equated to "powerful" to clarify the meaning, for plain reading. The word "dread" has the undertone that R & G should dread what they're getting into, as they agree to serve the monarch's pleasure. 33-4 The name reversal is because Claudius got the names wrong. Gertrude, Hamlet's mother, knows his childhood friends. Claudius, previously only Hamlet's uncle, was not well acquainted with them. 36 some of you The phrase does not necessarily mean "one of you." The correct gloss is "one or more of you." Gertrude doesn't care how many assist R & G, her concern is only the fact of them being assisted. Arden is incompetent to interpret the characters' points of view, which is mandatory in interpreting the play. 39 SD Again, the Arden specification of a courtier, in particular, is not appropriate, since the attendants in question may not be courtiers, but lesser servants, and indeed probably are lesser servants in this case, since the task is menial. 45 and to The right reading is the Q2 reading, if Arden's intent is genuine to present Q2 in their volume. Also, any editors who are keen to differentiate between the wordly and divine in Polonius's pledge are badly misguided. Polonius's pledge is directly relevant to why Hamlet rushed to Ophelia's room that morning. "Bad dreams." 47 Hunts . . . policy The analogy is to a dog's behavior. It follows Polonius's earlier use of "fetch." Polonius views his brain as his dog: it fetches and hunts. This is a detail of Polonius's characterization. His brain is his dog. Eventually, as we shall see, his brain will "roll over and play dead." 61 Upon our first Means the first diplomatic point, the first item to be negotiated. We know this because the ambassadors are reporting the results of their negotiations. 67 Falsely . . . hand The Arden note shows no sign the editors had any idea what the phrase means. The ambassadors mean old Norway bore his infirmities in hand so well as to make it seem false he had them. He responded energetically, in other words. 69 in fine The term "fine" is being used with legal significance. 73 threescore thousand crowns The number, as printed in Q2, is correct to the author's hand. Neither Claudius nor the ambassadors recognize the number, but it is the annual revenue of Elsinore Castle. Old Norway has promised Fortinbrasse the annual income of Elsinore. Old Norway and Fortinbrasse "Put On A Show" for the Danish ambassadors, and they fell for it. Norway and Fortinbrasse have conspired in a ruse to get Fortinbrasse's army into Denmark. 'Putting On A Show' is a major theme of Hamlet, of course, and it applies to the diplomatic mission. Claudius is so distracted by what Polonius said about Hamlet, he doesn't observe that what the ambassadors are reporting is exactly opposite to what he originally said he wanted, when he sent the ambassadors on their mission. In the course of misinterpreting this number, Arden misinterprets another number. Hamlet's later "twenty thousand ducats" is merely poetic, the same as his "forty thousand brothers" at the graveyard. Hamlet's "twenty thousand ducats" only means "a lot of money," the same as his "forty thousand brothers" means "a lot of brothers." The 60,000 crowns in this passage is not poetic, however, it is as stated. We know that because, as the ambassadors make their report to Claudius, they are reading the number from the diplomatic agreement in which it is written down, as Arden observes for the Arden note 76, 80. And regarding Wilson and Edwards, one does NOT delete Shakespeare's words from a Hamlet printing. It is simply NOT done by any Hamlet editor worthy of his job. Also 73 fee "Fee" is used with a particular meaning of income from land, which was a standard meaning of the word. Old Norway has promised Fortinbrasse a large income from land. Neither the ambassadors nor Claudius realize it's the land they're standing on. 74 commission "Commission" does not have the bland meaning of "authorization." It is reference to an officer's commission. Old Norway has commissioned Fortinbrasse the commanding general of a Norwegian army. When Fortinbrasse later sets foot on Danish soil, he'll do so as a commanding general of the Army of Norway, so commissioned by King Norway. 75 as before It essentially means the agreement allows Fortinbrasse to keep the army he already had. That army, we recall, was raised specifically for use against Denmark. 76, 80 herein . . . therein It should have been noted that a stage direction is implicit following line 79. Voltemand hands the document to Claudius at that point (or slightly earlier.) 81-2 read . . . think The word order is indeed notable ("illogical" is not the right word,) and that is no mistake by the author. It's characterization of Claudius. Claudius is stating the literal truth, that he'll sign the agreement before (and without) thinking about it. Claudius is thinking only about Hamlet. This is significant to Claudius not noticing the ruse - his thoughts are entirely on Hamlet. 3.1.150 is indeed comparable to this, in a way. In that later case, Ophelia's "soldier's tongue" is advance allusion to Hamlet's indecent speech at the 'Mousetrap' play, where he'll talk like a soldier on leave at a saloon. The word order in Ophelia's speech is correct to Shakespeare's intended allusions, as is the word order here. 86 expostulate Polonius is misusing the word. He has confused "expostulate" with the idea of "postulate." As he begins his speech he's intending to present his postulates. He's trying to say he takes "majesty" and "duty" for granted, that they are his "givens," his postulates. 93-4 Polonius's problem is his preference for sayings. He is trying to think of a saying about madness, but he can't. It bothers him. 95 Observe that Gertrude speaks to Polonius in epigram form in an effort to communicate with him. She knows him well, and his fondness for sayings, so she speaks a saying at him. It is also implicit that Polonius, with his fondness for sayings, is "contagious." We'll see more of that. 98 figure The word has a double meaning, intentionally so by Shakespeare. It is unintentional self-reference by Polonius, a "foolish figure" as he babbles madly about madness. He's still trying to think of a saying about madness, but he can't, so he then says "farewell it" in his next line, and continues. He just can't think of a saying about madness, and is forced to give up. 104 Thus . . . thus "Remains" is high irony by Shakespeare. Polonius has spoken 19 lines, so far, and what remains to be said, is his whole argument. He still has not gotten to what he's really trying to say. In fact, he never will. 104 Perpend Should have been noted that it's a pompous word. The point is significant to Polonius's characterization. 108-21 It would be idiotic to be "troubled by the literary quality" of the letter. That is not at all the point of it. In fact, the literary quality of the letter is superb, suited exactly to its purpose. Arden's commentary note is essentially worthless, or worse. 109-10 that's . . . phrase Polonius has misunderstood "beautified." He thinks it's "beatified" and he is expressing religious indignation that Hamlet would call Ophelia a saint of the church. He mistakenly thinks Hamlet was being heretical. It is necessary to know the characterization of Polonius to understand his statements, here or elsewhere. There is, indeed, a Painted Face instance in undertone, as Hibbard perceived while misinterpreting the word, but that is not Polonius's meaning, it's the author's thematic development. 110-11 thus . . . these Arden's comment is a woeful misinterpretation, of no help at all to any reader. It's worse than useless. Polonius is saying Ophelia had the letters in her clothing next to her heart. Properly performed, when he says "thus" he will hold the letters to his own chest. At "etc." he will lift the letters away from his chest, as though giving them to somebody else. Polonius is aping how he claims Ophelia gave the letters to him, by removing them from her clothing near her heart, and handing them to him. And he's lying about that, as his own remarks reveal. 113 I . . . faithful The important point is that Polonius is not being faithful as he refuses to answer Gertrude's question. He is being insolent to the Queen. It's a touchy point that Polonius has stolen personal letters of the Prince of the nation, and he's defensive about it, as well he should be. 125-26 A note is absolutely mandatory that Polonius has ruined his own presentation with his response to Claudius's question. Proper interpretation is very important to the flow of events, because Polonius's blunder is what leads to the Nunnery Scene. 130 perceived Polonius is lying. He did not perceive "hot love," in what he goes on to describe here. He thought at that time that Hamlet was only interested in Ophelia for sex, and it wasn't love. He's lying here to try to make himself look smarter to Claudius. It's characterization of Polonius, the bureaucrat, lying to his boss, to try to make himself look more perceptive than he really is. 133 played . . . table-book Polonius means, if he had only noted what he observed, and had done nothing in particular about it. 134 Means: "given my heart the job of being mute and dumb." This is, again, characterization of Polonius. He is the epitome of the unromantic, who considers the emotions of the heart to be a job the heart does, and that the heart can even be ordered to do a certain emotional "job." He's referring to giving his heart the job of feeling certain emotions, or ignoring them. 136 round Means "directly," an ironic usage. 140 *his resort A bad blunder by Arden, revelatory of Arden's incompetence to handle the play. The original Q2 "her" is correct: "lock herself from her resort." Polonius is, unintentionally, revealing why Ophelia is not there. He has left her locked in her room, to prevent her resort to Hamlet, to tell Hamlet that Polonius has stolen Hamlet's personal correspondence. We know "her resort" is correct, to a certainty, just as Q2 shows, because of the pertinent allusion. As Polonius speaks, he is referring (unintentionally) to her resort, to Hamlet, about the letters. The Folio is wrong, and Arden is wrong to follow the Folio, and especially so when Arden is allegedly attempting to present Q2. Arden's lack of faith in their own stated goal has caused them to miss an important point in the play: the reason for Ophelia's absence. Polonius locked her in her room. It is a pity that Arden did not have the courage of their convictions, and did not follow through on their attempt to present Q2. Had they been faithful to their goal, it would have helped them avoid many mistakes, and also could have helped the editors, themselves, to understand the play. 149 very like It still means "very likely," as earlier, but Gertrude is saying it with a sceptical tone. 156 the centre Polonius is talking about Hamlet's heart, or soul, the center of his love. Polonius's point is his attempt to prove Hamlet's love for his daughter. Mention of the center of the earth is not correct notation, since no reader will find that helpful in understanding the play. The Q1 line does not make for proper presentation of other editions. The reason for the exact Q1 wording is a different issue. 160 arras Regarding the amount of space behind the arras, the Elizabethan stage did not use enclosed sets. In other words, the stage was not set up as a room. There were no partition walls. The amount of space behind the arras, on stage, was the entire part of the stage in that area. Thus, the amount of space behind the arras was not a practical consideration for stage performance, as long as they didn't crowd the actors offstage with the arras positioning. The use of enclosed sets, to mimic rooms, was imported later from continental Europe. For stage performance of Hamlet the amount of room space available behind the arras was a non-issue. One can surmise that arrases were supported on wooden stands, or frames, on stage, and placed to indicate the locations of the room walls, had they been there. Arden's comment implying some supposed lack of space is incompetent, and misleading, in light of the facts of Elizabethan staging. Arden's foolish note could lead an unsuspecting reader to imagine that Polonius must necessarily bulge the arras when he hides behind it, when in fact no such thing is the case for Elizabethan stage performance. Polonius and Claudius will not bulge the arras, of course. 164.1 Arden blunders in mentioning "antic disposition." There is no such thing in the scene. Editors really do need to get over that simple minded, irresponsible approach, if they want to understand the play, and present it properly. As pointed out earlier, "antic disposition" is specific to Horatio's point of view, and has very limited application. 165 wretch Rather than a term of endearment, it's a term of pity. Gertrude regrets that things have turned out so for Hamlet (but she doesn't worry too much about it, since she thinks it's only a temporary situation.) 165 reading The point needs mention that Hamlet may be using the book only as a prop (just as Ophelia will use a book later.) He may have the book to provide an innocent-looking "cover" as he strolls in to see what's going on. This does not imply he has overheard any of the earlier conversation. 167 board The concept of Polonius "boarding" Hamlet anticipates Hamlet's pirate encounter, and provides an amusing image of old Polonius as a buccaneer. 167.1 SD [Exeunt King and Queen] As discussed just below, Arden has placed the SD wrong. It is correct exactly as in Q2. A note is further required as to the spectacle on stage, for this event. The room is the Throne Room. The theater audience is being treated to the sight of the King and Queen fleeing their own Throne Room, simply because Hamlet happened to walk in with a book in his hand. It's like, say, the President of the U.S. suddenly jumping up and rushing out of his Oval Office just because some fellow walked in carrying a book. Properly understood, it's an amazing sight, as King Claudius and Queen Gertrude flee their own Throne Room. 167 give me leave Arden has, unfortunately, placed the stage direction incorrectly again, and by doing so has lost an essential element of Polonius's behavior. The SD belongs before Polonius's request for "leave," exactly as the original printing of Q2 shows. Arden's failure to carry through on their stated goal, of presenting Q2, has again deprived their readers of some meaning in the play. Here is the required sequence: Polonius beseeches the King and Queen to leave. They do so. He comments on "boarding" Hamlet to their backs as they depart. Polonius then realizes he may have been improperly insistent to the royalty, so it could be seen as disrespectful. He then says "give me leave" in the direction of the door, in an attempt to be more polite, but the King and Queen are already gone. So, Hamlet sees Polonius saying "give me leave" to nobody. There's nobody there. To Hamlet it looks crazy, as old Polonius asks leave of nobody. Since Polonius already thinks Hamlet is mad, and now Hamlet sees Polonius talking to nobody, their conversation begins with both of them thinking the other is crazy. Proper placement of the SD is necessary for this point; the departure of Claudius and Gertrude must occur before Polonius asks for leave. This concept, of Polonius looking crazy when he seems to be talking to nobody, anticipates the Closet Scene, when Hamlet looks crazy to Gertrude, who can't see the Ghost, and thinks he's talking to nobody. 169 God-a-mercy Arden is wrong. This is not a "polite response." It is Hamlet's facetious reaction that although he has just seen Polonius talking to nobody, at least Polonius can still see a real person to speak to him. Hamlet is basically saying, 'well my goodness, you can talk to a real person, too!' 171 fishmonger It is not a "comic mistake" and Hamlet is not "feigning madness." Arden's attempt at intepretation is incompetent. There is no "antic disposition" here. Editors need to get over trying to explain the whole play with that one little phrase, it makes them look stupid. Hamlet has seen Claudius and Gertrude leave, and then Polonius approach him. He easily guesses that Polonius is "fishing" for something to tell Claudius. "Fishmonger" is further a reference to Polonius's body odor problem as Polonius stands closer than Hamlet would prefer. The "fishmonger" remark is a comic insult by Hamlet, and certainly not any kind of "mistake" by him. 173 honest The word requires gloss, it is being used in the sense of "honorable." 178-9 It would be a mistake in performance to have Hamlet appear to read the words. He might be tapping the book, but he's speaking directly to Polonius. 179 good kissing carrion Arden's attempt at equivalent phrasing is repulsively foolish. Following his nightmare, Hamlet is expressing his worry that his kiss of Ophelia may lead to her death. He is concerned that Ophelia's only "conception" may be maggots, because of her association with him, as he plots to kill Claudius. "Sun" is a pun, and Hamlet is making an analogy. That's the primary meaning for Hamlet, as he says it, but further undertones and allusions are present. The phrasing requires more extensive discussion, too much for these brief comments. 181 i'th' sun Foolishness by Arden. Arden obviously has no idea what the speech means. Hamlet is hinting to Polonius that he shouldn't let Ophelia walk "in the sun"/"with the son," the "son" being himself. Hamlet is using the wordplay to try to tell Polonius to help keep Ophelia away from him, lest she die. Hamlet can't tell Polonius that directly, because it would immediately lead to the question of 'why,' of course, and Hamlet is certainly not going to tell Polonius that he's thinking about killing Claudius. There is a fantastic irony here, and an intricate one. Earlier, Hamlet wished to be with Ophelia, but Polonius ordered her to avoid him. Hamlet doesn't know her avoidance of him was Polonius's orders. Hamlet is now telling Polonius to do essentially what he did earlier, that Hamlet doesn't know about, to keep Ophelia away from him. But Polonius now wants to bring Hamlet and Ophelia together. Hamlet is hinting to Polonius he was right the first time, and neither of them knows it. 182 but as It is odd to call Hamlet's thought "uncompleted." There is nothing wrong with the utterance as printed in Q2. The Folio wording is wrong. 184 How . . . that? It is not "in effect," it is an outright aside. 187 much extremity The Arden gloss is unhelpful. Polonius is referring to the "extreme" (unusual and excessive) behavior occasioned by love. 190-2 A note is needed in anticipation of the Nunnery Scene. Polonius is asking Hamlet what he's reading. This is why Polonius will later give Ophelia a book. Polonius will have the idea that Hamlet will approach Ophelia and ask her what she's reading, just as Polonius has asked Hamlet here. For Hamlet's meaning, Arden's "quarrel" is too leading. Hamlet's word "matter" means "trouble." 199-201 For . . . backward More emphasis is needed on Hamlet's facetious interchange of the ideas of young and old, as Polonius hears it. This is what will lead Polonius to look at R & G when Hamlet says "old fools." Polonius gets the idea that Hamlet, in his "madness," thinks that young people are old, so he will take the "old fools" that Hamlet means to be R & G, who are young men. The idea will get further application when Hamlet speaks to his "old friend" actor, who is actually the lad, as Polonius stands nearby. Hamlet will say "old friend" there to tease Polonius, when the actor he's speaking to is really the lad. (This is always played wrong, and needs to be corrected, not only for a correct presentation of that later conversation, but also because it's a powerful aide in identifying the "12 or 16 lines." The lad plays the queen at the 'Mousetrap.') The point here being, Hamlet's young-old reversal needs emphasis since it has significant further application in the play, and proper notation will point that out. 202-3 Though . . . in't Hamlet is not pretending to be mad. Editors need to get over that. Hamlet is speaking obscurely because he cannot give Polonius direct answers to what Polonius is "fishing" for. Hamlet is diverting Polonius because he most definitely cannot tell Polonius that he's thinking about killing Claudius. It is fully rational behavior by Hamlet, however Polonius might view it. 203, 205 out . . . air This room is not the Lobby, it is the Throne Room. Arden has misidentified the room, because of their failure to follow the flow of events. The ambassadors were waiting in the Lobby, until Polonius summoned them to this, the Throne Room, to report to Claudius. Hamlet has strolled into this Throne Room from the Lobby. As to the air, Polonius has the conventional notion that a person who is not well should be confined in a warm, closed room. The Throne Room is large and drafty. The "air" idea must not be taken too literally, since it is, of course, a setup for Hamlet's reply. Presuming the scene to be outdoors would be too literal, by far. There is additionally the point of Polonius appearing "mad" to Hamlet, with Polonius's line that could be taken as reference to outdoors following from that. Polonius is seen "madly" speaking as if it's outdoors, when it's indoors. 206 pregnant It means "productive," of meaning. 207 *sanity Arden is wrong. Q2 "sanctity" is correct. Polonius takes it that rationality is a sanctified state, since reason is God's gift to man to distinguish him from beasts. Irrationality is therefore unholiness, a fall from God's grace. Polonius's "reason and sanctity" refers to reason and rationality. Hamlet has already, in the play, expressly distinguished man from beast by citing reason. Further, Arden fails to note the "madness" of Polonius's speech. Polonius says, essentially, that madness is more likely to produce sensible statements than rationality is. It's a mad thing for Polonius to say. Only a mad person would say that madness is more rational than rationality. This is characterization of Polonius as a "mad" babbler. 208-9 I . . . daughter The Q2 printing did not omit any words, and Shakespeare did not make any mistake or oversight. Such a suggestion by Arden is irresponsible and misleading, and only reveals their incompetence to present the play. What is happening here, is that Polonius is ending the conversation the same way he began it. As Polonius began, he appeared to be asking leave of nobody (a point which Arden denied to their readers, with the incorrect placement of the earlier exit for Claudius and Gertrude.) As Polonius ends, he refers to Ophelia as if she's there when she isn't. Polonius means he will leave Hamlet to his thoughts of Ophelia, but he mistakenly expresses it as if he thinks Ophelia is there, when she isn't. Thus, at both the beginning and the end of the conversation, Polonius is seen "madly" talking to, and referring to, people who aren't there. The intent is to make the audience look at Polonius as if he is the mad one, seeing people who aren't there. This is fully intentional by the author, the Q2 wording is correct, and the change of wording by the Folio editors(s) is a Folio blunder which ruins the "madness" of Polonius that Shakespeare was presenting. 210-11 cannot . . . not Q2 is correct. Nothing more really needs to be said. The reader will benefit from a rephrasing, however. The negatives cancel, and Hamlet means he is allowing Polonius to take his leave, or anything else Hamlet would even more willingly part with. In other words, Hamlet is very willing for Polonius to take his leave. In other words, good riddance. The Folio change is wrong; it makes Hamlet's reference to his life unworkable. 214.1 SD [Enter Guildenstern and Rosencrantz] Arden has placed the SD wrong, again! Good heavens. It's a disgrace. The play absolutely requires that R & G enter before Hamlet's "old fools" line, just exactly as Q2 shows. Polonius remembers Hamlet's reversal of young and old, so when Hamlet says "old fools" Polonius thinks he means R & G, and he speaks to them. The SD must be correctly placed for this to occur. R & G must be present onstage when Hamlet says "old fools," for Polonius to display his misunderstanding. Hamlet does not pretend to read the line from the book (he simply says it to Polonius's back,) and Polonius does not look back at Hamlet. Polonius looks only at R & G, speaks to them, and continues out, on his way to report to Claudius. Hamlet notices Polonius speaking to R & G after he said "old fools," is amused by it, and uses the "old" idea to tease Polonius later when he talks to the young actor, the lad, about the 12 or 16 lines. 215 seek . . . Hamlet? Arden has blundered in making the line a question. It is not a question in Q2, and is not intended to be. Polonius is making a declaration. Polonius is sure that Hamlet has "madly" confused young and old, so he takes it as fact that when Hamlet said "old fools" he meant R & G, and they must be the fools Hamlet meant, so they must be seeking him. It is not a question to Polonius. 219 *excellent Arden is wrong. Q2 "extent" is correct. The usage is quasi-legal, and "extent" can be read as "valued." Hamlet is saying he values their friendship. "Extent" also implies extending the hand. 223 ever happy Understanding of this requires discerning that R & G see the Prince as somebody who is "always happy." G is comparing their own state to what he presumes about Hamlet. He thinks Hamlet, being the Prince, is always happy. There is some jealousy in G's remark. The Q2 wording is certainly correct, and the Folio is wrong. 224 *Fortune's cap Q2 is correct, the Folio is in error, and Arden is wrong to follow the Folio. Arden has made another mistake by failing to follow the Q2 text which they are allegedly attempting to present. G means as follows. ~~~~~ (We are) Happy, in that (although) we are not always happy (as the coddled children) On Fortune's lap (like you,) neither are we the very button, (the least important thing to Fortune.) ~~~~~ G is using "button" to mean "least thing," a trivial thing. His reference to "Fortune's lap" means being a coddled child of Dame Fortune, that Fortune holds on her lap. There is no meaning of a button on a cap. The Folio is wrong. The physical extremes of "cap" and "shoe" do not, in fact, establish the F reading, and Arden ought to have observed the Q2 punctuation. Dame Fortune does not wear her coddled children on her head, she holds them on her lap. G is hinting to Hamlet that, although they are not the coddled children of Fortune, like the Prince, neither are they the least thing to Fortune. In other words, R & G have come into a good thing, G thinks. Hamlet's "sole of her shoe" line is then his response reflecting his own feelings. Hamlet feels that Fortune is trying to tread him underfoot. Hamlet has caught the hint from G, and he inquires if they have had some middling luck, using the figurative idea of them being at Fortune's waist. G then makes the sexually suggestive joke about "privates." This is assurance that Q2 "lap" is correct. The flow of the dialogue is that "lap" leads to "waist" and then to "privates." Q2 "lap" is necessary to the flow of the dialogue. It's what leads to G's "privates" remark. 229 privates In addition to the sex joke, it's a hint that R & G are engaged in something private, i.e. they have a secret. G is quite pleased the King has summoned them, and he can't help hinting. 231 strumpet Hamlet is talking about how Dame Fortune used to favor him, but no longer does. He is also making reference to Gertrude's behavior in marrying Claudius. He has not insinuated anything against R & G yet. Arden got ahead of themselves in their attempt to interpret. When Hamlet proceeds to ask "What news?" he's expecting to be told what's going on, since G has hinted at something. It's when R then tries to tell him that nothing is going on, despite G's hint, that Hamlet becomes suspicious. His suspicion begins to show after R says "None." If there's nothing going on, what is G hinting at? 234-5 but . . . true The Folio "Prison Passage" is authorial, and mandatory in the play, since it contains Hamlet's mention of "bad dreams." The crude political cut, for Queen Anne's sake, was not done by the author. He would not so easily have discarded his own fine allusions that he must have worked carefully on. The Elizabethan censor came very near denying us, permanently, some crucial elements of Hamlet. 235 beaten way Carries the undertone of "defeated way," meaning that the friendship is being defeated. G has hinted at something R & G are involved in, but R is denying that anything is going on, and Hamlet is saying that, in consequence, his friendship with them is being defeated. He won't think they're his friends if they only play games, and aren't honest with him. 238 ever Q2 is right, of course. Hamlet is exaggerating. There is also possibly some satire going on, of an aristocrat whose name may not be mentioned in connection with the Shakespeare writings, lest the earth fall into the sun. 244 Anything . . . th'purpose A modern equivalent would be: 'Anything but what I asked you, apparently.' However, the line has a double meaning. 246 colour It does mean disguise, or camouflage, but also, as Hamlet presses R & G, they blush. Further, it anticipates Hamlet's mention of the chameleon at the 'Mousetrap' play. 249 conjure Means "summon" (the truth from you.) Hamlet's following remarks are his "incantations" to try to summon the truth from R & G. 255 The line is certainly not addressed to Hamlet. Such a suggestion is foolish, and Arden's mention of the possibility is only another sign of their incompetence. R has turned to G, and is asking him what they should tell Hamlet. 256 Nay . . . you [and also] 256 of Arden is wrong, "of" does not mean "on," it means "from." Hamlet is telling R that since he's the one talking to R, R needs to look at him, not at G. Hamlet is saying, 'look at me, not at him.' This is important to understand not only for its own sake, but also in anticipation of the later conversation of Hamlet with R & G after the 'Mousetrap,' where R will be baffled by Hamlet's behavior when Hamlet doesn't look at him. Here, Hamlet's remark is phrased facetiously, but pointed. He is saying to R, 'since I'm the one talking to you, could I have at least one eye from you, in my direction?' (as though R could point his eyes in different directions, like a chameleon.) Also, it would be moronic to mark Hamlet's line as an aside when he is patently talking to R; Arden's incompetence has plenty of company. 258 It is important to note that G is the one who tells Hamlet the truth. Hamlet remembers this, and it's pertinent to why Hamlet draws G in particular aside for the "recorder lesson" after the 'Mousetrap.' Hamlet will be trying to return the favor by giving G, in particular, a warning. G's admission is significant to the flow of events. 261 moult no feather The Arden gloss is right in a way, but inadequate. Birds moult to grow wing feathers so they can fly. Hamlet means so their secret will not grow wing feathers and fly away like a bird, to be lost. It's the "bird" idea of a secret spreading, as in the common saying, "a little bird told me." Hamlet will use the "bird" idea of a secret again, in the Closet Scene, when he mentions to Gertrude the birds in the basket. 263 custom of exercises Means "habitual exercises," the activities Hamlet was accustomed to do. It does not contradict what Hamlet says later. A diligent editor will keep in mind that things change as the play proceeds. There's no reference to religious activity in particular, although it can easily be taken that religious observance is different at Elsinore from what it was at the university in Wittenberg. 265 sterile promontory Kronborg Castle, on which Elsinore is based, is on a promontory. Hamlet is casting Elsinore as a sterile place. This is tragic in anticipation of Hamlet and Ophelia dying childless. The undertone is authorial, intentionally there. 266 look you It is not an "intensive expression," it is an actual instruction to R & G. Hamlet is telling them to look at the sky, and pointing. They will look. This anticipates the "Cloud Talk" passage with Polonius after the 'Mousetrap' play, when Hamlet will point Polonius to the shapes of the clouds. 269 What . . . work The line is a rhetorical question. Hamlet is asking whether man is a masterpiece, or some other piece of work. It means, 'what piece of work, in particular, is a man?' The Q2 phrasing is correct. In modern printing it needs a question mark, but Elizabethan practices did not call for one. 271 express Means "expressive." Anticipates the imminent arrival of the Players. The author simply chopped "expressive" short, as he was occasionally inclined to do with words. "Action" implies action in performance. Arden has mispunctuated, Q2 should have been followed more carefully. The correct line is: "in form and moving, how express(ive) and admirable in action;..." That line should not have an internal semicolon. (Nor should a semicolon be used after "apprehension.") 274 quintessence of dust It is not oxymoronic, it is figurative. Hamlet is following on his god-angel depiction of man, which he has just stated, and in the Christian view a man who becomes an angel is indeed a quintessence of dust, since man was originally raised from the dust by God. It is extenuation, not contradiction, the idea of a man being eventually raised to a "heavenly body" by God. The concept was fairly common, and was used by Jonson in his Folio poem when he wrote of Shakespeare becoming a heavenly constellation. 282 lenten Better equated to "cheerless." 282 players No such assumption exists within the conversation, itself, but is an editorial imposition. Shakespeare knew his play was set in Denmark, and there is no indication within the play that he ever forgot that. 283 coted A note is needed that R & G use "dog" terminology in reference to themselves, as Polonius did, for himself, earlier. It's a hint that Claudius has put R & G on track to replace Polonius, which is significant as the play proceeds. Polonius's striving to outdo the bureaucratic competition will lead to his death, and Hamlet's earlier "dead dog" remark suddenly connects to Polonius, and to R & G as well. It is not healthy, in Hamlet, to be the King's "dog." Thus, the use of "coted" here, after Polonius used it earlier, is notable. R & G, and Polonius, will be three "dead dogs," all with the maggots "bred" in them by the "son." 285 The . . . King When Hamlet says "King" he implies his father. He's using analogy. Shakespeare used Hamlet's speech for allusion to play events. Hamlet is not just talking about the Players, but is (unknowingly) predicting the future. 286 tribute Hamlet is alluding to the tribute he intends to his father, which his intent to kill Claudius is, and which the 'Mousetrap' will become. He doesn't really know the future events as he says it, the undertones are from the author. 287 foil and target Allusion to the fencing match. 288 gratis The "Lover" is Hamlet, who sighs for Ophelia, and hopes it isn't for nothing. 288-9 the Humorous . . . peace The "humorous" man is Hamlet, whose humor is melancholy, and his "part" is to kill Claudius. He hopes to get that done "in peace." He will: the "peace" of the grave. For a full presentation of the play, the line about the Clown should be included. In that Folio line, "sere" means "dry," or "dryness." It's a reference to "dry" humor. The Clown will make those laugh whose lungs are tickled by dry humor. The "dry" idea plays somewhat on the mention of water in the Gravedigger Scene. The reason why the Clown was left unmentioned here in Q2 is perhaps unknowable. The indication is quite strong of it being authorial, however. 290 *blank . . . it Q2 is correct, and Arden should have been faithful to their goal. "Black" means "grievous" or "mournful." Hamlet means if the Lady cannot speak freely, it will be mournful verse, and should stop. There is great irony that Hamlet, himself, in both the Nunnery and Closet Scenes, will prevent "the Lady" from speaking freely (Ophelia and Gertrude, respectively,) as he lectures and berates them both in those later scenes. "Black" obviously suggests "blank," but that's only wordplay, and the Q2 word "black" is correct, as advance allusion to Hamlet's "grievous" behavior toward the ladies. 295-6 their . . . innovation The "innovation" is the change of government with the death of Hamlet Sr and the succession of Claudius. The meaning for the play is quite significant, as the "innovation" is mentioned by R. It's as close as R & G ever get to mentioning the death of Hamlet's father to him, as he stands there in front of them in his mourning black. They are being horribly rude to him, by not sympathizing with him, and good friends would never be so oblivious. This is the first time they've seen Hamlet since his father died, and they can't possibly not know of the fact. Their inconsiderateness confirms to Hamlet, more than words could say, that they are no longer his friends. A reasonable surmise, about the Players traveling, is that they were sponsored by King Hamlet, but the sponsorship ended with his death, and Claudius has not renewed it. As we've seen, Claudius's preferred entertainment is a rouse. The Players are coming to Elsinore to see if Hamlet can sponsor them. We know that because R said so, explicitly: "hither are they coming to offer you service." It reasonably follows that they have recently lost previous sponsorship. The Players may be disappointed, since Hamlet's a "beggar." 298 the city The city is Copenhagen, of course. Far from making sense, the idea of London is brain-dead stupid. Shakespeare knew London is in England, not Denmark, and so does everybody who is both conscious and the least bit educated. As background, one could discuss events affecting actors in London, which the author would reasonably have known about, and could have used for inspiration, but to take it that "the city" in Denmark, in the play, is somehow London, is just plain stupid. Good heavens. 299 The "Child Actors" passage was perhaps omitted because of an historical incident that reflected poorly on a company sponsored by Queen Anne. The company was the Children of the Chapel, which became the Children of Queen Anne's Revels. In 1600, a boy was allegedly kidnapped, while on his way to school, to become part of the acting company. The boy's father had political connections, and a Star Chamber inquiry resulted, which raised serious questions about the conduct of the business. It may not have been politic in 1604 to remind anybody of that incident, so a cut in Q2 might have resulted. This can only be speculative, unfortunately, but such an incident involving a company sponsored by the Queen could generate a lot of "heat." In any event, the Hamlet passage in question is authorial, although it's clear the Folio editor(s) changed the wording, at least slightly. 303 picture in little It's reasonable for Hamlet to indicate miniature pictures of Claudius that R & G may be wearing, which Claudius may have given them. However, the notion of using miniatures in the Closet Scene is ignorant and preposterous, no matter how often it's been done. 307-8 Your hands Arden misunderstands Hamlet's behavior. It is not a reaffirmation of greeting. He is actually shaking hands farewell to R & G as the Players arrive. Having learned that R & G are no longer his friends, he'd much rather talk to the Players. What Hamlet says in his speech is exactly correct to his intentions: he wants to give R & G no complaint, in his politeness toward them, that they can then repeat to Claudius. He now knows they'll report to Claudius. He intends his gesture to deceive Claudius, and Gertrude, that R & G are still his friends. Otherwise, Claudius would hire somebody else, and Hamlet would just have to put up with somebody else, instead. It would be no benefit to Hamlet if R & G are able to report the truth of his feelings about them to Claudius, so Hamlet gives them a show of enthusiastic politeness. 315 I . . . north-north-west The line is adapted from Chaucer. Shakespeare changed the idea from Chaucer's "wisely" to "madly." 316 hawk from a handsaw A "handsaw" is a bad actor, who saws the air too much with his hands, as Hamlet will caution the Players not to do, before the 'Mousetrap.' An actor who moves his hands mechanically looks like a puppet, not real. Hamlet is calling R & G "handsaws," saying they are not good actors, they have not fooled him. Handsaw = bad actor. "Hawk" is a reference to good actors. When he greets the Players, shortly, Hamlet will speak of "falconers." He means a good actor can "fly" at his role, looking as natural as a hawk on the wing. Hawk = good actor. The comparison is Hamlet saying to R & G that the Players who have just arrived are good actors, while they are not. This is, of course, on the "Putting On A Show" theme that runs through the play. There is considerably more meaning to be found in the line, too much for this comment. 318-19 at . . . hearer Hamlet is indeed bringing R & G close to him. This is for Polonius to see. Hamlet has observed Polonius's approach, knows how snoopy Polonius is, and is teasing Polonius with the idea that he's whispering secrets to R & G (that he didn't tell Polonius earlier, in the "fishmonger" dialogue.) Polonius will wonder and worry what Hamlet is whispering to R & G that he didn't tell Polonius. The dark secret here, that will worry Polonius, is: Polonius is a big baby. 321 Happily There is no "perhaps" about the normal progression of aging. The Arden gloss is wrong. R means it's a happy event that Polonius has lived long enough to enter his second childhood. In those days, very few lived so long. 332 There is no reason to think it a line from a ballad, although Hamlet should recite the line in a way to suggest quotation, to deceive Polonius about the insult it is. 334-5 pastoral . . . pastoral Polonius has taken Hamlet's "buzz" as really meaning Hamlet doesn't believe the Players have arrived, so Polonius is trying to "sell" Hamlet on the Players, by reciting a list of what they can do, as proof that they're really there. 335-6 scene . . . unlimited "Individable" means "that can't be distributed" (into categories.) The root meaning of "divide" includes "distribute." "Unlimited" means unbounded by category. 337 for . . . liberty It's possible the original printing of Q2 contains punctuation error. Considering the character of Polonius, it is also possible he is 'madly' running things together. For interpretation, it can be taken that "law of writ" has some background reference to the ordinances of the city of London, which restricted Player performances, and "liberty" refers to the suburbs outside the London sheriff's jurisdiction, where Players were more free. The usage, then, is figurative, meaning either "in the city" or "outside it." This is exactly the point for the play, that the Players were previously in the city, and are now outside the city, as they have traveled to Elsinore. So, Polonius can be understood as saying that the Players are the best, either in the city, or elsewhere. 339 Jephthah Hamlet is telling Polonius he's "preaching to the choir" in praising the Players, thus the Bible reference. The figure is: Bible > preaching > preaching to the choir. Hamlet mentions Jephthah specifically because of his "bad dreams." As Arden observes, Jephthah sacrificed his virgin daughter as a "burnt offering" to his Lord. Polonius's "Lord" is Claudius. 357 first . . . chanson Hamlet refers Polonius to a popular song about Jephthah since he has a low opinion of Polonius as a scholar, and he doesn't expect Polonius would study the Bible carefully. Hamlet's remark means Polonius should start at the first line of the song, and learn it all. (Jenkins was quite right about the "cautionary tale," and Arden should have paid attention, and dumped the trash about bridges, instead of inflicting it on the reader. An unsuspecting reader who sees the bridges mention in company with the text, in a major publication, runs the danger of taking it far more seriously than such garbage deserves.) 358 my abridgement Arden is right with the meanings, but not with "either way." Hamlet means both things at the same time. It is an intentional double meaning by Shakespeare, one of many in the play. 360 thee The First Player is the bearded one, of course. We know this because Hamlet Sr had a beard, and the First Player will play the King at the 'Mousetrap.' This also establishes the First Player as an older fellow. It's odd Arden would raise any question about it, and their doubt can only be ascribed to lack of reasonable perception of the play. One could idly imagine a youth with a beard playing King Hamlet, at the 'Mousetrap,' but that's patently unnecessary with Hamlet speaking to his "old friend" about his beard. The old friend, with the beard, drops right into place to play the King at the 'Mousetrap.' And we know with certainty this is not a children's company. Arden's expressed doubt is just odd. 363 *By'r Lady Arden was wrong to change the phrase. It's wordplay, meaning both "by lady" and "by laddy," at the same time, as Hamlet speaks to the lad. It's impossible to convey the double meaning with spelling alone, so the exact original spelling should be left, and then noted. 367 *French falconers Arden is wrong. Q2 is correct, and is remarkably easy to interpret. "Friendly" means gregarious, indiscriminate, making "friends" with anything. That is exactly what Hamlet says, that they'll be "friendly" in flying at anything they see. If "French" were the word, one would be forced to gloss it as "promiscuous." Well. 367 fly Arden has gotten ahead of themselves again. Hamlet's specific choice occurs as he continues to talk and think, in his speech beginning at L371, not here. As Hamlet speaks here he has not yet chosen anything specific. A diligent editor will observe that the dialogue progresses. 369 quality There's more to it than Arden says. "Quality" was a word used for persons of high status. Actors gained "quality" by being the servants of an aristocrat or nobleman (which was required by law in England at that time.) When Hamlet calls for "quality" here it implies the Player proving he's worthy of royal sponsorship. Hamlet is not just talking about the actor's ability, it's in the nature of an audition. Recall R saying the Players were there to offer Hamlet service. 374-5 caviare . . . general Arden has blundered by not respecting the original spelling. The word is "caviary," which is the adjective form of caviar. Hamlet is using the adjective, to say the play was "like caviar." The adjective does, indeed, have four syllables. It's sad that well-known individuals writing Hamlet literature could lack basic education in grammar - either that, or lack ability to apply their knowledge of grammar, as though they had never heard of an adjective. There is not, of course, any issue of the noun "caviar" being mispronounced. 376 cried . . . mine "Cried" means "sang." Hamlet is saying the voices of the others "sang in harmony" with his voice. The figure is that Hamlet sang baritone, and the others sang tenor in harmony, all in praise of the play. "Cried in the top" = sang in the higher voice range. 377 well digested . . . scenes A note should have been provided about the "food" or "feast" motif that runs through the speech, and later on into the 'Mousetrap' play. The reference to caviar is on the same motif, of course, as is the phrase "set down," as in food being served at a table. 379-80 sallets . . . savoury Hamlet means that one person complained the play was too "meaty," without "salad" to lighten it and make it more "tasty." Understanding of the "feast" motif is required here. 380-1 no . . . affection At the word "affection" Hamlet begins an undertone of allusion to Ophelia. When he thinks of "affection" he thinks of her. Thus the particular phasing; it has a double meaning. The immediate meaning, here, is that the other person who commented on the play didn't think the author loved his work in writing the play. The person didn't "indict" the author of affection (love) for his subject. Apparently the person thought that if the author loved his work it would have been lighter, with more "salad," and not so "meaty." An unrelentingly serious approach is not a "loving" approach, to a subject. 381 honest method There is the undertone in advance of Hamlet asking Ophelia if she is honest, in the Nunnery Scene. At this time, he considers Ophelia honest (honorable.) Immediately, Hamlet means the other person found the style or approach honorable, in the play. So, Hamlet has introduced an undertone about Ophelia, even when she has nothing to do with his subject. In addition to the authorial allusions, this is a mark that Hamlet loves Ophelia. His undertone is irrelevant for the conversation at hand, but he can't help thinking about her. 382 as wholesome as sweet Immediately, it's on the "food" or "feast" motif being used to describe the play. In undertone, it expresses that Hamlet views Ophelia as wholesome and sweet. 382-3 more . . . fine Means naturally good, not artificially made up to be showy. The play performance was "natural." The undertone is of Hamlet saying Ophelia is naturally handsome, without being made up to be showy. Hamlet then concludes his undertone of thought about Ophelia at the word "loved," ending conceptually where he began (affection,) and he proceeds to specifics of what he wants to hear from the Player. 384 Aeneas' . . . Dido Most immediately for Hamlet, Hamlet wants to hear about the killing of a king. Arden neglects to note that manifestly relevant point. The other things are fine as a sidelight, but only after a commentator has addressed the meaning for the play, at least briefly. 384 talk "Talk" is both correct and preferable. "Tale" is undesirable because it can imply fiction, while there will be emphasis, later, on how "real" the Player makes his recital seem. There's no reason to question Q2 here. 389 'Tis not so The point of Hamlet's misremembering is that when he first thinks of the story about killing a king, he thinks of regicide as something beastly and savage. Thus his tiger analogy. The line cannot be in the play to provide a reference to 'Groats-worth,' for purposes of the play. That is impossible. Arden has wandered from explaining the play into a purely speculative sidelight. For the play, it's characterization of Hamlet. There's little reason to invoke 'Groats-worth' anyway, since as Arden's immediately preceding note says, the "tigers of Hyrcania" were mentioned in other plays, which are a much more likely source. Arden's note, that offers no explanation for the line in the play, and presents only a highly speculative sidelight, is useless to the reader who wants to understand the play. 390 sable arms Arden misses that Hamlet is reciting about a black-clad king killer, as he stands there in his black mourning clothes with thoughts of killing King Claudius. It's an analogy between Hamlet and Pyrrhus. This is significant to the meaning of Hamlet's recital in the play, and should always be noted. 392 th'ominous horse Proper notation would connect this phrase to the earlier discussion by Horatio and the sentinels of whether the Ghost is an omen. The Arden note is not adequate. The question in the play at this time, as Hamlet recites, is whether the Ghost was an omen of the killing of Claudius, and the fall of Elsinore, as the Trojan Horse led to the killing of Priam, and the fall of Troy. Good editorial practice will defer sidelights until after the play is explained. Commentary notes that don't include reasonable explanation of the play are of no value. 397 Baked . . . with "Impasted" means glued. The heat from the burning buildings along the street had glued the dried blood to Pyrrhus. Hamlet is not trying to say that Pyrrhus was an apple pie. 398 tyrannous Pyrrhus is being presented as a murderous tyrant. It does not just mean "fierce." 400 o'ersized The word has a double meaning, intentionally so by Shakespeare. It means both covered over, and also that the spectacle makes Pyrrhus look larger than life. Both meanings apply, simultaneously. 401 carbuncles It's wrong to suggest Pyrrhus's eyes are glowing in the dark. The street isn't dark, the buildings are burning. Pyrrhus's eyes are reflecting the red light of the burning buildings. The "damned light" was expressly mentioned only three lines earlier. Whether there was ever any notion that carbuncles could glow by themselves has nothing to do with anything here. 403 So proceed you It would obviously be wrong for the Players, any of them, to display impatience, or any sign of dissatisfaction with Hamlet's recital. He is the Prince of the nation, and the Players are there to offer him service. They will be respectful, and listen attentively. Also, Hamlet will be attentive in return, as the Player proceeds. One must keep in mind the respective social status, and the seriousness of the performance. Hamlet is the Prince, and the Players are auditioning for him. It's nice the Arden editors had seen some performances, but it would have been even nicer if they'd paid at least a little attention to what they, themselves, were supposed to be doing - presenting the literature version of the play. The actors the Arden editors had seen could not do the editors' own job for them. 405 good discretion The Arden note is wrong. Polonius has misspoken. He meant "expression." This is more characterization of Polonius, that he makes verbal slips, especially with similar words. There is an amusing undertone to Polonius's error. Hamlet's recital about killing a king has relevance to his own situation. The undertone of Polonius's mistake is him accidentally congratulating Hamlet for his "good discretion" in wanting to kill Claudius (which Polonius actually knows nothing about.) 407 antique The meaning is both "old" and "playful," simultaneously. It's another instance of intentional double meaning. The Q2 spelling is "anticke," which might be best respected, with notation to explain the meaning. Old Priam's swings are weak and ineffective, so it looks like play, or clownishness, rather than a serious attack. This anticipates the Fencing Match scene, where Hamlet will accuse Laertes of being wanton (playful) with him. 412 unnerved Means both "frightened" and "enervated." Double meaning. 412 *Then senseless Ilium A proper addition for the play, certainly authorial, although Arden's inclusion of it, without even brackets to mark it, in a text that is supposed to be specific to Q2, is improper. There is really no way to present Hamlet properly other than as a conflated text. This phrase alone is enough to show that, and Arden's inclusion of the phrase constitutes a tacit admission of the fact. For the play meaning, "senseless Ilium" suggests "nutshell Elsinore." Shakespeare provided a wonderfully subtle irony in the description of "senseless Ilium" moving, falling, in anticipation of Hamlet's "Aristotlean" lecture to Gertrude in the Closet Scene, later, where Hamlet will speak of sense and motion. The word "senseless," itself, has a double meaning here, conveying both the castle's lack of sense organs, and it being a senseless, or irrational, place. 414 his Arden finally equates "his" to "its," but without further comment. They should have done that for the Ghost's stage direction about spreading its arms. 415 Takes . . . ear Arden should have noted that the figure is on the Ear motif that runs through the play. It isn't just an isolated figure of speech. 417 reverend It is not a fact that the spellings can be considered interchangeable, and Arden has erred in not honoring the Q2 spelling. "Reverent" in Q2 suggests Priam appearing to be at prayer, on his knees, which anticipates Hamlet finding Claudius at prayer in the later Prayer Scene. The exact Q2 spelling is significant to the play. Properly performed, the Player will drop to his knees, as though kneeling at prayer, when he mentions Priam falling, at line 412. 418 painted The phrase "painted tyrant" anticipates the picture of Claudius in the Closet Scene. This is one of at least two references in the play to the Closet Scene pictures being large ones the audience can see, in addition to the references in the Closet Scene, itself. The idea of Pyrrhus coated in blood is not very pertinent here, although that meaning is present in undertone. It essentially means Pyrrhus stood still like a person in a picture. 419 neutral Arden's equivalent is alright, but the note neglects to mention the anticipation of the Prayer Scene, where Hamlet will stop, like a "neutral," and refrain from killing Claudius at prayer. In explaining the play, it is necessary to point out how the recital has relevance. 422 rack A note is mandatory that "rack" also means the torture device. "Bad dreams." Observe that "rack" is followed in the next line by "speechless." This is allusion to Hamlet's nightmare, where his dream of the rack caused him to rush to Ophelia's room, speechless. Shakespeare worked in manifold allusions to play events all through the recital. 425 rend the region "Region" also refers to realm (and puns with "regent" as well.) Double meaning, again. The realm of Troy is rent as Pyrrhus proceeds to kill Priam. The thunder rends the sky; Pyrrhus rends Priam's realm. 428 for proof eterne The phrase "forged for proof" is suggestive of Hamlet's question about the Ghost, who mentioned "eternal blazon." 433 *fellies The plain meaning in reference to a wheel would be "fellies," but Q2 "follies" is correct reference to the follies men suffer due to chance. The recital is not making a literal reference to a spoked wheel. The recital is casting it as "folly" for men to be subject to unpredictable spins of the Wheel of Fortune. There is significant meaning in the idea of breaking the "follies" from Fortune's Wheel. The Q2 spelling should have been respected, as it should anyway, on general principles, in any legitimate Q2 reprinting. An explanatory note will always be required. 434 nave Puns with "knave." The phrasing implies Hamlet "bowling the round knave," Claudius, down to the fiends of Hell, which Hamlet will expressly state as his desire, later, in the Prayer Scene. 437 It . . . beard The notion of Hamlet's "beard" line being directed to the Player is crazy. It is truly a lunatic idea. Hamlet is replying to Polonius, of course. It's long past the right time to get as much as possible of the addled accretion away from Hamlet, for the sake of sincere, decent readers who want to understand the play, and who have every right to expect material that is genuinely explanatory, and that is not just scatter brained, worthless crap. DSK's incompetent foolishness should be moved to a "Pathology" volume, not be placed in company with the text, where unsuspecting readers might be misled into taking such stupidity seriously. Saying that a person's beard needs removing means he is out of his proper place. Children (who don't have beards) should be "seen and not heard," as the old saying goes. Hamlet means Polonius should remember his place, and be "seen and not heard," like a beardless child. Thus the mention of the barber for Polonius's beard. This goes along with the earlier mention of Polonius being in his second childhood. Polonius does have a beard, we know, one "white as snow;" it's mentioned by Ophelia. 440 mobled It means "mob-led," led by the mob, the crowd. Instead of leading the people, as in normal times, Hecuba was being "led" by the panicked crowd. The repetition of the word, and its commendation by Polonius, is Shakespeare's attempt to insure it would be understood. Unfortunately, it has not been. The word is important to draw a distinction between Hamlet and Laertes. Laertes will raise a mob from the town to storm the castle. Hamlet makes no attempt to do so because his mother is the Queen, and he wants no risk of her being "mob-led" like Hecuba. Hamlet's fear is that Gertrude could be injured by mob violence. The word explains why Hamlet doesn't attempt to do what Laertes does. The author was crossing a T, so to speak, about Hamlet's possibilites for action against Claudius. Hamlet doesn't want his mother mob-led, like Hecuba. And bless Arden for preserving the Q2 spelling this time, which the Arden 2 did not do. The Q2 spelling is correct. 446 o'erteemed "Over-populated." For Hecuba, it's reference to her large number of children. In the undertone of Gertrude, it's reference to her having only Hamlet: "oh cursed spite, that I was ever born..." he said. Hamlet is thinking Gertrude's loins may have been "over-populated" in having him. 448, 449 Means that whoever had seen the slaughter of Priam by Pyrrhus, and the effect on Hecuba, would have spoken out venomously, and "treasonously," against Fortune's reign. 452 husband It isn't archaic. The word "husband" still carries a connotation of "companion." Priam's limbs were Hecuba's "companion" limbs. The phrase "husband limbs" requires gloss, not just the isolated word. Additionally, as Hamlet will mention, "husband and wife are one flesh." That concept is relevant here. Hecuba screams as her "own flesh" is minced by Pyrrhus. 457-8 Look . . . more A note is mandatory that Polonius's unexpected alarm at the Player's performance is what leads to Hamlet's idea for the 'Mousetrap.' If a performance can get to Polonius, perhaps it can get to Claudius, too. This is the point in Hamlet where Hamlet starts thinking, and comes up with his 'Mousetrap' idea. 461 well bestowed Requires gloss as "well housed." This is in anticipation of the use of "bestow" later, as when Hamlet asks, in the Nunnery Scene, where Polonius is, and Ophelia tells him "at home," when Polonius is "bestowed" behind the arras. "Bestow" carries the meaning of "house" or "home" as events proceed. 473 SD [aside to First Player] Hamlet's lines are >* NOT *< spoken to the First Player. They're spoken to the lad. Arden's stage direction is wrong (again!) This is always played wrong on stage, and needs to be corrected. Needless to say, it is not good to have Hamlet talking to the wrong person. Hamlet says "old friend" to tease Polonius, who earlier got the idea that Hamlet had confused young and old. It goes back to Polonius speaking to R & G when Hamlet said "old fools." Hamlet noticed that, was amused by it, and is teasing Polonius here with the same sort of thing. Here, Hamlet has drawn the lad aside, to ask him if he feels up to learning a few lines on short notice. (Hamlet would take it for granted with an older, veteran actor.) He's asking the lad if he knows the Gonzago play, and can quickly learn a few additional lines. Re the "12 or 16 lines" at the 'Mousetrap Play,' they are the queen's two 8-line speeches, which occur in a Gonzago play that was written in sestets. The lad plays the queen at the 'Mousetrap.' Editors and commentators over the years have neglected the fundamental job of looking for stanza in rhymed verse. It's there, at the 'Mousetrap.' There's enough to show that the Gonzago play was written in sestets, however, two of the queen's speeches are eight lines, and during both those speeches Hamlet speaks during the performance. When Hamlet rewrites the two queen speeches, he'll change them to 8 lines, not preserving the 6 line stanzas of the preexisting play. And this confirms that Hamlet is speaking to the lad here, the Player who will play the queen at the 'Mousetrap.' 476 ha't The Q2 word is "hate," which has a double meaning and requires notation. It means both "hate" and "have it." "Hate" appears four times in the play, and it carries the double meaning each time. 480-1 and . . . not The Arden note is incompetent. Hamlet is joking with the lad. It is a joke. Hamlet should say the "mock" line with mock sternness, but then give the lad a quick wink and a little smile. Hamlet knows how snoopy Polonius is, and expects Polonius will ask the lad what Hamlet said to him. Hamlet is giving the lad a warning, about the way Polonius is, and permission to divert Polonius's questions. One despairs of an editorial history that goes back centuries, but that cannot even perceive a simple joke. However, so it is with Hamlet. Maybe the many old men who have attempted to interpret Hamlet just couldn't fathom the concept of anybody making jokes about the behavior of old men, especially inquisitive ones. Who knows. In any event, it's a joke, and not even a very subtle one, by the standard of Hamlet. There is further, a double meaning. What else is new? One meaning of "mock" is "imitate," or "ape." In that sense, Hamlet is facetiously telling the lad not to ape Polonius. The lad will not ape Polonius at the 'Mousetrap Play,' he will "ape" the Queen, and Hamlet is facetiously reminding him of that. The reminder is unnecessary, of course; it's a joke. Hamlet's line is a double joke. How often do you see that? Well, if you read Hamlet carefully, you'll see it in Hamlet at least twice. 481 SD It is extremely poor editorial practice to place stage directions within the text, interrupting it, and especially so in a text which often contains poetry. A stage direction placed within poetry will ruin the author's rhythm, of course. Arden should have formatted so as to place the SD apart from the text. 482.1 SD A stage direction is required as shown in Q2, for the exits of Polonius and the Players, but Arden omits it. That is an error, particularly when Arden is trying to present the Q2 text. There is a reason for the exact exit placement in Q2. 484 SD [Exeunt] Arden's stage direction placement is wrong. Again. It belongs after R's line, as Q2 shows. There is a reason. As we continue, we'll see Arden do more of the same with their stage directions. Again. And again. Sigh. 489 from her working The Arden note is wrong. "Her" refers to the soul (not "conceit.") The soul was considered the origin of expressive emotion, and was viewed as stereotypically female for that reason, even in a man. (Men are stereotypically taken as the strong, stern, silent types, not expressive; Shakespeare knew the stereotypes were nonsense, but made use of them for his purposes.) Thus, the soul, being expressive, gets the feminine pronoun. The usage is particularly with respect to the Player's tears that Polonius mentioned, and that are mentioned again in this speech. Laertes will later, upon hearing of the death of Ophelia, cast tears as a female trait as he, himself, cries. 491-2 his . . . conceit A note is required that "conceit" is a "take" word, i.e. that it has a root meaning of "take." Hamlet is talking about the Player's "take." It relates back to the earlier mention of fairies "taking," meaning the casting of a spell. The "take" by a good actor "casts a spell" on the audience, so to speak. The "take" meaning, for "conceit," will appear again with special significance in the Closet Scene, in the Ghost's speech. 493 Hecuba? The question mark is not in Q2, and is not appropriate. Hamlet is mulling Hecuba in comparison to Gertrude. 494 to her The Q2 word "her" is correct because of the meaning in the play. Hamlet is transferring his thoughts to Gertrude, so the word "Hecuba" is not correct at that point. The Folio is wrong. Hamlet is considering the effect on Gertrude, whom he believes to have affection for Claudius, if he kills Claudius, as Pyrrhus killed Priam. He is speaking of Hecuba, but asking himself why he should care about Gertrude. That question has an easy answer. He can't help caring about his mother. 496 and . . . passion Since Arden so readily adopts Folio readings, despite a stated intention of presenting Q2, the mystery is why they didn't follow the Folio here. The Folio is probably correct, and Q2 contains a misprint. The pairing of "motive" and "cue" is well in the author's style. Of all times to respect Q2. 498 general It means "public." 501 very faculties It means "true senses." Reference in the line is to the senses of sight and hearing. The very-as-true meaning is that people would wonder whether they're seeing and hearing truly. Gertrude will use "very" to mean "true" in the Closet Scene when she speaks of looking into her soul with her true eyes ("very eyes.") 503 unpregnant It means "unproductive," of results. Hamlet is observing that he's producing no results in his intent against Claudius. 504 say nothing Hamlet most certainly does not mean "do nothing," he means exactly what he says. As he just mentioned, with reference to the Player reciting for an audience, he's examining the thought of speaking out to the "audience" of the public, against Claudius. He rejects the idea, because, what is he going to tell people - that a Ghost told him about a secret murder? He fears he'd look ridiculous. The peculiarity of his situation keeps him from saying anything. He can, indeed, "say nothing," to people in general. There is also the point that Hamlet, himself, is not certain of the Ghost's veracity at this time. 505 property It means Denmark, but isn't literal. It's "literal" only through the abstract notion of the monarch being the state, which is a cultural convention. 506 damned defeat Hamlet uses "defeat" in a distinctly military sense. King Hamlet defeated Norway, Poland, and England militarily, and then Fortinbrasse in single combat. Claudius defeated his brother in a damned way, with a cowardly murder. 508 Plucks . . . beard Hamlet is not 30, the earlier remark to Polonius is not comparable to this, and when Claudius later speaks of his beard shaking he means his chin trembling with fear. With all that erroneous meandering, Arden neglects to explain the usage at hand. Here, Hamlet means he'd find it easier to act if Claudius challenged him personally, to his face, as the lines say. 513 To . . . bitter Means "to feel the bitterness of oppression." 514 region kites "Region" means realm, again, and there's a double meaning. Kites, like most predatory birds, also scavenge. Hamlet means, first, that he should feed all the kites of Denmark with Claudius's guts. "Kite" is also a word for a cheater, or for the type of greedy person who preys on his own kind. The word appears with that general sense in Ralph Roister Doister. Hamlet additionally means he should let all the grasping persons in Denmark "feed" on Claudius's financial remains when he's dead. The kite is closely related to the hawk, so additionally, in connection with the idea of an actor being a hawk or falcon, Hamlet means he should "feed" the Players another killing to dramatize, the death of Claudius. So, there's actually a triple meaning, at least. 516 kindless Primarily means that Claudius has no "kind," that he's properly an outcast from his people, because he's a murderer and a regicide. The idea of Claudius being an unkind person also applies. Double meaning. 518 a dear murdered "A" can be read as "he." With that understanding, punctuation by itself is able to make the line sensible, through the mere insertion of a comma: "... I, the son of he, dear murdered..." It isn't schoolbook grammar, but no change in wording is required. (The phrase "of he" would not be unique in Shakespeare's writing, it also appears in Macbeth.) Analogy to "dear departed" is plausible, too, and Halliwell may have been right. But the "he," the Ghost of Hamlet's father, did the prompting that Hamlet mentions in his next line. 519 by . . . Hell In religious terms, the powers that incite murder are those of Hell. Hamlet mentions Hell because he's thinking of murdering Claudius. This is a moral problem for Hamlet. The earlier "coupling" of Hell is not the same as this. In that earlier speech Hamlet "coupled" Hell out of suspicion the Ghost might be a hellish imposter. The focus in this line is on moral powers, for good and evil. 522 About Double meaning. Hamlet is both telling his brains to be about their proper business, of thinking of something helpful, and also Shakespeare has given him a facetious undertone, as if Hamlet were asking himself about his brains, asking whether his brain is functioning properly. 523 Hum Hamlet is thinking, of course, after mentioning his brains. There is no other credible interpretation. Hunter was silly to doubt it, and the mention of Hunter's brainless notion should not be in company with the text, where it can serve no purpose but to confuse or mislead the reader. 528-9 speak . . . organ Means to speak in a miraculous way. The Ghost, who has no real tongue, has miraculously spoken to Hamlet about the murder of his father, and later, Gertrude's tongue will "miraculously" speak to Claudius about Hamlet's killing of Polonius. Further, the courtier who becomes Ostrick will "miraculously" allude to Laertes killing Reynaldo. 534 de'il The wordplay on "deal" is intentional, as is the spelling "deale" in Q2, which Arden ought to have respected, especially in what's allegedly a presentation of Q2. Hamlet is wondering if Fortune has dealt him the Devil card, so to speak, thus the "deal" spelling for "Devil." The metaphor is from card playing. Tarot was a popular card game of the author's time, and earlier, played similarly to bridge, and the tarot deck contains a Devil card among the trumps. (This has nothing to do with the use of tarot cards for fortune telling, of course, which is a more recent historical development.) So, again there is double meaning, as the word both refers to the Devil, and expresses Hamlet's suspicion he may have been "dealt" the Devil card. It's both reference and metaphor at the same time. The original Q2 spelling should have been preserved in connection with the full meaning, and Arden has erred in changing it. By the way, the "deale" abbreviation for "devil" is on the same pattern as the abbreviation of "over" as "ore." Essentially, the 'v' is dropped, and an 'e' is added to the end. For "deale," the 'i' was changed to 'a' for sound, and to give the "deal" metaphor. 537 potent . . . spirits Double meaning. It means both what Arden says, and also that the Devil is powerful in using spirits like the Ghost. 539 More relative Double meaning. It means both more relevant, as Arden says, and also expresses Hamlet's doubt of whether the Ghost is really his relative. Act 3 Scene 1 0.2 The Lords are courtiers, or petitioners, who are present for typical court business. They're for atmosphere, to show that Claudius is interrupting his normal business day. At the appropriate point in the scene Claudius will simply wave the Lords away, and they'll silently depart. Claudius and Gertrude have entered the Lobby from the Throne Room, where they were doing official business concerning the Lords, and the Lords have accompanied them here. The presence of the Lords marks that Claudius is setting aside his typical government business for the special event involving Hamlet. The entry of the Lords, exactly as Q2 shows, is mandatory for what's going on, and Arden is not privileged to question it, as they irresponsibly do in their note, even though the Arden volume is allegedly presenting Q2. 2 puts on "Antic disposition" has nothing to do with anything here. I'll say it again: editors and commentators need to get over that. Claudius is slandering Hamlet as a madman because Hamlet is continuing to mourn his father, and Claudius, for his own reason, is trying to suppress the remembrance of his brother. Hamlet is not Amleth, it's a far better and more sophisticated story. 3 Grating . . . his days Claudius is engaging in what psychologists now call "projection." The quiet days he means, that are being "grated," are his own, as he worries about Hamlet. Claudius is, unintentionally, saying that his worry about Hamlet is driving him crazy. 4 turbulent . . . lunacy Claudius is lying, or at least not being factual in reference to Hamlet. Claudius has not seen any turbulence or dangerousness from Hamlet. All Claudius has seen is Hamlet continuing to mourn his father, in disobedience to Claudius's wishes. Claudius is, of course, extremely sensitive on the issue of Hamlet's father. 8 crafty madness It's crafty word usage by G. G has not seen Hamlet being the "turbulent and dangerous lunatic" that Claudius claims he is. But, G is not going to disagree with his boss, from whom he's expecting a kingly reward. So, G casts Hamlet as being "crafty" in his alleged madness, since he didn't show it the way Claudius says. 11 Most . . . gentleman Requires a note. This is where Hamlet's earlier insistence on shaking hands with R & G tells. R can't deny that Hamlet acted gentlemanly toward them. The flow of events is from Hamlet's insistence on politeness, to R's line, here. 12 disposition G is saying he thinks Hamlet had to force himself to be polite to them. He's right. The reason is because R & G were so rude to Hamlet, when they didn't even express sympathy to him about the death of his father, as he stood there in plain view in front of them in his mourning clothes. They were incredibly rude, and Hamlet did, indeed, have to force himself to be polite. 13-14 Niggard . . . reply The Arden note is babble. R is saying that Hamlet withheld his reply to the basic question, of why he's "mad," but was "free" in his replies to their questions. In other words, Hamlet said whatever he felt like saying, despite their efforts. R is trying to phrase it in a way so R & G won't sound like failures to Claudius. 18 kind of joy Demands a note. R is refusing to admit to Claudius that Hamlet was much happier talking to the Players than to R & G. In fact, Hamlet was thrilled at the arrival of the Players. 22 beseeched Needs a note. Polonius is lying to his boss, again, to try to enhance himself. There's no way Hamlet "begged" Polonius to tell Claudius about the Players. We know Hamlet's attitude toward Polonius. Hamlet outright ordered Polonius to tell Claudius and Gertrude. 26 give . . . edge Means "sharpen his desire." There is an amusing undertone, in anticipation of the fencing match. When Claudius tells R & G to give Hamlet a further edge, he is unintentionally telling them to be sure Hamlet stabs him with a sharp sword. Hamlet's basic "purpose," as we know, is to kill Claudius. 29 closely Double meaning. It means both "privately" and "close to this time." Claudius is saying it's nearly time when Hamlet should arrive in response to his summons. Also, Claudius is simultaneously revealing that the nature of his summons was for a private meaning. For the second meaning, the "close" idea means "private," as in Gertrude's "Closet," her private room. When Hamlet arrives he will, indeed, look around the room (visually, not physically) for Claudius. 31 Affront The plain meaning is as Arden states, but "affront" also means "offend." The undertone is the irony of Claudius saying he has summoned Hamlet to offend Ophelia, which is what will proceed to happen. 32 bestow It means "house." This meaning is required in anticipation of Ophelia telling Hamlet that Polonius is "at home," when Polonius is "bestowed" behind the arras. 36 shall obey A note is required that Gertrude does not say "my Lord." There's a reason for that. She means, "I shall obey you, oh, next week. But not now." She isn't leaving. 37-41 I . . . honours The Arden note misinterprets the play. Polonius's attitude has changed to the opposite from his lecture to Ophelia in 1.3. It's Polonius's desire to bring Hamlet and Ophelia together that has led to this Nunnery Scene. Laertes would still have the same attitude, since he's been away, but Polonius's view has changed completely. Arden has failed to follow the basic progression of events. If Polonius opposed the union of Hamlet and Ophelia, at this time, this scene would not exist in the play. 41 SD Arden has blundered with the stage direction, again. Gertrude does not exit here, she exits much later, at the end of Ophelia's soliloquy, exactly as Q2 (corrected printing) shows. Arden is flat wrong in claiming she has to leave, because the fact in the play is, she does not. Arden has mistaken the word for the deed. What happens here, is that Gertrude begins to walk away as though leaving, while glancing back over her shoulder. When Polonius and Claudius turn to Ophelia, and Ophelia looks at them, Gertrude steps behind another arras and hides. She wants to hear what Hamlet says, too, of course. Hamlet is her son. Since Hamlet is expected momentarily there's no time to argue the point with Claudius, so Gertrude simply hides. This is why there's no exit for Gertrude here, in Q2, and an exit appears much later. That later exit is Gertrude's. An editor who is trying to do Q2 would be wise to pay strict attention to Q2, and take it with utmost seriousness. All of the stage directions that Q2 shows are right, although they often require careful interpretation. 42 Gracious Arden is wrong. This is certainly not addressed to Claudius. It is Polonius's one-word coaching of Ophelia in how to act. (Polonius is not much of an acting instructor; his one-word coaching of Ophelia is ironic, both in terms of his verbose characterization, and of his preposterously detailed instructions to Reynaldo, and further in comparison with Hamlet's later long-winded coaching of the 'Mousetrap' players.) Polonius is telling Ophelia to be gracious in the sense of being approachable, by Hamlet. Polonius then idly repeats the bit about bestowing themselves, as if Ophelia didn't hear it when Claudius said it, even though she was standing there. This is further characterization of Polonius, in more ways than one, which needs extended comment to do it justice. 43 this book The book is not a prayer book. It is a book that Polonius thinks would interest a scholar (which Hamlet is.) Polonius gives Ophelia the book in the expectation that Hamlet will approach her and ask, "Whatcha readin'?" Polonius has supplied the book as a conversation starter. This goes back to Polonius asking Hamlet what he was reading, when Hamlet had a book. Polonius thinks Hamlet will do the same thing he did. 44 exercise It means simply "activity." Ophelia is not giving any appearance of praying. She is to stand there by the arras, pretending to read a book, and Hamlet is supposed to approach her and ask what she's reading. That is Polonius's plan for what he thinks will happen. The word has an undertone of irony in light of its root meaning of "drive out," and wordplay with "exorcise" in advance of Polonius mentioning the devil. 45 *loneliness Arden is wrong. The correct word in the play, and most especially in a presentation that is allegedly specific to Q2, is "lowliness." Polonius views merely reading a book as a "lowly" activity. There's no financial profit in it, as far as Polonius knows, and also he's no scholar. There is the undertone that Polonius views his daughter as a "lowly" person. We know from Polonius's characterization that he's oblivious to Ophelia's feelings, and he wouldn't think about her being lonely if she tattooed the word on her forehead. Arden should have respected Q2, which they claimed to be trying to present. 46 devotion's visage Polonius is chattering idly about putting an innocent appearance on some activity which is not so innocent. In keeping with his characterization, he recites in the form of a saying, one which, as so often, is not very pertinent. Polonius's saying concerns Ophelia's appearance here only in the most general terms. There is no implication of her seeming to be engaged in actual religious activity. The purpose of Polonius's lines in the play is to give Claudius "rehearsal" at having his conscience caught before Hamlet's 'Mousetrap Play.' Polonius accidentally "tents" Claudius before Hamlet gets the chance. This is an incident on the Wheel of Fortune motif. Polonius has beaten Hamlet to it, by sheer luck. 48 O . . . true Quibbling over exactly where the aside begins is foolish and pointless. The whole speech is an aside, of course, and there is nothing whatsoever odd about an actor turning aside to make an aside. That's what an aside is, for pete's sake. Polonius's lines from 45 on are still being spoken to Ophelia. He is not talking to Claudius. Polonius is attempting to instruct Ophelia with a saying, the same way he lectured Laertes earlier with sayings. It is characterization of Polonius as a parent, that he attempts to educate his children by reciting sayings to them. Claudius, upon hearing what Polonius said to Ophelia, and feeling a twinge to his conscience, turns to the audience for his aside. The action is not complicated. 51 to . . . it Spencer's notion is nuts. What on earth is it doing in company with the playtext? It's only another one for the Pathology book. Arden is grossly irresponsible to idly cite addled crap that can only mislead an unsuspecting reader who is honestly trying to understand the play. 54 SD There is, of course, no exit for Polonius and Claudius in Q2, because they do not leave the stage. We know that. Q2 is clearly correct. The only mystery is why Arden is mystified. Arden's mystification is not really a mystery, however, since it's clear throughout the play that the Arden editors were not competent to interpret the stage directions, or even competent to reproduce them as Q2 genuinely shows them, even though Arden was allegedly trying to present Q2. The later entry that Polonius and Claudius will get, when they emerge, is an instruction to those actors to take their correct speaking positions on stage, where the audience will be best able to hear them. That's what an entry in Q2, for a named character, typically means, that the actor is to take his correct speaking position, or he must accompany another actor to speaking position on the stage. A character who is already onstage can get an entry in Q2, when he needs an instruction to move from wherever he was into his correct speaking position. 54.1 The Q2 entry placement is correct. And Arden is wrong, again. An entry does not mean an actor instantly and miraculously appears, exactly on his mark. Hamlet is conceptually not in the "room" yet at the point where his entry is printed. The Elizabethan stage was not set up as a room. It was open. The enclosed room type of set was not used in England until later in history. Hamlet is not suddenly popping in through the room door here. There isn't any room door, or room walls. The entry means the Hamlet actor has appeared on stage, and is moving to his correct speaking position. Hamlet's approach, onto the stage, justifies to the audience why Polonius says he can hear Hamlet. (Hamlet will know Claudius and Polonius are behind the arras, but not because he sees them hide. He doesn't have to see them to know it.) The identical timing, for Hamlet's entry versus Gertrude's line, will be used again, later, in the Closet Scene (where Arden will get it wrong, again.) In both cases, Hamlet's entry onto the stage is used to show the theater audience WHY a character says he can hear Hamlet. However, in neither instance is Hamlet within the imaginary "room," yet, at the point the entry is given. 55 the question The first question on Hamlet's mind is whether he should kill Claudius when Claudius shows up alone, without any guards or witnesses around. This goes back to Claudius saying he summoned Hamlet "closely." Claudius wanted Hamlet to be alone, so Hamlet would talk openly to Ophelia. Hamlet's conversation with Ophelia would be inhibited if he brought others with him, such as Horatio or his regular servants. So Claudius summoned Hamlet "closely," for a private talk, just the two of them. Claudius did that to insure Hamlet would be alone. However, it has given Hamlet the idea that Claudius will also be alone (no guards, no witnesses.) As Hamlet arrives, he's thinking this could be a great chance to kill Claudius, and he begins his soliloquy with that thought in mind. The first meaning of "to be or not to be" is whether Hamlet's killing of Claudius is to be, or not to be, when Claudius arrives alone. Hamlet, as he enters the "room," thinks Claudius is yet to arrive, and will arrive alone. 57 slings and arrows The root meanings of the words imply "twists and turns." "Sling" comes from a meaning of "twist," and "arrow" comes from "arc," which is a kind of turning. Thus there is no reason to doubt the phrase. At root, it's reference to the twists and turns of fortune. 65 what dreams The phrase demands a note commenting about Hamlet's hellish nightmare. "Bad dreams." 66 this mortal coil It means "this mortal shell," for plain reading. The "shell" idea goes back to the "sea of troubles" metaphor. Some sea creatures have a shell that is distinctly spiral, or "coiled." When they die they leave behind the shell, or "coil." Hamlet is making an analogy of the human body being such a "shell." There is an additional meaning of turmoil and trouble. It's another double meaning. 68 The Arden attempt at equivalent phrasing is wrong. Jenkins was essentially correct. Hamlet is saying a long life is a "calamity" because it's a life lived in pain, in fear of the afterlife. It's notable that Hamlet, in his speech, mentions no joys of life, which reflects his depressed mood. 69 time The word is best read with a double meaning. Either view Arden mentions can be taken, and that is probably intentional, as usual, in the author's choice of phrasing. 71 despised (love) Q2 is correct. "Despised" is from a root meaning of "to look down on." Allusion is to Hamlet's love for his father being looked down on, by Claudius and others. Also, the "look" idea connects to the Watch motif. It's a well chosen word by the author, nicely relevant to the play. 75 bare If a secondary meaning is sought, which is a reasonable enough thing to do in Hamlet, it should be taken as "mere," not Arden's word of "puny." The idea is of a mere unsheathed bodkin. 75 fardel The word is from Arabic 'fardah,' referring to the burden carried by a camel. It connects to Hamlet asking Polonius, later, whether he sees a camel in the clouds, after the 'Mousetrap Play,' when Hamlet has confirmed to himself that he does bear the burden of having to kill Claudius. 79 No traveller returns Arden's note is silly nonsense. Hamlet Sr, the person who died, has not returned from death. He is not alive again. Arden fails to distinguish between a person and a ghost, which is an oversight, to say the least. Everyone knows that a ghost, and a living person, are two different things. 82 conscience Arden's quibble is a distinction without a difference. Fear of punishment after death proceeds from a learned, internal view of good and evil. 82 make cowards A pause after "cowards" is mandatory. Hamlet has seen Ophelia, and has been speaking his aside to the audience as he waits to see whether she will leave. He will not kill Claudius with her there as a witness. Hamlet has decided at this point that she isn't going to leave before Claudius arrives. He pauses after "cowards," and then says "And thus" in acknowledgement to himself that it doesn't appear she's leaving soon. After "cowards" Hamlet pauses, and turns to look directly at Ophelia. Q2 is correct. 83 native hue The "native hue" of Hamlet's intent against Claudius is blood red. The usage connects with "pale cast" in the following line. The lines express the same "pale or red" idea as in Hamlet's earlier question to Horatio. Arden's note, trying to handle the phrase in isolation, fails to connect to the play. 84 *sicklied o'er Q2 "sickled" is correct. It means Hamlet's intent to kill Claudius when he arrives has been "sickled." Reference is to the sickle of Death, and the usage is figurative. Hamlet has "killed" his idea about killing Claudius because he sees that Ophelia isn't leaving. His "enterprise" turns awry since he isn't going to kill Claudius with her as a witness. The Arden change to the genuine Q2 text, (which is correct,) is irresponsible and incompetent. 87 Soft you The Arden gloss is right, but their note is wrong. Hamlet has been observing Ophelia at a distance since he entered, and has been speaking his soliloquy while waiting to see if she'd leave. Having perceived she isn't leaving, he decides to approach her. 88 Ophelia! Arden's exclamation point is highly inappropriate. Hamlet says the name in a contemplative way. Editors should resist the temptation to editorialize with their punctuation. 88-9 Nymph . . . remembered Editors really, truly, need to get over trying to explain the whole play with simple minded invocations of "antic disposition." It hurts their presentation, and deprives their readers, and them, of perception of the meanings in the play. There is no pretense of madness by Hamlet in this scene, none whatsoever. Johnson was wrong, and Arden is wrong to cite him. What's happening here, is that Hamlet has made the decision to separate himself from Ophelia, because of the danger connected with his intent against Claudius. Hamlet's nightmare was a terrifying reminder of the danger. In his last two soliloquy lines, Hamlet means he hopes Ophelia will forgive him, and remember him in her prayers, because he's going to offend her intentionally, by breaking their engagement and parting from her, until after he takes care of Claudius. It is important to understand that Hamlet speaks the "Nymph" lines to himself, as the conclusion of his aside, before he nears Ophelia to talk to her. 90 The Arden note is oblivious. Arden does not understand the play. The reason Ophelia speaks as she does is because Polonius is listening, and she thinks it will sound alright to Polonius as a way to greet the Prince of the nation. But to Hamlet it sounds absurd, as a greeting from his sweetheart. She does not greet him like that in private. Hamlet's approach to Ophelia, her greeting, and his response, require extended discussion not possible in this comment. 91 well The Folio repetition is indeed best interpreted as an actor's elaboration to help make the point Hamlet strongly suspects some subterfuge. However, Arden's list of possibilities is all wrong. Hamlet's "well" has the undertone of thoughtful suspicion. 92 remembrances Arden does not understand the play. Polonius has instructed Ophelia to attempt to give the items back to Hamlet. But in Polonius's scheme, when Ophelia offers the items to Hamlet, he is supposed to refuse them. Hamlet is supposed to say, 'no, you must keep my gifts, because I love you.' Claudius, behind the arras, will hear Hamlet say he loves Ophelia. Polonius will then be justified in insisting Claudius get involved to ensure Hamlet marries Ophelia. It's Polonius's plan for how to get the "main voice of Denmark" on his side for a match of his daughter with the Prince of Denmark. Polonius will then have the Prince for a son-in-law. That is Polonius's plan, and what he thinks will happen. We know this for a fact, about Polonius's plan, because it's what the earlier passage involving the love letter from Hamlet was all about, and that scene led to this one. 93 longed (long) Ophelia's "longed long" is a slight stumble in her speech due to her nervousness over this encounter with Hamlet. 95 Hamlet is stalling for time, as he tries to figure out what's going on. He also wants Claudius to think the items meant so little to him that he can't remember them (in connection with Hamlet trying to give Claudius the impression Hamlet was never that close to Ophelia, and never told Ophelia anything Claudius needs to know. "Bad dreams.") Hamlet has strong suspicion by this point that Claudius is behind the arras. Actors who have played it that way have been exactly right. 96 you know Ophelia is not "directly accusing Hamlet of lying," she is expressing disbelief that he could have forgotten, which is a different thing. Arden's attempt at interpretation is only crude. 98 Their perfume lost Arden blunders in mentioning "unkindness" in connection with this phrase. Ophelia's "unkind" saying is empty recitation. Ophelia is scrambling for some excuse for her to be giving the items back. Polonius has not provided her with any reason to be giving them back. Polonius didn't think she'd need a reason, because he thought Hamlet would immediately insist she keep the items, and add a vow of love. Ophelia speaks of "perfume" because she remembers what Laertes said to her, when he was leaving for France. She told Laertes she'd lock his advice in her memory, and she did. Ophelia is ad libbing a reason to be giving the items back, because Polonius didn't provide her with any reason to do so. 99-100 for . . . unkind Arden does not understand the play. A note is mandatory that Ophelia's "noble mind . . unkind" saying is recited simply because she knows her father is listening, and he likes sayings. She thinks it will sound alright to Polonius as "dialogue" for her performance. It's pure ad lib, merely something to say, as she valiantly attempts to handle this painful situation. She recites the saying, absently, only because it has the word "gifts" in it. Hamlet, unfortunately, thinks she means it. 101 There, my Lord Of course Ophelia hands the items to Hamlet, and, directly contrary to Polonius's plan, Hamlet does accept them back. Polonius's "enterprise" has just gone awry. 102 Of course Hamlet sees the return of the items as a rejection. Good heavens, doesn't Arden have any sense at all? There's no "may" about it. Polonius, who is unable to see things from anybody else's point of view, didn't take it into account in his scheme, that Hamlet would see rejection and respond accordingly. 102-4 honest . . . fair Arden's note is only babble, as far as the play is concerned. It explains nothing. Here's what's happening in this scene: Hamlet arrived, expecting Claudius soon to arrive alone, with no guards or witnesses. He recited his soliloquy while waiting to see if Ophelia would leave. As he approached Ophelia she glanced at the arras (for two reasons that I won't go into in this comment.) Hamlet noticed she glanced at the arras. She then greeted him in an absurd way, as if somebody else were listening. In particular, she didn't greet him by her nickname for him (Robin) that she always used in their private conversation. She then attempted to return his gifts. He stalled, trying to figure out what's going on. She then used the word "rich" twice, and spoke of "noble." "Noble" is a word that can be used for a king. Hamlet heard her call his gifts "poor," and heard her speak of "rich gifts," as she absently recited the saying. Who could give her rich gifts, so that she would reject his "poor" gifts? Claudius, the King, is rich - and it was Claudius who summoned Hamlet here. And Hamlet is pretty sure somebody is behind the arras, listening. Hamlet now thinks that Claudius's summons was not for a private chat, but was for Ophelia to return Hamlet's gifts, exactly as he sees happening. Hamlet thinks Claudius has told Ophelia to break up with him, and that's what's going on. Claudius is hiding behind the arras so Hamlet won't see him with Ophelia, Hamlet now believes. Hamlet thinks it's happened again. First, his mother allied with Claudius, and married him. Then, his old friends R & G began working for Claudius, against him. Hamlet thinks the same has happened with Ophelia. Hamlet concludes that Ophelia has become Claudius's courtesan, and has no further use for his "poor" gifts because she's getting "rich gifts" from the King. For Hamlet, it's like a "bad dream" come true. In sum, as Hamlet looks into the big, sad eyes of sweet, gentle, innocent, virginal Ophelia, who loves him dearly, and whom he deeply loves, he mistakenly thinks he's looking at the face of Claudius's whore. This is why Hamlet proceeds to lecture and berate Ophelia: he thinks she's become Claudius's courtesan. It is also why Hamlet will make the indecent remarks at the later 'Mousetrap Play.' There, he'll be trying to publicly shame Ophelia and Claudius about their supposed sexual relationship (which doesn't really exist, so Hamlet only ends up looking "mad.") Here, Hamlet's misunderstanding is why he goes on to speak of bawds, sin, and being honest (honorable.) In connection with the usage of "honest" in line 102, Ralph Roister Doister contains the line: 'if ye be honest, my words can hurt you nothing.' It's another RRD association. Hamlet is implicitly assuring himself that the words he intends to say to Ophelia won't hurt her, if she's "honest." He'll be wrong about that. She is indeed honest, but his words still hurt. 106-7 you . . . beauty It means, 'if you're both honorable and beautiful, you shouldn't allow men to compliment you on your beauty.' And, it has some further meaning. Hamlet, the scholar, is beginning a logical argument to persuade Ophelia, logically, that he never really loved her (and to persuade Claudius, who Hamlet knows is listening, that he was never really close to Ophelia, and therefore never told her anything that Claudius needs to know.) 108 commerce Ophelia's word choice is unfortunate, because it accidentally goes along with Hamlet's idea that she has "commercialized" her beauty, with Claudius. 111 bawd In his lines 110-12, Hamlet is saying that beauty will prostitute honesty, more easily than honesty will make beauty a true virtue, the way honesty is a "true" virtue. 113 paradox The paradox is in beauty not being a true virtue. 117 *inoculate Arden is wrong. The correct word is "evocutate," as Q2 shows. It is Shakespeare's coinage of an antonym for "inoculate." "Inoculate" means to put into, as in grafting a bud to another plant. The author's "evocutate" means to take out of, as in taking a bud from a donor plant. Hamlet's lines, "For virtue . . . relish of it" mean, 'virtue cannot be taken thus from the "old stock" of male human beings, but men will suggest that it can.' The word "evocutate" can also be interpreted with a double meaning, of both putting into, and taking from, encompassing both "inoculate" and its opposite. The main point being, "evocutate" is the correct word, just as originally printed in Q2, it does not mean "inoculate," and it is a genuine Shakespeare coinage. Arden erred in not respecting it, to say the least. 117 relish Means "suggest." Hamlet is referring to his "suggestion" that he loved Ophelia, and the "suggestion" by men in general that they're virtuous. 120 *to Arden's change to the playtext is an error. Hamlet's "Get thee a nunnery," in Q2, can be read with the meaning that she should use her "rich gifts" from Claudius to buy a nunnery. The absence of the word "to" in the line can be credibly interpreted as intentional. Arden should have respected the original wording. 120 nunnery It has a double meaning. Hamlet is sincerely telling Ophelia to go to a nunnery, a place away from men who would mislead and misuse her, and then with the "brothel" undertone following from his mistaken conclusion that Ophelia has become a courtesan. 121-8 I . . .us Hamlet is not engaged in rhetorical exaggeration. He is indeed proud of being his father's son (which is not a very sinful kind of pride.) He is certainly revengeful (that's what the play is about.) He is ambitious, now, to be King, since he'd then be rich, and, under his mistaken notion, he could give Ophelia "rich gifts" to buy her affection, which he would like to be able to do, since he loves her. 121 indifferent honest Means "as honorable as average." Hamlet is trying to warn Ophelia about men in general, that they're not very honest, or honorable, and will try to deceive her. He's offering himself as the "average example," which he is certainly not, however. 124 beck The particular offense at Hamlet's "beck" is the killing of Claudius, and in undertone, it's the difficulty of thoughts, imagination, and time to do that, which he's referring to. 127 We It refers to men, the male sex. Hamlet is warning Ophelia against men. Like most lines in Hamlet, it can then be plumbed for further meaning, as well. 129 Where's your father Hamlet asks for two reasons. One is that there's air circulation in the room and he's caught a whiff of Polonius. (Fishmonger. Dead dog. Smells to Heaven. Nose him.) The second reason follows from Hamlet's mistaken idea, under which he's sure Ophelia wouldn't become Claudius's courtesan without Polonius being involved somehow. 130 At home A note is required that Ophelia is not really lying. Since Polonius is the top aide in the government, his family is provided a suite in the castle, so that Polonius will be near at hand if the King wants anything done. Polonius is in the castle, so he's "at home." Also, it goes back to "bestow," with the "house" or "home" meaning. Claudius and Polonius both spoke of being "bestowed" behind the arras, meaning "housed," or, loosely speaking, "at home." Ophelia has done what Hamlet so often does, she has tossed wordplay at him. She is smart (and it serves Hamlet right.) This is significant to Ophelia's characterization. However, her intelligence doesn't help in this situation, because she doesn't have the facts of what Hamlet thinks. Intelligence requires facts to work with, and Ophelia doesn't know Hamlet's misunderstanding. 133 O . . . heavens A note is required that Hamlet earlier, while speaking to himself, hoped Ophelia would remember him in her prayers ("Nymph, in thy orisons...") and she is doing that here right in front of him. She's praying to Heaven for him. 134-5 this . . . dowry Arden's note phrases it wrong. Hamlet's "for" means "as." He doesn't mean "in place of" a dowry, he means "as" a dowry. The word usage connects to Ophelia and Hamlet's secret engagement, which they were keeping secret to try to avoid Polonius and Claudius getting involved and causing difficulties. 136 calumny Hamlet's "curse" is truer than he knows. He, himself, is "slandering" Ophelia in his thoughts as he speaks to her, under his mistaken notion that she's become a courtesan. The irony is profound. He says it, without knowing what he's saying. "Calumny" also anticipates the later slander of Ophelia as a suicide, when she will actually die by accident, just as Gertrude will report. 137 marry a fool A note is required that Hamlet is feeling like a fool. His phrase has self reference. As he breaks up with Ophelia, he still adds a phrase implicitly asking her to marry him, the "fool." He loves her so much, he can't help it. 'Marry a fool!' he says. ('Me.') There's double meaning, with the plain reading being Hamlet advising Ophelia to marry some fool, and the undertone of him still asking her to marry him, the "fool." By the way, it is an almost universally unappreciated point that, while Hamlet is the hero of the play, he is also The Fool. Hamlet is the Shakespeare play where The Fool is the protagonist. 138 monsters Also means "liars." Double meaning. The secondary meaning is that Ophelia's husband would "lie" to her constantly that he loves her. She'd turn him into a loving, "lying monster," if she married the "fool." The Fool would "lie" to her every day, for the rest of his life, that he loved her, if she married him. 138, 141-4 you . . . your . . . you Arden is wrong. Hamlet is not attacking women in general, he's attacking courtesans, under his mistaken idea about Ophelia. Hamlet's "I have heard" is his reference that he has only heard about courtesans, and has no personal experience with them. "Heard" is also on the Ear motif in the play. And, in relation to Ophelia, his mistaken idea is on the Slander motif. 141-5 Notation is required that all of Hamlet's critical remarks also carry an undertone of compliment to Ophelia. There is at least double meaning in everything he says. Requires extended comment, not possible here. 143 *jig Arden has erred in not respecting Q2. The word is "gig," exactly as Q2 shows. It's an archaic word that refers to the way a woman moves her posterior while dancing. Arden has not even starred the change, or included a note to justify it, which is unscholarly and unprofessional. 143 You . . . amble Hamlet's criticism is directed towards the way harlots walk in a sexually suggestive way, as they "innocently" stroll the streets. 143 *lisp Ophelia does have a lisp, which is greatly significant in anticipation of her "twice" (two-es) at the later 'Mousetrap Play.' 144 nickname God's creatures Hamlet is talking about harlots calling all men "John." Men are God's creatures, and "John" is the proverbial harlot nickname for their men. In painful undertone, Hamlet is referring to Ophelia's nickname for him: Robin ("bonnie sweet Robin is all my joy.") 144-5 make . . .ignorance Means 'ignore that your wantonness is wrong,' as the plain reading. 145 I'll . . . on't The Arden equivalent is wrong. Means, 'I won't say it (nunnery) again.' Proper punctuation marks a distinct pause after "Go to..." Hamlet started to say "go to a nunnery" again, but stopped. 145-6 It . . . mad There is not, of course, any "antic disposition." 'Twould be good if editors and commentators could be inoculated against use of that misleading phrase so that they don't even relish of it. Mindless parroting of a single phrase, taken out of context, is no proper approach to interpreting the play. What Hamlet means is, "it's driving me crazy." He further means it makes him angry. Double meaning. Hamlet has seen his mother Gertrude go to Claudius, his friends R & G go to Claudius, and now he thinks his sweetheart Ophelia has, too. His expression that it's driving him crazy, and makes him angry, is very easy to understand, and there's nothing clownish about it. 150 Arden is wrong about the word order being illogical or rhetorical. It is intentional to provide allusions for the play. "Soldier's tongue" is advance allusion to Hamlet's indecent speech at the later 'Mousetrap Play,' where he'll tell blue jokes like a soldier on leave at a saloon. "Scholar's sword" is in advance of the fencing match in the last scene, where Gertrude will speak of Hamlet being "fat and scant of breath," more a scholar with the sword than a swordsman in proper training. "Courtier's eye" is reference to Hamlet's knowledge of people and events at court, which we'll see particularly in Hamlet's description of the courtier Ostrick who appears later. The exact word order provides Shakespeare's allusions for his play. For Ophelia, it's characterization that she's upset and confused. In no way is it merely rhetoric, nor is it illogic. 151 expectation and rose It is not properly interpreted as hendiadys. Ophelia does use "rose" as a symbol of beauty. She casts Hamlet as both the expectation, for the future of Denmark after Claudius, and also as the symbol of beauty of the existing state. She goes on to develop the "beauty" idea with "glass of fashion," etc. The usage, of "rose" as "beauty," will occur again later in the Closet Scene, when Hamlet will speak of taking the rose from the forehead. 157 time Q2's "time" is unquestionably correct. There is the undertone of allusion to Ophelia hearing wedding bells "out of time." She hoped to wed Hamlet, but it is not to be. She was hearing the wedding bells, in her imagination, at the wrong time. The undertone is conclusive that "time" is right. The Folio is in error. Further, musical bells are not tuned like string instruments, they are played by ringing the right bell at the right time. The Folio editor(s) lacked Shakespeare's knowledge of music, and perception of his undertone, and mistook it. 158 stature . . . youth Hamlet is, of course, younger than 30. The only one who implies him to be 30 is a Clown. Clowns in a play are for amusement. Arden should have been smart enough to know that, especially since Hamlet already stated that fact about play Clowns in the Hamlet dialogue. Arden couldn't read the play dialogue. 160 Arden is wrong about the stage direction, again. The exit here is correct. It is not Ophelia's exit, of course, it is Gertrude's. Hamlet has left, Ophelia has her head down, crying, and Polonius and Claudius have not yet emerged from behind their arras. Gertrude steps from behind the arras where she was hiding, and exits without any of the others seeing her, or knowing she was there. She heard it all. In particular, she heard Hamlet say, "Those that are married already, all but one shall live." Gertrude is married, to Claudius, and she knows Hamlet doesn't like that. It contributes to her alarm in the later Closet Scene, where she fears Hamlet will murder her. She will fear she's the one he meant. 161 Love! Arden's exclamation point is wrong. It's a rhetorical question. Polonius's spying scheme was supposed to prove Hamlet loved Ophelia, for Claudius to hear. Claudius is referring to that question, rhetorically. He then states his conclusion about it. Arden's note 161 is oblivious, and their attempt to editorialize with punctuation is incompetent. 161 affections Means "sentiments," and certainly not "passions." The play contrasts love and passion. 165 disclose Certainly not synonymous with "hatch." Claudius means "hatching and taking flight." He means Hamlet's intent, as he perceives it, both appearing and going into action. The usage is from "disclosed," a heraldic term for the posture of a bird with its wings spread for flight. Gertrude's later usage of "disclosed," at 5.1.276, is the same (although with a double meaning.) 168 set it down Means, figuratively, "written it into law." Follows from the concept that the King's word is law. 170 Haply Means both "perhaps," and "happily (I hope.)" Double meaning. 172 something-settled Arden is wrong in both gloss and punctuation. Claudius's line means, 'this "something," the trouble that has settled in his heart,..." 173 puts The Arden note is inappropriate. The Elizabethans were lax, by modern schoolroom standards, in their use of verb number. Even Queen Elizabeth's writings contain "grammatical errors" in verb number. Verb number, in Elizabethan writing, is not necessarily evidence of subject. However, the subject of "puts" is "something." Arden hid that from themselves with their mispunctuation. Claudius means, in his lines 172-174: This "something," the trouble settled in his heart, ... puts him thusly From fashion of himself. 177-9 How . . . all Arden's note is foolish. Polonius's lines are because he has no perception that Ophelia must know they heard. This is characterization of Polonius, that he lacks appreciation of anybody else's point of view. Knowledge of the characterization of Polonius is very important throughout the play (even after he's dead.) For one thing, Polonius's lack of insight gets Reynaldo killed. In this scene, Polonius's lack of perception, for Hamlet's point of view, was a crucial oversight about the effect of Ophelia offering to return Hamlet's gifts. Polonius is essentially blind to others' points of view, and is unable to judge what others know or perceive, and how others feel. Here, Polonius really does think he has to inform Ophelia that he and Claudius heard Hamlet. 179 so . . . please The Arden note shows no understanding of the play. Polonius does not mean "you will act," he means "go ahead." And it is not Polonius's proposal, it is Claudius's proposal, which Claudius just stated, and to which Polonius, Claudius's advisor, is responding. 181 Queen-mother Polonius says "Queen-mother" to Claudius because he thinks it might be necessary to remind Claudius that Queen Gertrude is Hamlet's mother. Just as in Polonius's statement to Ophelia, this is more of Polonius's lack of perception of what others must know. He isn't sure Claudius remembers that Hamlet is the Queen's son. Further, it's a sign of Polonius's own difficulties in remembering, in his second childhood that R spoke of, earlier. There is, additionally, an amusing undertone. "Queen Mother" is the title of the reigning monarch's mother. Polonius, speaking to King Claudius, has accidentally referred to Hamlet as the King. Claudius overlooks it, or doesn't notice. Even further, Polonius's phrase goes back to Hamlet "madly" saying "Uncle-father" and "Aunt-mother" to R & G. Polonius inadvertently says a "mad" thing here on the same pattern. 187 *unwatched A bad blunder by Arden, especially since they're supposedly presenting the Q2 playtext. Q2 says "unmatched," and it is the right word, from the author. The word gives advance allusion to Claudius "matching" Hamlet's madness with the crazy fencing "match" scheme that will get them all killed. The allusion is conclusive that "unmatched" is correct. Immediately, for plain reading, it means "unmet." Claudius intends to "meet" Hamlet's hostility with a counter-move, by sending him to England. Act 3 Scene 2 0.1 three "Three" is specified because there are three speaking parts in the 'Mousetrap Play' (the King, the Queen, and the villain,) and Hamlet begins by instructing the Players on how to speak. It is therefore necessary that the Players for those speaking parts be present, to hear Hamlet's instructions about speaking. More Players may be present, but require no stage direction. There's a prologue, but that is probably done by the King actor. 1 the speech We know Hamlet is talking to three people, at least, so the major meaning of "speech" refers to the speech in the play, overall. It has to, since he's addressing all the play's speakers. Secondarily, however, it can be taken that he's mainly talking to the lad who will play the queen. 2 trippingly Strangely, Arden seems unable to distinguish the written playtext from a stage performance of the play. It's an unaccountable lapse. Arden points to an impression they've gained from play performances to try to argue the written text. It's odd. It's doubly odd in a context where Hamlet is talking about that very thing, the difference that can exist between writer intent, and actor behavior. The lines in the play, that the Arden editors must have had in front of their faces as they were writing their note, were telling them their note was inappropriate, and they apparently couldn't even appreciate the play lines well enough to see that. Unfortunate. 3 our players "Your" would be a flatly equal usage, in general. In such phrasing, either word means, identically, that an argument 'given' is being spoken of. Additionally, Arden should have noticed that since they make it "players in general," which is correct, it was wrong for them to parenthetically specify "Danish" or "English" in particular. The Folio language is wrong. The Folio makes it sound as if Hamlet means the Players of that company in particular, which is not what he means. Hamlet says "our" instead of the more usual "your" to avoid that misunderstanding. That is, Shakespeare wrote "our" instead of "your" to avoid the misunderstanding, but the Folio editor(s) missed it. 4-5 saw . . . hand Arden had their chance here to identify what Hamlet's word "handsaw" meant, but they cruised on by it. 7 acquire and beget "Beget" does not mean "inculcate," it means "produce." Arden should splurge on the purchase of a dictionary. Hamlet is saying the Players ought to acquire temperance to smooth the passion, and thereby "produce" a temperate performance. 9 periwig-pated fellow Hamlet's remark makes no assumption about the proliferation of wigs. It speaks of an actor wearing a wig; it offers nothing about anybody else wearing one. (The phrase may, perhaps, offer a little hint of Burbage wearing a wig while playing Hamlet. The irony of Burbage, on stage, disparaging actors with wigs, while wearing one himself, would be eminently Shakespearean, especially in Hamlet, and especially if the wig is obvious.) 10 *tatters Since Arden considers this merely a spelling variant, which it reasonably is, and not a different word, why did they star it? There's no actual change in word. By this example, they'd have to star every spelling they changed in modernizing the text. 12 inexplicable dumb-shows Means exactly what it says. It's advance allusion to Ophelia's question about the later Dumb Show: "What means this, my Lord?" The hyphen is not in Q2, and should not be used. It is best that "dumb shows" be two separate words, because of the allusion to the Dumb Show before the 'Mousetrap Play.' For the immediate passage, and for plain reading, "inexplicable" simply refers to a dumb show having no dialogue to explain the action. Further, the Arden note is historically incorrect. As Jenkins pointed out in the Arden 2, dumb shows did not usually relate to the plot of the accompanying play, but were either for additional action or were emblematic. Arden is apparently trying to make the Hamlet Dumb Show seem less remarkable, which is the wrong thing to do. The Dumb Show's unusualness is a highly notable aspect in interpreting it properly. 20 playing The Q2 comma after "playing" is required. Arden has left it out. 23-4 very . . . time Not hendiadys. "Very" means "true" here. 24-5 this . . . off The Arden note is wrong. "Tardy" refers to timing. Hamlet is saying that the timing in the play has to be right. Arden should have more carefully observed their own parenthetical. 27 in your allowance Means "in your opinion," or "from your point of view." Hamlet is saying the Players must allow, from their point of view, the judgment of the one to outweigh the judgment of everybody else. 29 heard others praised In this instance it's credible Q2 has a misprint which the Folio corrects. Since Arden so easily departs from Q2, in favor of the Folio, (despite their stated objective,) it's odd they didn't do it here. The Folio word, "praise," doesn't require a guess at the meaning, which is all Arden provides for the Q2 wording. Folio "praise" is probably right. 31 Christian . . . man The Q2 comma after "man" is required. 36-7 those . . . clown There is a "clown" present, and his name is Hamlet. Hamlet's "clown" instruction is high irony, in advance of his own behavior at the 'Mousetrap Play.' For Shakespeare's meaning, the Arden note is quite wrong. It's an ironic allusion to Hamlet, himself, who is standing there in the group with the Players. He's the "Player" for his own remark about the Clown. 39 barren Means "unoccupied" by what's going on in the play; that is, inattentive to the play. It presents an undertone relevant to Ophelia, as she will later be distracted by Hamlet's clownishness, and be inattentive to the play. "Barren," in specific reference to Ophelia, is Shakespeare's undertone that Ophelia will never have children. Another of many brilliant (and tragic) word choices by the author. 43 SD [Exeunt Players] Arden has the stage direction wrong, again. The Players do not exit. Elsinore lacks a regular theater. There is no backstage where the Players could go. The Players withdraw to a corner of the room, or an end of the room. That's why there's no exeunt for them in Q2. They remain on stage, at the side or in the background. The author knew his castle setting was not a regular theater with a backstage, and editors should realize that, also. It's conceptually a large room, equating to the Banquet Hall at Kronborg Castle, and the Players are still within the room as they make their preparations. A later line by Hamlet confirms that the 'Mousetrap Play' audience can see the Players as they make preparations - they cannot be offstage while preparing. (The line is Hamlet's "damnable faces" line, which tells us the Players are in view while preparing: Hamlet is referring to the Lucianus actor applying his stage makeup. The line is an instance on the Painted Face motif. Hamlet, in the audience, can see the actors preparing, Lucianus in particular, applying stage makeup, his "painted face," and Hamlet reacts to that. So, the Players cannot be offstage from the 'Mousetrap' audience as they prepare. They must be in view, and their entries and exits, from the 'Mousetrap Play' are only 'understood' as the Players withdraw to a corner or end of the same room. Hamlet's outburst, against the Player painting his face, connects significantly, and ironically, back to Claudius mentioning his own "painted face" in the Nunnery Scene, since Lucianus is supposed to represent Claudius. Before Hamlet's later line, the actor who represents Claudius is seen by Hamlet actually painting his face, with stage makeup.) 47 SD [Exit Polonius] Wrong SD, again. Polonius goes over to where the Players are, he does not exit. The reason Hamlet sends Polonius to the Players, instead of back to Claudius and Gertrude, is because he now doesn't like Polonius being associated with Claudius, under his mistaken idea about Polonius pimping Ophelia to Claudius. So, he sends Polonius to the Players instead of to Claudius. And thus, no exit for Polonius in Q2. Q2 is right. And Arden is wrong. 48 Will . . . them Hamlet is sending R & G to hasten Claudius and Gertrude to the play. The "them" in line 48 refers to Claudius and Gertrude (not to the Players.) Hamlet is not dismissing R & G to be alone with Horatio (he couldn't be alone with Horatio since the Players and Polonius are still onstage, and the 'Mousetrap Play' audience is arriving.) Hamlet is sending R & G to tell Claudius and Gertrude the play is about to start. R & G do, indeed, get an exit, as Q2 correctly shows. 50 just "Judicious" is more than relevant, it's the actual meaning. Hamlet is having the play performed to seek justice against Claudius. The usage connects back to Hamlet speaking of a "judicious one" during his remarks to the Players. Hamlet is here recruiting Horatio as a "judicious one" to help judge Claudius's reaction. 52 O . . . lord Horatio is not denying it, he's reacting to the unexpected compliment, wondering why Hamlet says it. The line is best punctuated with a question mark, for the modern reader. 57 pregnant Means "productive" (of reward.) The Arden gloss is wrong. The idea is that kneeling to the master will be productive of reward to the flatterer. 65 co-meddled More likely, it's supposed to be 'comedlied,' from "medley," and meaning "harmonious," since Hamlet immediately goes on to mention playing music on a pipe. Further meaning should also be sought, as usual. 75 the . . . soul It doesn't refer to "entire being," it means what it says. Hamlet is telling Horatio to consult his soul in judging Claudius, i.e. use his intuition, in addition to the logical judgment of his mind. 80 Vulcan's stithy "Stithy" takes specifically the "forge" meaning. Hamlet is speaking of the possibility of the Ghost being a forgery, an imposter. The double meaning here is in the double application of the phrase, referring both to Hamlet's suspicions, which may be untrue, and then to the Ghost, which may be a forgery. 85 detected Means "despite being detected." Horatio is talking about Claudius trying to sneak out after his guilt has been shown, or while it's being shown. Horatio means he'll nab Claudius if he tries to sneak out during the play. This supports casting Horatio as a sturdy fellow who could manhandle Claudius, by the way. (Claudius will flee the play, but he doesn't try to sneak out unseen while the play continues, so Horatio's pledge won't apply to the way Claudius will leave. The point of mentioning that is, there's no contradiction between Horatio's promise and the way Claudius will leave.) 85 pay the theft Arden's note is bizarre. Horatio means that if Claudius gets away with his life, Horatio will pay with his own life. It's a gravely serious pledge, much understated by Horatio. 85.1-2 Line 103 is probably supposed to be Polonius's line, since Hamlet sent Polonius to attend the Players. The "Ros" speech prefix in Q2 is probably a misprint. The facts, of Hamlet sending Polonius to attend the Players, not R & G, and the lack of a Q2 entry for R & G for this passage, indicate misprint of that speech prefix. Arden is probably wrong to add R & G to the stage direction, instead of changing the later speech prefix. After what's been seen of Arden and their stage directions, one would like to give them credit here, for this one, but it is not to be. Q2 is right; R & G should not be included in the SD. The later speech prefix is more reasonably where the error is. R & G are present onstage, but by the original Q2 usage of entries, they don't get an entry. They're in the background, or off to the side, among the extras for the 'Mousetrap Play' audience, and not in speaking position on the stage. Polonius properly gets an entry, even though he did not leave the stage earlier, because of what an entry in Q2 means. It means Polonius is to move to his speaking position on stage, because he has lines to say. An entry, in Q2, is an instruction to the character to take his speaking position on stage, without regard to where he was earlier. The speaking position would usually be downstage center, as close to the audience as an actor could reasonably get, in those pre-microphone days. 87 be idle Arden again, hopelessly, refers to "antic disposition." There is no such thing here. Hamlet means unoccupied, not busy. Hamlet's concern isn't necessary, since people know Horatio is his friend, and there's nothing suspicious about Hamlet being seen in conversation with Horatio. But Hamlet has the jitters before his play, which makes him excessively sensitive, and he fears that if people see him talking to Horatio they'll think he's plotting something with Horatio. People would not suspect that, however. Shakespeare gave Hamlet the line as a show of his nervousness before the play. "Idle" also suggests madness, but that's only teasing wordplay from Shakespeare about Hamlet's upcoming behavior, which will not actually be "mad," although it may look that way. 90 promise-crammed Double meaning (at least.) Hamlet means the air being "promise-crammed." The air is filled with promise, Hamlet thinks, as the play performance approaches. Hamlet also means the promises others have "fed" him, including Claudius, are only hot air. 92 I ... with The author's undertone is wicked. A capon is a castrated rooster, which lacks a sexually-functional penis. "Thing" is a euphemism for penis. "Nothing" means "no thing." When Claudius says he has "nothing" with the "capon" answer, he is unintentionally saying: 'If I'm a capon, I have no thing' (no sexually-functional penis.) Claudius accidentally says that he is impotent. Sexually speaking, he has no "thing," he says, albeit unintentionally. Chronic, long-term alcohol abuse can lead to impotence. By the way. Is it only wordplay, for Claudius? It would raise a question about why Gertrude married him, and their actual relationship. 94 now, my lord Of course the words are addressed to Claudius, just as Q2 shows, and as Arden, for once, wisely respects in their playtext, although their note is useless. It is logical wordplay, following the mention of words being "not mine." Hamlet is calling Claudius "my lord" under the "these are not my words" idea. Since those are "not Hamlet's words" it means Claudius is not Hamlet's lord. Hamlet, the university scholar, is giving Claudius a logic run-around. The Folio is wrong; the Folio editor(s) lacked Shakespeare's skill as logician and couldn't follow it, apparently. 95 played A note is required, which Arden does not provide, that Hamlet is accusing Polonius of "playing" at the university, as opposed to studying. Polonius immediately agrees, that he "played" at the university. This is significant further along, as well as providing amusement here. 100 Capitol No error can be ascribed to Shakespeare here. The line is spoken by Polonius, who "played" at the university. It's the Polonius character who has the location wrong, not the author. Shakespeare had the Polonius character make the error to provide analogy. 109-10 Arden is wrong in their note. The Folio addition is not a clarification, it is a blunder in the Folio. Hamlet does not lie in Ophelia's lap. Ophelia's "No" ends that, and Hamlet sits beside her in the normal way. The subject requires extended discussion not possible here. It may also involve the closet drama version of Hamlet, in Q2, versus the stage version. There are strong indications that the closet drama, Q2, is far more sophisticated and subtle. 118 your only jig-maker "Only" does not mean "best." it means what it says. The line has multiple meanings, intentionally so, as usual. For one, Hamlet's line is a joke, meaning, 'oh god, I'm your only entertainment (at my play.)' The rest is too long to go into here. Oddly, Arden notes Hamlet as the "clown" here, after neglecting that point for Hamlet's earlier talk to the Players where the Clown was mentioned. 120 within's It has a double meaning, of both "within this" and "within his," thus the unusual abbreviation. 120-1 two hours . . . months Ophelia is not right, Hamlet is. Ophelia's "twice" is wordplay by the author. Her error alludes to the two month period happening "twice," once in fact, and then again in portrayal, in the 'Mousetrap Play' to be performed. As to the actual passage of time, Hamlet is correct. Editors and commentators on Hamlet have damaged their own minds with their zealousness for parroting the "antic disposition" excuse, for everything they didn't easily understand, and they have thereby failed to treat Hamlet's lines in the play with due respect and seriousness. The result has been a persistent, gross misrepresentation of the play, and a disservice to generations of readers. (It has been two days since the Ghost spoke to Hamlet.) For the Ophelia character herself, "twice" is not even an intended word, it's an error in sound she makes because of her mild speech disorder which Hamlet mentioned. The word "twice" comes from a root meaning of "two" + the suffix "-es." In root meaning it is "two-es." That is the sound of "two" spoken with a lisp. Ophelia has a lisp. When Ophelia starts to say "two months," she lisps the first word, and she makes the sound "two-es." She pauses momentarily, tries again, and gets it right when she continues with "two months." It reveals that Shakespeare knew "twice" comes from "two-es," which in terms of sound is "two with a lisp." Hamlet condemned Ophelia's lisp in the Nunnery Scene, as she heard it, so when she lisps here, by saying "two-es," she immediately corrects it. In strict modern spelling, and with her slight pause marked, her line would be: "Nay, 'tis two-es... two months, my lord." She lisped the word "two" and immediately corrected it because she didn't think Hamlet would like the lisp, and feared he might berate her again. Since "two-es" is the root of "twice," it can be spelled "twice" to get the wordplay about the events occuring "twice," first in fact and then in fiction. The "two with a lisp" pronunciation of "two-es"/"twice" worked better in Elizabethan days than it does now, by the way. Consult information about the Great Vowel Shift. Close attention to even the minor details of characterization in Hamlet is extremely important for interpretation of the play dialogue. The mention of Ophelia's lisp is not just atmosphere, it affects the play dialogue, in a crucial way here. Ophelia really does lisp, and there it is. 122-3 let . . . sables Multiple meanings, as expected. First, Hamlet is referring to the old man, Polonius. Hamlet means, sarcastically, if the huge period of two months has gone by, he must now be an old man, like Polonius, and should be wearing the sables Polonius is wearing. (Proper costuming requires Polonius to be wearing sables, or a fair imitation, at the 'Mousetrap Play.') In exchange, Hamlet would give the "old devil" Polonius his black clothes. With the fanciful exchange of clothing, the "devil" Polonius would then be wearing black, and "old" Hamlet would have the suit of sables. Hamlet casts Polonius as the "devil" because of his idea that Polonius has pimped Ophelia to Claudius. There is, again, Hamlet's playful young-old confusion, quite subtle here, with Polonius listening. The line offers abundant further meaning, too long for this comment. 127 hobby-horse As Arden mentions, the hobby-horse act was banned by the Puritans, because it could include some vulgarity, or irreverence. Hamlet is using it as an example of something remembered despite being banned by authority. This pertains to Hamlet continuing to mourn his father, despite Claudius having "banned" further mourning for Hamlet Sr. Hamlet's "forgot" is highly sarcastic, for this meaning that alludes to forgetting his father. As usual, there is double meaning, at least. In addition, the term refers to Hamlet's unfortunate mistake about Ophelia. A hobby is something people do for pleasure, and a horse is something to ride. Hamlet thinks Claudius "rides" Ophelia for pleasure since he believes she's become his courtesan, and Hamlet fears that in consequence Ophelia will end up discarded and forgotten. Hamlet's "forgot" is not sarcastic for the latter, it's tragic. 128 SD 128.1-11 The Dumb Show "stage directions" don't count as Hamlet stage directions, strictly speaking, since they are in description, not playscript. The Dumb Show has no playscript, of course. Arden's notion of extravagance with personnel is foolish and oblivious, since it's unmistakably stated that an entire playing company has arrived. The Dumb Show description indicates that the playing company consists of six or seven people, (King, Queen, and Poisoner, plus three or four more,) which is entirely reasonable. 128.2 takes her up The King represents Hamlet Sr, a great warrior king who must have been a big, strong fellow. (The First Player is properly cast in Hamlet as a sturdy guy.) He lifts the Queen off her feet. It means "lifts." The Folio change might, perhaps, be authorial, to give a little additional action in the Dumb Show, but it isn't necessary to have the Queen kneel to interpret "takes up," so there is no need to presume additional action not included in Q2, while interpreting Q2. 128.10 harsh The word does not mean "unresponsive." The glossing error is a serious blunder by Arden. Arden should buy a dictionary. It means the queen does respond, quite negatively. Initially, the Queen makes a harsh rejection, but then changes her mind, dramatically. This is very important for Gertrude and Claudius. It reveals that, initially, Gertrude harshly rejected Claudius's advances, but then, for some reason, changed her mind. In interpreting Hamlet, it is a bad mistake to downplay this. Gertrude, at first, harshly rejected Claudius. But then she changed her mind. Why? 130 munching mallico "Munching" means "feasting" and continues the concept of a play performance being a feast. The second word, properly "malhecho," is from the Spanish 'malhechor.' The phrase means "feasting malefactor," where "malefactor," in turn, means "bad actor" (acter.) Primarily, Hamlet is calling Claudius a "bad actor/acter" who is "feasting" on the play. Hamlet uses a Spanish word to be sure Claudius won't understand what he says. Claudius is a "feasting malefactor," Hamlet means. The phrase has additional meaning, as well. The Folio "miching" may be an error arising merely from the abundance of the English language. The Folio is reasonably viewed in error because it seems unlikely the author would drop the "eating" idea about a play performance after incorporating it so well. The Q2 word "munching" is very strong in the analogy of a play to a feast, and thereby has full credibility as the word from the author's hand. 135 *keep council Arden has erred in not respecting Q2, the text they were supposedly trying to present. "Keep" is used with its root meaning of "behold" or "watch." Hamlet is saying the players aren't the ones who do the "beholding," (the audience "beholds,") rather, the players do the "telling," (the speaking.) Hamlet's line is basically only a statement that the Players can't just watch, they have to speak, if there's going to be a play. The Folio word "council" does not belong there, it ruins the "watching" versus "speaking" idea, in reference to what a play performance is, between the audience and the actors. "Keep" with the 'watch' meaning also alludes to the sentinels' watch, which further supports "keep": it provides both good meaning, and relevant undertone for the play, overall. 147.1 Arden is badly wrong in their note. First, Duke and Duchess are not the "correct titles" of the 'Mousetrap Play' characters. The characters are factually a king and queen, just as Q2 says. When Hamlet later mentions the duke and duchess, he's talking about the persons in the original news story on which the Gonzago play was based. Conceptually, there was a 'real' murder that was made into a play. When the Players did that, they "promoted" the duke and duchess to become a king and queen, for dramatic purposes - it's the same kind of "promotion" that happens all the time in fictionalizing something. It is necessary to understand that when Hamlet later mentions the Duke and Duchess, he is talking about the original news story from which the Gonzago play was adapted. That is vital in understanding Hamlet. Further, the king and queen in the play are most certainly not "ambiguity," as Arden would so strangely have it, they are fully intended analogy. The whole point of the 'Mousetrap Play' performance is to analogize King Hamlet and Queen Gertrude with the king and queen in the play, (which analogizes Claudius with the villain,) and that is exactly why the play characters are a king and queen, and absolutely not anything else. When Arden calls it ambiguity, it means they simply did not understand what was going on in Hamlet on that point. Apparently the Arden editors did not know, or simply forgot, why the 'Mousetrap Play' is being shown in the first place. The 'Mousetrap' king and queen are to be analogous with King Hamlet and Queen Gertrude, so that Claudius becomes analogous to the murderous villain. And it should not be necessary to point out to any knowledgeable person that Q1 is both unreliable, and different from Q2. 148-51 thirty . . . thirties The Arden note implies that the verse is somehow different from what it "strictly" says. It is not different from that. The first "thirty" does mean thirty days, and the second, thirty years. The king is commenting to the queen that it's been a month since their thirtieth wedding anniversary. The time period referred to is, indeed, thirty days + thirty years. The "And" at the beginning of line 150 means "plus." 149 *Tellus' orbed ground Arden is wrong, and Q2 is correct. Arden should have respected Q2, the text they're trying to present. "Orb'd" is not an unlikely verb, it means "rounded." A body that orbits another body goes round it. It's no stranger than saying a car rounds a curve. "Orb'd the ground" = (has) gone round the earth. To orb, is to go around, in orbit. The word "orb" here, is merely "orbit," shortened for the poetic purpose, to fit the meter. It is precisely the intended verb, and makes no less sense as a verb than the word "orbit" does. The Folio has either a misprint or an editorial error. 153 commutual One might pruriently suppose the king and queen reciprocated, what with them being married and all, but the word is better taken as "together." 160 Arden's guesses are wrong. The line is a separator, or divider, to preserve stanza. The Gonzago play was written in sestets, as the king's initial speech shows. His speech establishes the stanza. The divider line is used here to give the queen two sestets, instead of a 12-line stanza. It substitutes for a change of voice that does not occur, to preserve stanza. Shakespeare knew a twelve-line stanza is not a six-line stanza (and so should anybody.) The line is not a false start, nor was any line omitted in printing. It is strange, and more than a little disgraceful, that editors of Hamlet over many, many years have failed to do the simple and basic task of counting the lines in the poetry to discern stanza structure, although they couldn't have missed that the lines are poetry. Looking for stanza is an elementary task that anybody trying to interpret poetry should do. Never neglect fundamentals - that's why you were taught them in school. The poetry structure is: (king) sestet (queen) sestet this divider line (still the queen) sestet It's as simple as that. The line is intended to be in the play, exactly as Q2 shows, and no line has been omitted. The author used the divider line to try to ensure it would be observed that the original 'Gonzago' play was written in sestets. Venus and Adonis was written in six-line stanzas, by the way. Arden mistakenly asserts that Hamlet's change has proven impossible to identify. His change(s) can be identified by anybody who can count. The Players' original Gonzago play was written in sestets, as the initial speeches by the king and queen establish. However, the 'Mousetrap Play' as performed has two eight-line stanzas. I wonder where those came from. Eight is not six. 164 sized Requires a note going back to the Player's recital about Pyrrhus at 2.2.400. The word is intentionally ambiguous, by Shakespeare. If listeners take it as "covered over," or hidden, they may think the play king is Claudius, and Gertrude is expressing hidden love for him. The ambiguity of this word is an intentional facet of the performance. Needs longer discussion, not possible here. 175 wormwood Arden is multiply wrong. Their editorializing with an exclamation point is not appropriate. Of course the line is an aside. The primary meaning is not the plant, it is reference to the Bible, Book of Revelation: 'the name of the star is called Wormwood . . . and many men died.' Just after the queen says, "who killed the first," Hamlet speaks up. Hamlet is telling us a change he made. Hamlet added "who killed the first" as a suggestive remark: Who killed Gertrude's first husband? Observe that the queen's speech is eight lines, not six. 180-209 Arden's note is misguided. The king's speech is 30 lines, which is five sestets. That makes it a 'given' in the Gonzago play, which was written in sestets. The use of divider lines, as in the queen's first speech, was dropped here. The primary reason, for no more divider lines, is that the king's first 14 lines form a sonnet, so a divider line there is impossible. The sonnet mentions something falling from a tree, and ends with the word "accident." Something mellow (soft, gentle, pure) fell from a tree, and it was an accident. Shakespeare says. In a sonnet. 183 Of violent birth Means passionate, to begin with. Not "robust." 184 *like fruitArden is wrong not to respect Q2. "Purpose" is not the subject. Lines 184-5 are complete in themselves, and mean: The fruit which (is) now unripe, sticks on the tree, But (they) fall unshaken when they mellow be. Arden should have gotten this, since they commented just a bit earlier, in their note 148-253, about word order in couplets. The subject of 184-5 is "the fruit." The Folio change may have been made when the editor(s) couldn't identify the subject. Arden should have. 214 blanks Means "erases," the face of joy. 217 I be . . . I be To an absolute certainty, it is not any mistake by Shakespeare. Nor is it printing error, or any kind of mistake, at all. Q2 is unshakably right. Notice the repetition of "be" echoes "to be or not to be," which was spoken by Hamlet. The repetition of "be" is firmly associated with Hamlet. So, this is a line written by Hamlet, who did not make it pentameter. The "error" is Hamlet's. It is characterization. That's why Shakespeare wrote it as Q2 prints it: to mark Hamlet's amateurishness. The Folio change is definitely an editorial blunder there. The Folio editor(s) clearly did not realize Shakespeare had intentionally given Hamlet an error in syllable count, to mark his inexperience. Far from being any mistake by the author, it is wonderful craft. Shakespeare is showing us Hamlet's amateurishness - Hamlet overlooked the syllable count in this line he added to the play. The Q2 printing is exactly right, and Arden is merely revealing their own incompetence when they question it. 218 Hamlet's line is an aside, and once again marks where he changed the play. Hamlet is speaking upon hearing his own changes spoken by the actor. Again, the queen's speech is eight lines, not a sestet. It is another change from the preexisting Gonzago play, which was written in sestets. Hamlet's changes turn out to be in two speeches, totaling 16 lines. Had he obeyed the sestets of the preexisting play, the speeches would have been 12 lines, total. So, that's where the earlier "12 or 16 lines" mention came from. Two sestets would have been 12 lines, but Hamlet added more to make the two speeches total 16 lines. Hamlet meant it would be 12 lines if he abided by the play's sestet structure, but could be 16 lines if he didn't. He didn't. 218 Arden didn't understand Hamlet's aside. He's referring to the strife that would pursue her, not exclaiming on how shocking a lapse by her would be. As shown in Q2, exactly, he speaks immediately following the phrase "lasting strife." In interpreting Q2, one must pay the utmost attention to the exact printing. The original printing is superior to the modern format in this instance, to reveal exactly where Hamlet speaks, and why. In the typical modern format, Hamlet's aside should be inserted between the queen's last two lines, to show he speaks when she says "lasting strife." Arden has placed Hamlet's line wrongly. Gertrude will experience some of that "strife" in the later Closet Scene, directly from Hamlet. The exclamation point should not be used; Arden is wrong to editorialize with their punctuation. Hamlet does not exclaim, he trails off. 222 SD Golly dang. Arden has the stage direction wrong, again. Both the king and the queen do, in fact, exit, exactly as Q2 shows. The 'Mousetrap Play' scene ends with a "pose." The queen steps a short distance away, waving goodbye to the king, and stops, frozen. (There is, strangely enough, an existing illustration of the pose.) The king lies there, for a few seconds. Then the king actor jumps up, takes the queen's hand, and they both bow (to applause, we can be sure,) and they exit together. The Q2 "Exeunt" is correct, as are all the stage directions printed in the original Q2, every one of them. One cannot properly interpret Q2 while ignoring what it says. Arden's foolishness would rob the king actor of his bow to his audience! Ask an actor about that some time! This is, in fact, an interval during which Hamlet and the others can talk. It's a scene break in the 'Mousetrap Play.' 224 Hamlet asks Gertrude the question, in his line 223, partly in hopes that Gertrude, the Queen, will compliment the queen's speeches which he changed. Gertrude doesn't, she's critical of what the queen said. Hamlet was fishing for a compliment, and didn't get one. Serves him right. 225 Hamlet's line is a mistake by him, which demands a note. He makes it sound as if the play queen will keep her word about not getting married again. It hurts the identification of the play queen with Gertrude, who did remarry, as everybody knows. By hurting the identification of the play queen with Gertrude, Hamlet hurts the identification of the play villain with Claudius. What Hamlet means is that the play queen will keep her word about the "strife" that Hamlet added with his changes, but he doesn't make that clear. Everybody within earshot of Hamlet will take it, from his remark, that the play queen won't remarry, but they know Gertrude did. Hamlet should keep his big mouth shut. He's damaging his own "trap" for Claudius. This is all fully intentional by Shakespeare. 226-7 Since Hamlet replies, we know that Claudius is speaking to Hamlet. We also know that Hamlet is the one putting on the play, so of course Hamlet is the one Claudius would ask about it. Claudius's question naturally follows Hamlet's reference to future events in the play. Up to this point, Hamlet has given Claudius no indication that Hamlet already knows the play. Upon hearing Hamlet refer to future events in the play, Claudius takes it that Hamlet must, indeed, be familiar with the play, and so he asks Hamlet about the story. And Hamlet replies. Arden's notion that Claudius might somehow be talking to Polonius here, despite the dialogue and the known facts, is foolish, and reveals a failure to follow the flow of the dialogue. Such misguided speculation, in company with the playtext, is irresponsible, and an affliction to sincere readers, and simply should not be there. (As to Polonius, he is occupied in gazing smugly, and paternally, at the Prince sitting with his daughter.) How's about if we just question all the lines in the play, as to whom they're addressed, no matter who replies? Would that help readers understand Hamlet? - Not much. The best favor any editors, or commentators, on Hamlet could do for their readers, would be to get all the idle, speculative trash out of their presentations, and concentrate diligently on what the dialogue - and stage directions! - actually do say. Claudius does not know Hamlet's intent with the play, but he does know Hamlet dislikes him, and upon hearing Hamlet indicate he knows the play, Claudius is wondering if Hamlet has chosen a play that will somehow be offensive to him. Upon hearing Hamlet allude to future events (that the queen will keep her word,) Claudius asks Hamlet about the synopsis, i.e. other future events. Claudius did see the Dumb Show, but was not able to see the crucial detail of it since Hamlet amateurishly staged it wrong for him. Also, Claudius thinks the Dumb Show was significantly different from the play, since dumb shows were, typically, significantly different from the play they accompanied. 228 Poison Poison did not "feature" in the Dumb Show, although the use of the poison was a crucial detail of it (that Claudius couldn't see.) 232-3 Gonzago . . . name Hamlet's use of "duke" is in reference to the original news story from which the Players took their play. In fictionalizing the news report, the Players "promoted" the duke to king, for dramatic purposes. Hamlet is talking about the news story on which the play was based. 233 Baptista Be that as it may, the name is not used for a male in Hamlet. One reason the Arden presentation is not what it should be is, apparently, the editors were not able to focus their attention on the play they were supposed to be talking about: Hamlet. The play, here, is Hamlet. When interpreting Hamlet it truly is necessary to pay attention to Hamlet, and not allow one's thoughts to wander pointlessly to something else, if one is going to do a good job. "TS" is not Hamlet, and whatever the Arden editors for Hamlet knew, they should at least have known that. A note entirely devoted to a different writing is a pointless waste, and is worse than a waste if it raises in the unsuspecting reader's mind some conception that "Shakespeare made a mistake" using the name for a woman, or some stupid crap like that. The Arden note should not be there. 236 Let . . . unwrung The line has a double meaning, where the second meaning is in reference to equine coition. For that, "unwrung" means "unclasped." This second meaning is allusion to Hamlet's mistaken idea about Ophelia and Claudius, and connects back to "hobby-horse." 236.1 SD [Enter Lucianus] It's a stage direction in Arden, so you can guess what it is. Wrong? - Right. Arden has placed the stage direction incorrectly. It is required for Hamlet to speak his "nephew" line before this entry, exactly as Q2 shows. There is a reason. Hamlet is the nephew of the King, as they all sit there, and it is necessary the focus be on Hamlet, not the Player, as Hamlet speaks the line. This is because of what the name "Lucianus" means. That's why the Q2 SD is after Hamlet's "nephew" line, and not before it. Full discussion requires more space than this comment allows. 238 as good as a The Folio wording is an error, and Arden is wrong to mention it in association with the Q2 text. Ophelia's line completes the joke, and must be stated as Q2 shows, to convey the humor properly. There is a joke involved, which the Folio editor(s) apparently did not know, or had forgotten. Something we all do know, is that jokes often require a certain wording. 239-40 Arden's "poopies" is poop, as far as Q2 is concerned. There's no sound editorial reason to mention that in association with the Q2 playtext. 242 groaning As Hamlet speaks the line, neither possibility mentioned by Arden can be right. It refers to groans, or moans, during sexual intercourse. Hamlet does not think Ophelia is a virgin (and he's wrong,) and for her to have his child is a twinkle that has faded from his eye, because of his tragic mistake about her relationship with Claudius. 242-3 take . . . edge It means "blunt my edge," and has an intentional multiple reference. 246 damnable faces Double meaning. The actor has not begun yet, is preparing while in sight within the room, and he is attending to his stage makeup. So, "damnable faces" also has reference to a painted face, and follows on the "painted face" mentions by Claudius and Hamlet, earlier. Painted Face motif. 247 'the croaking . . . revenge' Beyond what Arden mentions, the "Raven" is the historical battle flag of Denmark. Hamlet is waving the war flag at Claudius, so to speak, as the Lucianus character enters, who is to depict Claudius. 248-53 These lines are not by Hamlet. We know that because they are a sestet, which makes them a given in the Gonzago play, which was written in sestets. The lines Hamlet wrote for the queen have already been spoken. 249 Considerate The Q2 word is right. Arden is wrong to think it requires interpretation through synonym. For plain reading, it is simply the word. Lucianus is saying: '(It's) considerate of the time to have no other person watching (me.)' The Folio word is wrong. "Considerate" refers, at root, to watching, which goes right along with what Lucianus says, and also continues the Watch motif. Further, the ultimate root for "consider" refers to stars, and the 'Mousetrap Play' is being performed at night, while the stars are out. The Q2 word is unchallengeable, firmly supported in meaning, context, and allusion. The Arden comment about a mistake in reading long 'S' may be apt, but if so, it applies to the Folio, where the source papers were two decades older, a fact Arden should have known. 251 Hecate Requires printing in the original spelling, "Hecat," with a note. It is wordplay on Hamlet being the "he-cat" in pursuit of the "mouse," Claudius. Arden errs in not noting the original spelling. The original spelling is needed for the wordplay. 251 *infected Q2 "invected" is right. It puns with "infected," but "invected" is the correct word in the playtext. (The Folio mistakenly put the pun in their text.) Related to "invective," certainly. Why Arden would take the OED as a source for Shakespeare, rather than the unquestionable historical fact of vice versa, is a mystery. They do know better than that. The OED may now be authoritative for modern writings, but it is not for the original Shakespeare printings. 253 SD It's an Arden stage direction. Do I have to tell you? Q2 is correct, and the Folio is in error. Arden has erred, again, in not being true to their goal of presenting Q2. The play king is not there to poison. He is not onstage. The king bowed to his audience and left at the earlier scene break, as Q2 shows, and he has not reentered. This Lucianus Scene is a solo scene to introduce the villian to the audience. The king and queen were introduced in the first scene; now the villian is being introduced in the second scene. The poisoning would be in the next scene, probably, but the 'Mousetrap Play' will be interrupted before that. The Folio editor(s) either did not understand, or they had seen Hamlet in stage performance different from Q2, which colored their judgment. Hamlet will soon speak of "the talk of the poisoning," and not 'the poisoning,' which confirms that the 'Mousetrap Play' presented only talk by Lucianus, and not the poisoning, itself. The Arden stage direction is wrong. 262 SD [Exeunt all but Hamlet and Horatio] As Q2 says, everybody exits except them. That's correct. It gives a brief "spotlight" scene for Hamlet and Horatio. Then, concerning the Players, it's necessary to know what an entry means in Q2, which has already been described in these comments. The Players will return soon, with musical instruments, but without an express entry. The Players are there in service to Hamlet, as was already made known, and since the play has been stopped they return to play music for Hamlet, if he wants to hear it. They do not get an entry for that in Q2, because they do not move into the speakers' area of the stage, and they have no lines. The Player-musicians will "enter" in modern terms, i.e. appear on stage, at L282, or just before. 263-6 It's doubtful the lines are from a ballad. More likely, it's Hamlet's own improvisation, since it contains several nice allusions (which would be from Shakespeare, for his play.) The author is probably having Hamlet improvise here. 265 sleep Requires a note to point out that it's being used with a double meaning. Sleep, here, also means "die" ("to sleep, perchance to dream.") Hamlet is singing that Claudius must die. 266 Thus . . . away The "world" of Hamlet is Denmark, which is also the name used for the King. So, as usual, there's a double meaning. The line means both, 'so it goes in the world,' and also, 'thus Claudius runs away.' 267 forest of feathers Multiple meanings. First, it means "bombast." Feathers were used for stuffing (as they still are, sometimes.) Hamlet is admitting it would take a "forest of feathers" to pad out his own bit of writing into a full-length play. There's also reference to feathers on the hat. Hamlet thinks that with the results of his 'Mousetrap Play' he has earned more than one "feather in his cap" as the saying goes. He thinks he's earned a "forest of feathers" in his cap. It's from the saying about a person getting a feather in his cap, or hat. Then, there is probably intended allusion to actors wearing plumed hats, as Arden mentions. Also, it can be read as advance allusion to the Ostrick courtier, who will appear later, and the business with his hat (which, with proper costuming, will have a large ostrich plume on it.) Further, it is also significant that in classical depiction, feathers on the head were used to illustrate a fool, a person who was a "feather head" or a "birdbrain." The idea appears here as an ironic undertone to Hamlet's praise of himself. Hamlet, himself, says he thinks he should have feathers on his head, a whole "forest" of them. It would make Hamlet a total "feather head." (Strangely, there is an existing illustration of "Hamlet" with a "forest of feathers" on his head, by the way.) 268-9 provincial roses "Provincial" means "from the provinces." The style of shoe roses in the countryside would lag behind the latest style in the city. This is on the Fashion motif in the play. Fashionable people in the city could easily spot a country fellow by his shoes, among other things. Hamlet is talking about arriving in the city, wearing country fashion, that marked him as somebody from out of town. Hamlet's speech in L267-70 is reference to something like, oh, if he pretended to be an ordinary fellow from the country (from a "province" like Warwickshire, perhaps,) arriving in the city (like London, perhaps,) wearing out of date fashion, but had some good writings to offer, they should earn him a share in a company of players (like the Lord Chamberlain's Men, perhaps.) That sort of thing. There's double meaning, as expected. The rose is a symbol of beauty, a meaning which is already established in the play, so Hamlet's phrase refers to "provincial beauty." Hamlet is talking about impersonating a "provincial beauty," so to speak. For Hamlet in the play, he basically means that if he pretended to be an ordinary fellow, his writings (and acting) should earn him a share in a players' company on merit, not because he was the Prince. 269 cry Arden is quite wrong. "Cry" is reference to the fact that players "speak out" on stage, and also sing. It's reference to vocalization, which is necessary for an actor. There isn't anything the least bit contemptuous about the term, as Hamlet uses it. He's calling the players a "cry" because vocalization is what they do. They "cry out" on stage. There's also some reference to "cry" as in weeping, in relation to the performance of tragedy plays; it was expressly stated that these Players who have arrived at Elsinore are Tragedians. It's odd Arden would imagine Hamlet is being contemptuous of what he, himself, has just stated he would like to do. Such an attempt at interpretation is obviously not sensible. 271 Horatio is not being skeptical, he's teasing his friend. It's joking. Hamlet has just claimed a fellowship, and Horatio is jokingly "negotiating" with him, offering a half share in the company. It's banter between good friends. Arden has taken such a grim approach to the play that they can't see the humor in it. Horatio's line cannot be serious scepticism, because Horatio knows Hamlet is not being serious. Further on Arden's note, Arden is wrong in advance. Horatio's replies at 280 and 282 are not "non-committal," they are expressly in agreement with Hamlet. There is nothing "non-committal" about openly expressing agreement. One wonders what Arden expected - that Horatio would hire a brass band? 272 A whole one I Requires a note. Double meaning. Hamlet is jokingly responding to Horatio's "offer," by demanding a full share. For that, "I" means "Aye." In addition, the author has given a wicked undertone to Hamlet's line. There, "I" means as it stands, and "whole" puns with "hole." Hamlet says he's a "hole" one. It goes back to what the name Lucianus means. Hamlet is unintentionally calling himself that again. Delving deeper, one can find even more, in what might appear to be such a simple line. Hamlet, as he speaks to Horatio, says he's "a whole one," which can be taken as meaning a whole person. That's as opposed to being "a piece" of a person, which was an expression Horatio used earlier, in the first Scene of the play, before seeing the Ghost. Horatio has said he's "a piece" of a person, and now Hamlet says he's "a whole one." This is both wordplay, and conceptual play. 273-6 The source is "Shakespeare." 273 Damon In casting Horatio as Damon, Hamlet casts himself as Pythias, the one who was condemned to death for plotting to kill a tyrant. The reference is highly complimentary to Horatio; it is not so good for Hamlet. 276 pajock It is, indeed, obscure as it stands in Q2. The historical suggestion of "peacock" is probably correct, both because of meaning, and the wordplay it offers. "Peacock" puns with "pee-cock," which goes back to Hamlet calling Claudius a capon, that has a "cock" which is good only for urination. So, "peacock" finds support both from fable, and also through wordplay. Further, a peacock makes a harsh noise, which could be likened to a jackass braying. That also tends to support Hamlet saying "peacock" in reference to Claudius (and saying "peacock" in place of "jackass," since Hamlet has already mentioned Claudius "braying.") Arden's modernized spelling is not necessarily correct. Another possibility is "payock," with the original 'i' used for 'y'. The word could be "paycock" with the first "c" accidentally missed. It could indicate "peacock" being spelled phonetically as "paycock." Or, the word as it stands could indicate the pronunciation "pay'ock," with the first 'c' apostrophized. Thus, it's possible to account for the spelling, perhaps not even really changing it except to add an apostrophe, while taking the word as "peacock," a word which does offer good meaning in context, in multiple ways. 284 recorders Thank heavens Arden didn't add a stage direction. The Players are onstage without an express entry, as already mentioned. They're to the side, or in the background, and remain there. When Hamlet calls out, they begin to play in the background. They say no lines, and do not move to the speakers' area of the stage, so they don't rate an entry in Q2. 286 Hamlet says "comedy" because as he sees it his 'Mousetrap Play' had a happy ending. In classical terms, a "comedy" ends happily. 286 it The word requires a note. "It" refers to the music. Hamlet is saying that since Claudius didn't like the "comedy" play, he probably doesn't like music either, so they should go ahead and play the music without him. 287.1 SD [Enter R & G] F's early placement of the SD probably means the musician-actors they had in actual stage performance couldn't really play, so they brought R & G on early to alleviate that problem. F probably does agree with Q1 for that reason. The "musicians" had to be interrupted because they couldn't actually play their instruments, or not well. On the printed page, the fictional musicians are as talented as one pleases. So it isn't a problem in the Q2 closet drama. Hamlet calls for music, the player-musicians play for a while, quite well, for Hamlet's enjoyment, and then R & G enter, as Q2 shows. Hamlet does not engage in any "manic behavior," by the way. Arden does not understand the play, and their mindless parroting of the same old foolish notion is misleading to the reader. The only incident, where Hamlet's original mention of "antic disposition" takes on any real further meaning, has already gone by, at this point. 290 history The title of the original printing is "The Tragical History of Hamlet." The word "history" appears in it. In undertone, Shakespeare is having Hamlet say to Guildenstern that he'll tell him the whole play, the whole "history." The Hamlet character, himself, could not actually do that. This is highly tongue-in-cheek by the author. 301 *start Q2 "stare" is correct. It is an embedded stage direction. Hamlet has given G a bug-eyed stare to tease him, since Hamlet knows G thinks he's mad. Hamlet's stare is perhaps best done at the word "purgation." The F1 editor(s) apparently couldn't relate it to the stage action, and changed Shakespeare's word. Arden has blundered, again, in not being true to their goal of presenting Q2. The correctness of "stare" is confirmed as the passage continues. Properly played, when R speaks, at first, Hamlet will not look at him, but will continue to look at G. This goes back to "have an eye of you," when R looked at G while Hamlet was talking to R. Hamlet will "return the favor," as they say, in this passage. It's more on the concept of looking at the person you're talking to. So, we know that Q2 "stare" is right, because it's confirmed in the passage when the action is taken into account. Hamlet will stare at G while R speaks to Hamlet. 301 from my affair It means "because of" my business. G is trying to say that he's on serious business. "From" also means "away from," as Arden says. Double meaning. 303-4 G has, amusingly, made it sound as if he's an affliction to Gertrude, so Gertrude has therefore sent G to Hamlet, to be rid of him. G unintentionally implies he's come to Hamlet looking for a job, after Gertrude found him unsuitable. G also says, "the Queen your mother" as if he thinks it necessary to remind Hamlet that Gertrude is his mother. That isn't necessary, of course, it's ludicrous. This connects with Polonius saying "Queen-mother" to Claudius, earlier, where Polonius thought it might be necessary to remind Claudius that Gertrude was Hamlet's mother. It is significant characterization. G, from being in service to Claudius, is starting to sound like Polonius. 305 Arden doesn't understand the play. Hamlet is, facetiously, welcoming G into his service, since G apparently just said he afflicted Gertrude, so she sent him to Hamlet, to be Hamlet's servant, instead. Hamlet doesn't think G really meant that, but he is amused at G apparently saying he afflicts Gertrude, and Hamlet responds to the notion. Hamlet's reply is courteous, but facetious. It is not Hamlet who implies it's the end of the matter, it was G who implied that. He implied he was looking for a job. Hamlet's facetious welcome would, indeed, end that point, of what G seemed to say. 311 Sir, I cannot Demands a note, which Arden fails to provide. The reason why Hamlet says he cannot give G an answer, is for the simple reason that G has stupidly neglected to tell Hamlet why he's talking to Hamlet. G is wanting an answer without stating the question. G has not told Hamlet, at this point, that Gertrude wants to see him. Not knowing the question, of course Hamlet cannot answer it. R will - finally - reveal the "mysterious question" at L322. 312 SP [Rosencrantz] Cappell was disasterously wrong, and Arden shouldn't have mentioned him. Cappell's idea seriously misrepresents the action, and Arden's "without considering which of them spoke" is a dreadful blunder. "Which of them spoke" is exactly the point for Hamlet's subsequent behavior towards R. R speaks here because he has observed that G is having difficulties communicating with Hamlet, so he jumps in to try to help. (R's remark is not helpful or apt, however.) G is still standing there, and Hamlet is still looking at G when R speaks. It goes back to "have an eye (from) you," as already mentioned. Hamlet looks at the person he's talking to. Hamlet is talking to G, and R is interrupting. Hamlet does reply, L319, to what R said, but he looks at G all the time. Hamlet doesn't look at R until after he learns why G was talking to him, and gives G the answer G requested. Hamlet then looks at R at L326, after he's concluded his business with G. To both R & G it looks mad, that Hamlet would stare constantly at G while apparently talking to R. But Hamlet, on his side, is making the point of looking at the person he's conversing with (and also that he doesn't like interruptions.) 324 We . . . our Hamlet uses the royal language for more than one reason. Most significantly, it's in connection with Hamlet's intention of killing Claudius in just a few minutes, thereby taking the royal pronouns away from Claudius. 324 ten times our mother Requires a note. Gertrude is "twice" Hamlet's mother: first she was his mother married to his father, and second, now she's his mother married to Claudius. Hamlet means he'd still obey Gertrude even if she got married eight more times after Claudius, and Hamlet, for some reason or other, had to kill them all. Even as a serial king killer, with nine murders, he'd still obey his mother, Hamlet says. Joke. And, double meaning. It's a double joke. Hamlet also means he'd continue to obey Gertrude even if she were ten times as fat. At the later fencing match, Gertrude will remark on Hamlet being fat. Here, he gets her first on the subject, with a fat joke. Hamlet's line is both a murder joke, and a fat joke, at the same time. 325 trade Hamlet says "trade" because G used the word "business" in line 310. Hamlet says his lines 324-5 to G. Only after he's answered what G wanted to know does he look at R, when R speaks at line 326. 329-30 bar . . . liberty Requires a note. R is revealing that Claudius, talking to R & G after the 'Mousetrap Play,' was threatening to have Hamlet locked up. 331 lack advancement Hamlet means, for one thing, that he literally lacks advancement at the moment in his intent to kill Claudius, because he's standing there talking to R & G, instead. Joke. 335 while . . . grows Hamlet stops in the middle of the saying because Polonius uses sayings, and Hamlet doesn't want to sound like Polonius, whom he despises. Hamlet realizes he sounds like Polonius, and stops. The point is significant in relation to some later things Hamlet says. 337 withdraw Hamlet withdraws with G. He does so to avoid further interruptions by R, while he's talking to G. Horatio observes that Hamlet wants to talk to G alone, so Horatio prevents R from following by stepping in front of him. One way to do it, Horatio steps in front of R, folds his arms, and gives R a very direct look and a little smile; R halts, and takes a step back. This supports casting Horatio as a sturdy fellow who can intimidate R. 338 recover . . . me The hunting metaphor is only that. Hamlet does not literally mean anybody getting to windward of him. He does mean R & G working together to try to trap him. He is separating G here to try to tell G to be his own man. G is the one who admitted to Hamlet earlier that Claudius had sent for them. Hamlet remembers that, and is trying to return a favor to G, but of course Hamlet can't talk openly to G about his intent to kill Claudius. 342 I . . . that Hamlet says he doesn't understand love being unmannerly. This is high irony from Shakespeare, after Hamlet's behavior to Ophelia, whom he loves, in the Nunnery Scene and at the 'Mousetrap Play,' and also in anticipation of his later behavior to Gertrude, whom he loves, in the Closet Scene. Indeed, Hamlet is speaking truly. As Hamlet's own actions show, he does not understand it, at least not well enough to moderate his own behavior. People never see themselves as others do. It can also be read with the facetious undertone that Shakespeare knew the line, as he wrote it, was difficult to follow. 349 as . . . lying Hamlet has just used a saying, like Polonius, as he speaks to G who, himself, has come to sound more like Polonius. We saw something similar when Laertes mindlessly recited a saying upon seeing Polonius approach, and when Ophelia absently recited the "gifts" saying to Hamlet in the Nunnery Scene, while Polonius stood nearby. Polonius is contagious. We'll see more on that point. 362-3 *you fret me Arden is wrong. Once again, they should have respected Q2. Hamlet's "though" in L362 means "but." Hamlet is saying: 'but you fret me not, (and) you cannot play upon me. The original printing has a comma after "not," and it is required. Hamlet is saying that G neither frets him, nor can G play upon him. Apparently the Folio editor(s) thought "though" meant "although," which it doesn't. 364 God . . . sir Arden's disobedience to > * ALL THREE * < original texts is sheer willful negligence, and is inexcusable. Q2 is right. The line is definitely spoken by Hamlet to G. There is no factual question of that. Hamlet blesses G, as he truly hopes G has learned the object lesson Hamlet tried to impress upon him. There is no "manic" behavior by Hamlet here; the Arden editors, like so many before them, have damaged their own minds with their misplaced zealotry for "antic disposition." Hamlet is dismissing G, but doing so in a sincere, friendly way. G is Hamlet's long-time friend, and Hamlet still rather likes G (although he no longer likes R.) 364.1 SD [Enter Polonius] The Arden SD is wrong. Again. The mistake is inexcusable, since Arden by their own words purports to be presenting Q2, and they, themselves, observe that the Q2 entry is not at this point. The Q2 entry is correct as originally printed, between the speeches. Polonius is trying to compete with R & G, to be Claudius's best servant. But he's old and slow, and he's late with the message to Hamlet. He sees that R & G have gotten there ahead of him, so he immediately, and insistently, states the message to Hamlet, in hopes R & G haven't mentioned it yet, and he might still be first with it. 367-73 The scene is, indeed, indoors at night. Kronborg Castle, upon which Elsinore Castle is based, has very large, tall windows, through which it would easily be possible to see moonlit clouds at night, if they're near the horizon. There isn't even a hint of a mistake here by Shakespeare. On the contrary, it reveals more of his knowledge of Kronborg, elsewhere demonstrated by mention of the Chapel, and the fact that the Lobby is upstairs, which are actual architectural details of Kronborg. 368 camel A camel is a stupid beast of burden. Hamlet is calling Polonius a stupid beast of burden, for bearing a message to Hamlet that Hamlet already knows. This also connects back to, "who would fardels bear." "Fardel" is from 'fardah,' referring to a camel's burden. Who would bear fardels? - a stupid beast of burden, like a camel. This 'Cloud Talk' passage is on the concept in Aristophanes' Clouds that the clouds are goddesses who shape themselves into the image of the one looking at them. It's the "mirror" concept that recurs in the play. When Hamlet asks Polonius if he sees a camel, he is asking Polonius if he is a camel. Polonius emphatically agrees that, yes, he is a camel (without knowing what he's saying.) 371 There is an animal in the weasel family that has a very well known back. That animal is the skunk, with its stripes. By referring to the back, Polonius has just unknowingly called himself a skunk (or a POLecat. Hamlet is the "He-cat," and POLonius is the POLecat, where "cats" are concerned.) This goes right along with the nighttime scene, where the upper part of the cloud is illuminated by moonlight, so the cloud looks like a dark body with a white stripe, like a skunk or polecat. It's interesting how well that works, for the scene being at night. The author apparently did visualize a moonlit cloud, quite well. Arden is wrong that camels are not like weasels, in a relevant way. Camels are well known for their humps. Weasels hump their backs. As to whales, there is a whale actually named the Humpback. It becomes clear that Polonius's back is hunched, or humped, with age. There is no need for an editor to fantasize some violent agitation of the clouds, quickly producing different shapes. The cloud has a humpbacked shape, interpretable several ways, in line with any thought-provoking suggestion. There is no implication of Polonius being insincere in what he says (or Hamlet, either,) as far as the cloud shape is concerned. In fact, quite the contrary. One takes it that the cloud is "humpbacked" and can be loosely described as any sort of humpbacked thing. (There is, by the way, an historical illustration from Elizabethan times, and earlier, that shows an old man with a hunched back, a "flaxen pole," and a long white beard that could use a trip to the barber.) 374 by and by Certainly does not mean "immediately." It means what it says. 375 fool me Requires a note. For plain reading, it means "play the fool for me." It has more meaning beyond that. 377 SD The exits were likely omitted in the original Q2 printing because they would all have been on three consecutive lines at the top of a left-hand page, with no great amount of space to the right of the lines. It would have presented a problem, for both the printer and the reader. Polonius exits after L374. We know that because Hamlet answers him in L374. Polonius will head for the door as quickly as he can on his old legs, to try to be first with the message to Claudius, and Gertrude, that Hamlet will speak to Gertrude. Hamlet's "I will come by and by," L375-6, is spoken to R & G, in answer to them. They exit after that line, hurrying to tell Claudius and Gertrude. The bureaucratic race is on! It isn't fair; Polonius can't run. Hamlet's "leave me, friends," L376, is spoken to Horatio and the Players. They exit after that line. The line should not be within dashes as Arden has mistakenly printed it. It stands properly in Q2. Hamlet's "I will... say so," L376, is one sentence, not as Arden prints it. Hamlet is speaking to himself there. The elipsis is best in modern printing to mark the pause in his speech, for which the original printing used a comma. Hamlet isn't certain he actually will go to his mother. It depends on how his attempt to kill Claudius works out. He's intending to kill Claudius first, if he can, and then present it to Gertrude as an accomplished fact. He said he'd go to his mother, but will events turn out that way? He doesn't know. 378 witching hour It means midnight. A church bell here is mandatory in a good production of Hamlet. Observe that Hamlet has twelve lines, beginning at "'Tis now..." A church bell should ring, distantly, at the start of each line. Shakespeare gave Hamlet twelve lines for a reason. It's 12:00. 379 yawn Arden's parenthetical is a mistake. Hamlet is mainly talking about a "yawn" to let in Claudius, into a grave. 381 the bitter day Means "sorrowful day." Hamlet intends that the next day will be sorrowful, or mournful, for anybody who liked Claudius, and the sorrowful day will "quake" to see how he killed Claudius. 382 now to my mother Requires a note. Hamlet does not mean he's going immediately to his mother. He intends another little chore, first. What he means, as he speaks, is that he's turning his thoughts, now, to his mother. 384 Nero Should be noted that the Roman emperor Claudius had "Nero" as part of his name. 386 *daggers There is no good reason to change the Q2 singular "dagger." Indeed, it's more poetic, and is probably exactly what the author wrote. Gertrude will later use the plural, but Hamlet is more poet than Gertrude is. The difference, between the singular here, and the plural later, is easily interpreted as characterization, with Hamlet being more the poet. 387 Arden does not understand the play. They have gotten it exactly wrong. Hamlet means he wants to feel kindly in his soul toward Gertrude, although his tongue will condemn her. He absolutely does not want, in his soul, to do her harm. He just said so (to anybody who can read.) He does not want the soul of Nero. He just said that, only four lines earlier. It's odd when editors can't even manage to look back only three or four lines. The author has used "hypocrites" creatively, for the opposite of the typical meaning. This is no surprise, from Shakespeare. Hamlet means a compassionate soul, but a harsh tongue, the opposite of the usual hypocrite. Hibbard's attempt at paraphrase is inept. Act 3 Scene 3 3.3 This scene is set in Claudius's room. We know that with certainty because G expressly said so: "Is in his retirement..." This is, therefore, the place Claudius ordinarily retires for the night, i.e. his private apartments (simplified to a single room for the play.) This King's Room is next door to the Queen's Room, where Gertrude is waiting for Hamlet. R & G have delivered Hamlet's answer to Gertrude, in her closet (parlor,) and have then come here to Claudius's room to talk to him, and hear his further instructions. Polonius hasn't arrived yet. He's old and slow. We'll see him arrive after a while. The Arden stage direction is not wrong. Yay. However, it contains a significant omission, for modern printing. Hamlet is already in this room. We know that because Hamlet will later refer to what Claudius says in his fourth line in this scene. Hamlet must be present to hear that, otherwise he would not know it. It is a certainty that Hamlet is here, now. Hamlet, himself, "says so," later. Hamlet is present, without an entry in the original Q2. How can that be? - It's because of what an entry means in the original Q2. Hamlet is in hiding, not supposed to be in speaking position on the stage. He'll get his entry later, when he has lines, and it's required he move to his speaking position. The offstage sequence of events is this: Claudius went to his King's Room when he fled the 'Mousetrap Play.' Gertrude, Polonius, and R & G accompanied him. Polonius's idea of Hamlet talking to Gertrude, while he listened, was decided upon. R & G, and Polonius, went to tell Hamlet Gertrude wanted to talk to him. Gertrude told them, before they left, that she'd wait in her Queen's Room for Hamlet's answer, in the expectation he'd obey. Gertrude went to her room to wait, and Claudius went with her to hear Hamlet's answer when the others returned with it. R & G, returning with Hamlet's answer, went to Gertrude's room, and told her and Claudius. Claudius and R & G then left Gertrude alone in her room, to wait for Hamlet, and they came here to Claudius's room. But Hamlet followed close behind R & G when they returned with his answer. Hamlet trailed R & G by only a minute, or so. While Claudius and R & G were in Gertrude's room, Hamlet slipped in here and hid, waiting for the opportunity to kill Claudius. So, Hamlet is here. He's in hiding, back in a dark corner in his black clothes, or better yet, behind an arras. He will hear everything that's said in this room (including Polonius's statement that he's going to hide in Gertrude's room.) 3 commission Actually, it's clear that R & G know nothing of what the commission will say, although the opportunity exists in the play that they could. 3 (forthwith) dispatch Claudius means he'll write the commission right away. Needs gloss as a phrase. 6 near us Indeed, Hamlet is "near" Claudius as he speaks. Hamlet is in the room, only a few feet away from Claudius. There is a wicked irony to Claudius's words. The Q2 wording is certainly correct, proven by the irony. The Folio is in error, which could be for various reasons. 7-23 We . . . groan Claudius, feeling threatened, will be pleased to hear the pledges of loyalty from R & G. Claudius wants friends now. Properly done, he will listen approvingly to what they say. Arden's suggestion of any other attitude is patently stupid, utterly oblivious to the circumstances. 8 fear G is speaking of his own "fear." 14 That spirit Indeed, as Arden says, but which King is the "spirit?" R has unintentionally alluded to the Ghost, which R doesn't even know exists. 22 *ruin Arden blunders, as usual, in departing from Q2. The simple reign/rain pun verifies Q2, and proves the Folio is wrong. It's the Folio which has the misreading. The "boisterous reign" pun alludes back to Claudius and his cannons, that Hamlet commented upon to Horatio just before Hamlet saw the Ghost. For plain reading, "rain" means "downfall," but R is pontificating. 23 *with Arden assumes wrongly. It is not in Q2, and the line reads perfectly well without it. Probably a Folio addition. Arden omits the Q2 comma after "sigh," which should be there. 30 as you said It isn't deference, quite the opposite. Arden couldn't read the play. Polonius is trying a bureaucratic stunt. He wants Claudius to think it was his idea, in case, as in the Nunnery Scene, it doesn't work out as hoped. Polonius is looking to shift the blame, in case it doesn't work this time, either. A good bureaucrat always finds somebody else to blame, in case something goes wrong. Polonius may be old and slow, but he's still pretty sharp at bureaucracy. Here, he's trying that cheap stunt with his boss, the King, hoping Claudius won't remember, and Polonius gets away with it. "Prudence" is an apt word, but only in the narrowest bureaucratic sense. It isn't really prudent, generally, to lie in a way to try to put the blame on your boss, if something goes wrong, and especially lying to his face. It's essential to note that Hamlet is hearing this, and he takes it as Claudius's idea that Polonius should hide in Gertrude's room. Polonius, with his bureaucratic stunt, accidentally fools Hamlet. 33 of vantage It essentially means "beneficially." Refers back to Polonius's argument of benefit from a second point of view. Also indicates Polonius supposing he'll be in a better position than Gertrude to listen to Hamlet, which is dubious at best. Double meaning. Hamlet is hearing Polonius say all this. 36 Demands a note. Just after Polonius leaves the room, Claudius exclaims about something with a very bad smell. Wonder why he thought of that. Fishmonger. Dead dog. 36 rank Also suggests "high," which will be the main meaning at 4.4.21. 38 A brother's murder It is indeed notable that Claudius makes no mention of incest. His only incest with Gertrude is technical, via the fact of the marriage. Claudius has no "thing." He said so. That is, Shakespeare had him say so. 39 "Will" takes the absolute meaning. Claudius means he's having trouble praying, even though his inclination to pray is as urgent as the ideal concept of Will, itself. This is poetic usage of "will," invoking the ideal. 41 to . . . bound Actually, the problem is that Claudius is, in fact, trying to undertake two things at once. He wants to pray for forgiveness for a past murder (of his brother,) while planning a future one (of Hamlet.) He doubts God will be very sympathetic to a prayer for forgiveness for a past murder, at the same time he's planning a future one. 50 *pardoned Q2 is correct. Claudius is seeking pardon. The past tense of "forestalled" is right, since it's too late for his murder of his brother to be forestalled, it's in the past, but Claudius is hoping for future pardon. The Folio past tense of "pardon" is not appropriate. Arden should have observed their own parenthetical for 51; it is exactly right, and it tells us the right word here, which is the word in Q2. 55 mine own ambition Claudius means he still has ambition to be King, i.e. to remain King. Becoming King did not sate his ambition to be King. In that sense, he has not achieved his ambition unless he remains King. 58 *shove Q2 "show" is correct. It's used in the legal sense, as in the phrase 'to show cause.' The Folio editor(s), apparently less familiar than the author with legal terms, changed it. The "legal cause" shown here, is the gold in the hand, for a bribe. "Show" may be intended wordplay with "shove," in connection with the hand idea, but the Q2 word is correct in the playtext. Arden has blundered, again, simply by failing to be true to what they were supposed to be doing. 63 teeth and forehead Means "hardest parts." In popular understanding, the teeth and the bone of the forehead are the hardest parts of the human body. Claudius is referring to the sins which are hardest for him to admit, and which will go hardest against him. Anticipates the skulls in the graveyard scene. 69 assay The ambiguity is intentional, from Shakespeare. Claudius is doing both. 72.1 SD Hamlet's entry means he emerges from his hiding place within the room, and takes his proper position on stage to speak his lines so the audience will best hear him. 73-95 Now . . . goes Johnson certainly could be a fatuous windbag when the notion struck him. Look at the action in this scene. A terrible sinner, a man who murdered his own brother, kneels to pray - and it saves his life! Beyond that, the prayer stops another man from becoming a murderer. The author was showing the Miracle of Prayer, onstage. A prayer immediately stops a killing. But Johnson got lost in the words, didn't realize what he was looking at, and objected to the Miracle of Prayer on religious grounds. Silly fellow. He only looked at the words, and didn't take the action into account. It's necessary to look not only at the words, but at the action, to understand the play. 73 But Is right. The correctness of Q2 is verified simply by observing that Hamlet's first two lines are a couplet. The Folio wording is wrong, it ruins Shakespeare's poetry. The Folio editor(s) must have misread the line on those two-decade old papers. Arden's punctuation is a departure from Q2, and is obviously wrong; Arden apparently can't read poetry. There should be a comma after "it" and not a period, exactly as Q2 shows. 74 And . . . it They've done it again, even worse. The Arden stage direction is a horrible, horrible blunder. Lines 73 and 74 are a blank verse couplet. By stupidly dropping their stage direction into the middle of it, they're ruined Shakespeare's poetry! It's dreadful. It's like going to the Sonnets and dropping distracting phrases into the middle of them. It is a disgrace. Q1 is no proof of where Hamlet draws his sword in Q2. There is no stage direction for drawing the sword in the original printing of Q2, so the timing is optional there, no matter what Q1 says. Arden surely knows that with all the problems of Q1, and the substantial differences between Q1 and Q2, Q1 cannot rightly be taken to dictate Q2 action. Arden knows better than this. What has happened here, in comparing the Arden 2 with the Arden 3, the Arden 3 editors have left the Arden 2 stage direction essentially where it was. But as the Arden 2 was formatted, the stage direction was to the right, and didn't interrupt the line. The Arden 3 carelessly failed to move the stage direction when they reformatted, so there it is, right plop in the middle of Shakespeare's blank verse. It's pure negligence. If one insists on an explicit direction for Hamlet to draw his sword, it should simply be added at his entry. 75 *revenged Q2 is right with "revenge," but it might be capitalized in modern printing. Hamlet poetically casts himself as Revenge, personified. The Folio editor(s), not so good at poetry, didn't understand that. Arden should have. It isn't that difficult. Editors should be very cautious of any idea they can somehow read a nonexistent manuscript, no matter how trendy the conceit is; it's a fanciful notion that can easily leave an editor blind and stupid. 75 would be scanned The Q2 word is "scand," which is correct. It is "scant." Hamlet is saying if he killed Claudius now it would be scant vengeance. Arden's comment on the original Q2 punctuation is sheer hypocrisy, since Arden so cavalierly abuses it. Multiple meaning is definitely possible, and the Folio word may have validity as part of the wordplay, but the Folio word doesn't belong in a Q2 playtext. 82 his Arden is wrong, the word refers (primarily) to Claudius. Should be spoken onstage with emphasis, as Hamlet indicates Claudius. Modern printing would put either a semicolon or period after "May." Reference to Hamlet Sr can be read there, but only as undertone (implying the Ghost to be an imposter, and Hamlet Sr being "known" to Heaven, not in Purgatory.) 83 circumstance . . . course "Circumstance" refers to going around. Hamlet means as his thoughts go around their course. Could be rendered as "circumstantial course." Arden has missed a hendiadys. 86 seasoned Double meaning. Hamlet means both Claudius being well "seasoned" to be palatable to Heaven, and also Claudius being killed at the right time for him to go to Heaven. Both the food and time of year figures of speech apply, simultaneously. 88 hent Double meaning. Both ideas mentioned by Arden apply. 96 Lines 95 and 96 have a double meaning. Hamlet means both that his mother is waiting, and also that his visit to his mother prevents Claudius getting his "medicine." The double meaning arises from "stays," which means both "waits" and "prevents." 97-8 Failed?? Arden claims. They don't understand the play. Claudius is standing up alive, when there was a fellow with a sword right behind him, ready to kill him. And this is a failed prayer, when it saved his life? Gee, I'd like to see a successful prayer, then. Arden has no notion of the true irony. The sinner whose life was saved by his prayer stands up and says right out loud that his prayer didn't work. There are none so blind. There's your irony. Whatever one's religious beliefs, it's fantastically done in terms of stagecraft. The author showed a Miracle of Prayer, where a simple prayer, by a woeful sinner, saved his life - then the fool sinner stands up and says his prayer went unheard. Act 3 Scene 4 1 straight Needs a note on the wordplay in Polonius's speech. Polonius says Hamlet, a male, will "come straight." In line 5 he then tells Gertrude, a female, to "be round." It's a goofy instruction on the mechanics of sex, totally inadvertent by Polonius. And, persons who might be inclined to take Oedipal concepts seriously in relation to Hamlet need to be firmly cautioned that the author was playing with the Oedipus idea, for amusement, with Hamlet's unfortunate "Nephew" mistake at the 'Mousetrap Play' and what it implied. Do not write serious tomes and articles about Oedipus in Hamlet. Please. You will only end up looking silly. The author included some Oedipus implication, for amusement. It is intentional humor. It is a joke. 4 I'll . . . here Q1's "shrowde" is correct for Q1, and may be real Shakespeare, there, for the simpler stage version. It would not be correct for Q2. Too overt. Q2 plays more subtly on Polonius's characterization, as a verbose character whom it takes death to silence. 5 *warrant Q2 "wait" is correct, and Arden once against betrays their readers' trust by failing to present Q2, which is what they claimed to be doing. This is the second substitution of "warrant" in the Folio, incorrectly. "Wait" means "attend," like a waiter, and carries the irony of Gertrude attending Polonius, when the employment and social status are very much vice versa. 6.1 SD It may seem logical, but Arden is wrong, again. Hamlet is not entering into a partitioned room. The stage was not set up as an enclosed room in Elizabethan times. That innovation occurred later in English history. Hamlet enters onto the open stage, and is not yet within the conceptual "room" when his entry is given. Hamlet's entry, where Q2 shows it, justifies to the audience WHY Gertrude says she hears Hamlet. The audience sees that, indeed, Hamlet is approaching (but is not in the "room" yet.) When one is doing Q2, competently, one should mark the entry where Q2 does, and explain it, as here. 7 Hamlet most certainly does not lock the door. The notion is ludicrous. He couldn't chase Polonius out through a locked door. In Q2, Hamlet knows Polonius is in the room, and intends to expel him. Arden couldn't understand the play. 10 idle Gertrude is referring to the idea of Hamlet supposedly being mad. She doesn't believe it, and is telling him to straighten up. She doesn't believe it yet, that is. She soon will. But when she does believe he's mad, she'll be wrong. [11.1 SD] Arden missed a mandatory stage direction, in a modern printing. After trashily ruining some poetry with an unnecessary stage direction, they blithly omit a necessary one. Hamlet draws his sword at the end of his line 11, or while he speaks it. Gertrude asks "how now" because Hamlet has just drawn his sword, apparently against her, as she sees it. Hamlet has drawn his sword to poke at the arrases, to find which one Polonius is behind, and chase him out of the room, so Hamlet can have a truly private talk with Gertrude. 13 the rood Tells us with certainty that Hamlet is now holding his sword in his hand. He is swearing on the cross, using his sword. This is identical symbolism to the "swear" passage with Horatio and Marcellus, after Hamlet talked to the Ghost, when he insisted they must swear on his sword. Hamlet is swearing on the cross as he holds his sword up at Gertrude to symbolize the cross. When he goes on to say he doesn't like it that she's his mother, L15, as he holds the sword up to her face, she becomes understandably uncomfortable. 16 She means the castle guards. With "speak," Gertrude means "speak the language of swords." She wants to get armed guards to restrain Hamlet and take his sword away. 18-9 glass . . . of you Hamlet means he's going to draw her a picture in words which will make it as though she's looking at her soul in a mirror, figuratively speaking. Gertrude does not hear it that way. She takes it literally, as Hamlet stands there with his sword, apparently as a threat to her. Gertrude thinks Hamlet means that he's going to set a mirror in front of her, literally, then slice her open with his sword, and make her look at her own insides in the mirror. As Gertrude takes it, it's crazy, and very frightening. She reacts with panic. Her line 20 is read with emphasis on "What" and "not." When Gertrude calls for help, L21, she screams it as loud as she can yell. She stands, but doesn't run for the door because she's afraid Hamlet would stab her in the back. 22 rat "I smell a rat" is right on the money, for Hamlet speaking of Polonius. Fishmonger. Dead dog. Smells to heaven. Nose him. 22.1 SD The Arden stage direction is stupid. Kills Polonius?? Then how is Polonius still talking in the next line? Should be "stabs Polonius." Hamlet jabs at the arras, as he had intended to do, to find Polonius and chase him out. However, Polonius is stepping forward to help Gertrude. The distance closes, and Hamlet's sword goes deep into Polonius's chest. Hamlet has stabbed Polonius to death accidentally. Wheel of Fortune motif. This is a nice variation on the stabbing in the fight in Romeo and Juliet. Hamlet yelled his "dead" line, L22, to scare Polonius. By bad luck, it comes true. It is important to know that Polonius emerges from behind the arras, into plain sight. Polonius's line, "O I am slain" is spoken with him out from behind the arras, making his ironically short death speech to the audience. Polonius gets a death speech, a painfully short one, for him, where the audience can see and easily hear him. He then collapses on the stage, face up, at center stage, or downstage center. Hamlet and Gertrude both see him very well. Polonius's clear visibility is mandatory as part of the 'madness' of the ensuing dialogue. It is also important to know that Hamlet remains standing, with the sword in his hand. The reason is, both Gertrude and Polonius called for help, and this is the Queen's Room, adjacent to the King's Room. So, who's most likely to hear the call for help? - Claudius, in the King's Room. Hamlet knows that. Hamlet knows the King's Room is next door. If Claudius comes here, in response to the help call, Hamlet is going to kill him. As far as Hamlet knows, he'll have to, to avoid being imprisoned for trial in the death of Polonius, which would cost him any chance of being able to get Claudius. He could never get Claudius while locked in a prison cell. Hamlet doesn't yet know how insistent Claudius is on sending him to England, and why. Hamlet presumes that if Claudius discovers he's killed Polonius, the trip will be canceled, and he'll be locked in a cell - unless he immediately kills Claudius, too. Thus, Hamlet remains standing, with the sword firmly in his hand, ready to use again, this time for Claudius. 27 Gertrude thinks Hamlet means he's killed Claudius, and he doesn't like it that she married his father. She thinks Hamlet means the same "king" she did. Hamlet's statement sounds extremely odd to her. Crazy. 28.1 SD Wrong. Polonius fell dead in plain sight, center stage, not behind the arras. 30 thy better Means "rat." Hamlet does not mean Claudius. There's the undertone that he wishes it were Claudius. "Took" has a complicated meaning. 35 brazed it Arden's word should have been starred and noted. The Q2 word is "braced." It could easily be a double meaning, however, with "brazed" as the second meaning. "Braced" takes primary meaning because of the following "bulwark." 38 Such an act By far the most important point about Hamlet's speech, from L38 on, is that Gertrude doesn't have the slightest idea what he's talking about. Hamlet, the scholar, has failed to "define his terms" for her. 45-6 sweet . . . words Highly ironic, in that a "rhapsody" of words is all Gertrude is hearing. To her, Hamlet sounds like he's raving. She can't follow any of it, and has no idea why he's saying it. Hamlet is talking so far around the subject, he's lost her completely. 46-9 Heaven's . . . act "Sky" is wrong. A sun/son pun is implicit. Hamlet is referring to the hot sun, as he, the "son," glowers over his mother. 50 index Means Index Librorum Prohibitorum which was a list of books forbidden to Catholics. That's why the word is capitalized in Q2. It is always properly capitalized. Hamlet uses the term figuratively to mean "forbidden things." Arden assignment of the line to Gertrude is willful misrepresentation. Arden, while claiming to present Q2, intentionally fails to do so. The line is Hamlet's line in Q2, and Arden knows it. Hamlet is "thundering" at Gertrude that her alleged act is like something writ big and bold in the Index L.P. His mention of the Index follows from his mention of "sweet religion." 51 this . . . this The pictures are large. Hamlet is standing with his sword in his hand. He is using his sword to point at the pictures. He has pretty much forgotten Claudius by this time, and has begun using his sword as a pointer. To Gertrude it is still very much a sword, and it doesn't help her state of mind as he waves it around in front of her. In Shakespeare's time, the pictures were most likely replicas of the Kronborg king tapestries (one of which is King Abel, by the way.) The problem with large pictures, for a playing company, is that they have to resemble the actors who are playing the Ghost and Claudius. Also, if the actor playing Claudius became unavailable, the picture would have to look like his understudy. Same for the Ghost. It's a problem, for a company with limited resources, which most are. So, companies started using "pretend pictures," which is easy and extremely cheap, and avoids the resemblance problem, but it certainly isn't Shakespeare's Hamlet. The use of "pretend pictures," which is only a cheap makeshift, is cheating audiences out of the real experience of the play. Rightly, the pics are Kronborg-style king tapestries. In Shakespeare's time, his Playing company probably made their "king tapestries" out of old sailcloth. London was a major port for sailing ships. Sails are canvas. Old sailcloth would have been abundant and inexpensive. Canvas is a favored surface for painting. Burbage was a painter, and there were others in London, of course. Get some canvas, paint it so it'll look alright as a king's picture from audience distance, tack a board at the top to hang it up, and there you are: a "king tapestry." Shakespeare's company had all the resources on hand to make the Closet Scene pictures large ones, and they undoubtedly did. Each time Hamlet mentions one pic or the other, he waves his sword to point to one, or the other. Gertrude, feeling threatened by the sword (although Hamlet actually intends her no harm,) looks each time he points. He has her constantly looking back and forth, from one pic to the other, as he waves the sword back and forth. He points at one picture or the other at least eight times, with her looking each time. 56 station . . . Mercury A "full-length portrait." That is right. 57 *heaven-kissing Arden should have respected Q2. The Q2 wording is Shakespeare's. Allusion within the play confirms that beyond doubt. It connects to Claudius saying "heaves" in the next scene, as he looks at Gertrude's bosom. A heave, a kissing hill. The author changed the conventional phrase to produce an impish reference to the female breast. Kissing hill. The Folio editor blundered when he conventionalized the phrasing. 62 mildewed ear Gertrude thinks Hamlet is complaining of mildew on the ear area of the picture. She can't see the mildew, but the way he's waving the sword around, she isn't going to argue with him. Hamlet is using such obscure allusions, she can't follow them, and she is mistaking what he means. 64-65 mountain . . . moor The contrast is that mountain pastures have good drainage, and are healthy, while a moor is marshy, and unhealthful. It is essentially a health vs disease contrast, in regard to the pasturage. 65 batten on It means "thrive on." "Batten" does not simply mean "feed." 66 at your age Arden is wrong. Hamlet certainly does not say his mother has no sexual desire. He expressly and unmistakably says her desire is "tame," "humble." Those are not statements that she has none. The Arden note is incompetent. Arden couldn't read even the clear language of the play. 67 heyday . . . blood The phrase refers to the height of passion. The Arden note is incompetent. 69-74 Sense . . . difference The Folio is wrong. Q2 is correct to include the lines, and they are authorial. In particular, lines 69 and 70 are mandatory in the play, because of what they imply. It is likewise demonstrable that line 77 is mandatory in the play. The Folio's lack of the lines Arden mentions is either printing error or editorial error in the Folio. 69-70 Sense . . . motion The concept is from Aristotle. Hamlet, the university scholar, is attempting to make use of his university education in philosophy to instruct Gertrude. The Arden 3 cites Jenkins occasionally; they ought to have cited him here. He was right. Hamlet, the scholar, has "gone back to school" while trying to persuade Gertrude. Hamlet is intentionally referring to Aristotle. "Student" Gertrude is sitting in the chair, and "Professor Hamlet" is trying to instruct her, as he paces and waves his "pointer" around (his bloody sword, that is.) The students at Oxford and Cambridge would have loved this, as "Professor Hamlet" madly lectures "student Gertrude" about Aristotle, with another "student" (Polonius) lying dead on the floor, already killed by the "professor." 77 Ears without hands or eyes Look at yourself in a mirror. Really, do that. Either get a mirror, or go to a mirror. I will show you how to perform this line. The line mentions the ears, the hands, and the eyes. With both hands, splay your fingers, and thumbs, as if showing your hands to somebody. Look into the mirror. Bring your hands up to your ears, with your palms toward the mirror, and touch your ears with the tips of your thumbs. Lean toward the mirror a little, and open your eyes as wide as you can. Wiggle your fingers. Hamlet has just done that at Gertrude, his mother, the Queen. He didn't mean to do it, he doesn't realize how it looks. We can be absolutely certain that line 77 is true Shakespeare, because of how it's played. The Folio was wrong to omit this line. 77 smelling sans all Hamlet grasps his nose and glances at Polonius's body. "Dead dog." 79 shame . . . blush Hamlet is red in the face from emotion and exertion as he speaks the line to Gertrude, who is sitting in the chair, pale with fright. Where, indeed, is the blush of shame for the way Hamlet is treating his mother? His own face is red, as he says the line. He can't see it. 80 Rebellious hell Requires an exclamation point in modern printing. Arden adds exclamation points when they're inappropriate, and fails to add one when it would be correct in modern printing. Hamlet's exclamation is exactly what Gertrude thinks she's seeing: some kind of hellish rebellion by Hamlet against her. 82 flaming youth Vitally requires a note. This is the last personal reference Gertrude hears before Hamlet continues. Hamlet is the "youth." She takes it as reference by Hamlet to himself, which it is. Hamlet does not give her a new personal reference when he continues. So, as he continues, she thinks Hamlet is talking about himself. 82-3 To . . . fire "Virtue" does not mean "chastity" here, it takes the broader sense. "Chastity" is only part of the meaning. 85 frost Gertrude doesn't understand the metaphor, and thinks Hamlet is saying he believes frost burns like wax, as though a person could make a candle out of frost. It sounds crazy to her. Distraught, she can't follow Hamlet's figures of speech. 86 And . . . will The Q2 wording is demonstrably correct, in allusion to what Claudius said in the Prayer Scene, about "will" and "pardon." It contains an allusion to Hamlet sparing Claudius's life. 87 my . . . soul "Very eyes" are true eyes. The Q2 phrasing is correct. The Folio is in error. Gertrude means Hamlet has opened her true eyes to see into her soul. Gertrude does not mean she's seeing truly about herself and Claudius. She doesn't even know Hamlet is trying to talk about Claudius. She hasn't been able to follow Hamlet. Gertrude means she's seeing truly about Hamlet, himself: that he truly is crazy. She didn't really believe it, earlier. (But she's wrong. Hamlet isn't crazy, it's only that he's lost her very badly with his rhetoric, and his "Professor Hamlet" behavior. However, Gertrude is trying to tell Hamlet that it grieves her soul that her son is a lunatic, as far as she can tell.) 88 grieved A note is mandatory that Hamlet misunderstands Gertrude. When Gertrude mentions her soul, Hamlet thinks he's communicating with her about what he wants to say. He is not communicating with her. She's trying to tell him that it grieves her that he's a lunatic. Hamlet thinks he's getting through to her about Claudius, and it's that which is grieving her. The mistaken idea that he's communicating with her, about what he wants to say, gives Hamlet renewed energy as he continues. 90 enseamed Means "inseamed," as in sewn together. The idea is of two beds being sewn together to make one bed. Apparently unique in Shakespeare, but Macbeth does contain "unseamed" meaning rent asunder. Then, after that plain meaning, further meaning is to be expected. 92 sty Arden is wrong, for what Hamlet says. He is using "sty" as a euphemism for Hell. It follows on Gertrude's mention of her soul. Hamlet is trying to tell her that her behavior with Claudius, that he suspects, could damn her soul to Hell. That is not how Gertrude hears it. She understands "sty" to mean pigsty. Then, go back to the word "youth." She thinks Hamlet is still talking about himself. She thinks Hamlet is talking about himself, in the pigsty. Making love. She thinks Hamlet has just told her that when he's feeling romantic, he goes to the pigsty. To make love. Gertrude does not know Hamlet is trying to talk about Claudius, and her. Hamlet has lost her with his obscure allusions, and his strange behavior. She thinks Hamlet means himself in the pigsty. In crude modern vernacular, Gertrude thinks her son, the Prince, has just announced to her that he's a pig f-cker. 93 Arden could not possibly be more wrong. Hamlet has not succeeded in what he wanted to do. What Hamlet has succeeded at, is to make his mother think he's proud of being a pig f-cker. Gertrude's "daggers" is entirely coincidence. She just happens to use the same figure of speech. Wheel of Fortune motif. And indeed, it would be rather "daggery" for a mother to hear her son say such a thing, as Gertrude thinks she heard, even if he's not the Prince of the nation. The author knew of the pigs in the Amleth story, but he used the concept far more creatively. And just because multitudes of scholars, working for generations, can (sometimes) figure out the meanings of what Hamlet says, that does not mean Gertrude can understand Hamlet as his obscure allusions go by while he speaks. She cannot understand what he means, and she mistakes what he says. Shakespeare did write it all to make sense - but not to Gertrude. Hamlet remembers saying that he intended to speak "dagger" to Gertrude, and here she has said "daggers." It makes him think he's communicating with her, on the issue he's trying to talk about. He's wrong. The word is coincidental. But Hamlet finds encouragement in it, and he continues, energetically, in the same fashion. 94 murderer . . . villain Hamlet is still standing with the sword in his hand, waving it around, and Gertrude is very aware of Polonius's body. She thinks Hamlet is proudly proclaiming himself a murderer and a villain. In all that follows, until the Ghost enters, she thinks Hamlet means himself. She thinks he's completely lost his mind. 95 kith Means "kin" but is figurative. The Folio is patently wrong. If misreading is involved, it's by the Folio editor(s), working with 20-year old papers. 99 Gertrude's interjection is her begging Hamlet to stop raving. 99.1 SD Arden has, guess what, misplaced the stage direction. Again. It's sad. The stage direction belongs exactly where Q2 shows it, because Hamlet's "shreds and patches" line has multiple meanings, one of which refers to the Ghost. Therefore, the Ghost must be onstage, exactly as Q2 shows, when Hamlet speaks the line. Arden does not understand the play. The Vice character, in "shreds and patches," was the Devil's henchman in the old morality plays. Hamlet, with the Ghost standing there on stage, has said a whole lot more than he realizes, when he mentions shreds and patches. Nor does Hamlet know how appropriate his attempt to summon angels really is. There is irony in Hamlet calling for the help of the angels in this scene, after Claudius called for the help of the angels in the Prayer Scene. It is mandatory that the Ghost be costumed differently, not in the armor. Q1 is a surprisingly good guide for this particular entry of the Ghost, in regard to costuming, although Q1 must never be trusted except where it finds independent support. Such support exists here. The Ghost must scare Hamlet upon its entry here. That means Hamlet must not be able to recognize the Ghost immediately. And that, in turn, dictates a different costume. Hibbard was silly. There is no "humanity" in this Ghost. Polonius has told us that, accidentally, for one thing. Hamlet just told us that, too, unknowingly. The distant church bell, sounding 1:00, is right. When the Ghost enters, Hamlet, who has been facing Gertrude, catchs the motion out of the corner of his eye. He turns, and upon seeing the Ghost, which he doesn't recognize at first, he does a fright reaction. He crouches slightly, his eyes bug out, and his hair goes straight up on end (as Gertrude will remark.) But all Gertrude sees is Hamlet. She can't see the Ghost. To Gertrude, it looks like Hamlet has done that entirely by himself. Somehow, he has made his own hair stand straight up. She didn't know a person could do that. She's seen people wiggle their ears, but this is... crazy. Hamlet has made all his hair stand up, all by himself, as she sees it. She's certain he's insane. 101 guards To Gertrude, it's like Hamlet is reading her mind. That is exactly what she's thinking. She strongly wishes the castle guards were there, to restrain her crazy son. 101-105 Of course Hamlet addresses the Ghost as his father. He thinks it is. Arden is not competent to interpret the play. As to the Ghost's actual identity, the lines prove nothing. It's a character reaction. 101 your gracious figure Good heavens. "Equally acceptable," my foot. Not in what's allegedly a Q2 printing. And who's Arden foolin' when they try to claim they can read a nonexistent manuscript? - Besides themselves. 102 Gertrude cannot see the Ghost, and the Ghost, himself, will tell us why she can't. Dessen could not read the play, and only babbled. 103-5 Arden's cite of Greenblatt, here, is despicable. It would be nice if just once - just once! - Hamlet editors would give honest, decent people a fair chance at understanding the greatest play in the world, the property of the entire English-speaking world (and is not the property of aberrant, dubious, purely academic types who somehow wangle their way into being editors of a publication they aren't competent to handle.) Honest, decent, sincere, normal readers are being cheated out of THEIR OWN Hamlet by trash like that, which should not be in any responsible publication, at least not in company with the Hamlet playtext. If Arden had paid attention to what they were supposed to be doing - Hamlet - and ignored the mountains of blather under which fools have tried to bury Hamlet, (cheating the real "owners" of Hamlet in the process,) they would surely have done a better job. We know exactly why Hamlet asks the Ghost the question, and exactly what it means, in plain reading. Hamlet is worried the Ghost (whom he takes to be his father) is going to scold him for not killing Claudius in the Prayer Scene. Hamlet knows perfectly well that he has killed Polonius in this Scene, not Claudius. Greenblatt's mental lapse is no proper gloss for Hamlet. Greenblatt apparently could not even read the play well enough to understand that Hamlet let the chance to kill Claudius go by, in the Prayer Scene, only a few minutes earlier. Look at the exact quote within Hamlet's question, itself: "lets go by." Oh well, birds of a feather. Incompetent Hamlet commentators flock together. The reason why Hamlet ignores Polonius is that he's glad Polonius is dead. He's glad because he mistakenly thinks Polonius pimped Ophelia to Claudius. Hamlet's view is that the only problem with killing Polonius now, is that he hasn't killed Claudius yet. Hamlet expects Polonius's death to be big trouble for him in killing Claudius, since it gives Claudius a reason to throw Hamlet in the dungeon, and he'd never get Claudius from behind bars. 103 tardy "Tardy" is wonderful wordplay. It means "late." Hamlet, talking to his "late" father (he thinks) turns it around and calls himself "late." For Hamlet, he's "late" in killing Claudius, whom he didn't kill in the Prayer Scene. "Tardy" reveals that Hamlet, upon seeing his father in ordinary clothing, is feeling like a small schoolboy again. Hamlet is no longer "Professor Hamlet," lecturing "student Gertrude," the Ghost has made him feel like the tardy schoolboy he once was, who feared a scolding from his father. This also firmly supports ringing a distant bell at the Ghost's entry. The bell has rung, and Hamlet is "tardy." 104 That . . . passion Arden is not competent to present the play. They don't understand any of it. What "commentators agree" upon, allegedly, according to Arden, is blithering nonsense. Hamlet is referring to his "lapse of passion," for revenge, in the Prayer Scene, where he allowed Claudius to live. Hamlet is afraid his father is going to chastise him for not killing Claudius. It is not complicated. Hamlet thinks he has lost his mother to Claudius, his old friends R & G to Claudius, and his sweetheart Ophelia to Claudius. Hamlet feels very alone in the world. Now, if his father condemned him, it would be too much to bear. 107 It means the Ghost is encouraging Hamlet to kill Claudius, which Hamlet hasn't done yet. The Ghost is essentially only repeating back what Hamlet just said (and there's an amazing reason for that.) The Ghost is telling Hamlet to sharpen his sword, so to speak, for Claudius. It is important to have in mind that Gertrude cannot hear this. She hears only Hamlet's side of the conversation. Arden's "perhaps" is merely another indication they do not understand the play, even where the play is not very complicated. 109 If Hamlet literally stepped between Gertrude and her soul, it would separate her soul from her body, that is, it would kill her. It's quite an odd thing for Hamlet's father to say: a suggestion he should kill his mother. The Ghost has included a wicked undertone to his words. The Ghost likes that sort of thing. The Ghost admires "wicked wits." 110 Conceit Conceit is a "take" word, at root. The Ghost is saying, 'taking works best in the weakest bodies.' A "taking" is a spell ("no fairy takes.") The Ghost has a very "weak" body, none at all. He's saying that makes him strong for casting spells. What spells? - Spells to keep Gertrude from seeing or hearing him. The Ghost is telling us why Gertrude can't see or hear him. The Ghost has "taken" her perception of him, with a spell. Then there's the usual double meaning, to give the plain reading. There's also a third meaning. 116 in th'alarm Gertrude uses the figure of soldiers reacting to an alarm because she's expecting Fortinbrasse to attack the castle at any time. It's on her mind. 117 like . . . excrements The hair is on the head. Gertrude, in her extreme irritation at Hamlet, and from her certainty that he's crazy, is associating his head with excrement. In undertone, she is calling him a crazy excrement head. Sorry, but she is. Deal with it. She would never, ordinarily, even imagine calling her son such a thing, but she is beyond annoyed. 121 how . . . glares We know what's associated with "pale" in the play: red. "Pale or red?" asked Hamlet, of Horatio. Horatio assured him: "very pale." Here, Hamlet observes that the Ghost and his glare are very pale (not red.) He does so in trying to assure Gertrude of the Ghost's reality, the same way Horatio assured him. Gertrude doesn't know of the "pale or red" question, however, so Hamlet's remark means nothing to her. 123 capable Hamlet means the Ghost's form, combined with his purpose, is so impressive that even stones ought to be capable of perceiving the Ghost, poetically speaking. It means "capable of perceiving." This pertains to Gertrude not seeing the Ghost, as she just said. Hamlet finds the Ghost so awe-inspiring he thinks even stones should see it, in a manner of speaking, and he can't undertand why she can't see it. (The word "preaching," L122, is highly ironic, by the way.) 123 SD The Arden SD is wrong. Huge surprise. Hamlet's "Do not look..." line is intentionally written to be "double character," that is, it applies both to Gertrude and to the Ghost. Gertrude is looking upon her son with pity, at the same time the Ghost is looking "piteously" at Hamlet. Hamlet is influenced by both the Ghost's look, and the look of pity he's getting from his mother. Hamlet should gaze back and forth, between his mother and the Ghost, as he speaks the line. They're both staring at him. 126 want true color The "true color" of murder is blood red. Hamlet is poetically speaking of shedding pale, fearful tears, instead of having "red in his eyes" to kill Claudius, the way Pyrrhus had "red in his eyes" when he murderously sought Priam. It is mandatory to note that Hamlet cries here. Tears run down his face, and Gertrude sees that. Later, in the next scene, when she tells Claudius that Hamlet wept, it's true. When Hamlet mentions tears here, he cries a little. Gertrude doesn't know why, and she later mistakenly associates Hamlet's tears with the death of Polonius. 132 steals Exactly the right word, from Shakespeare. This Ghost has "stolen" Gertrude's perception of it, and has "stolen" Hamlet's rightful affection for his father. It steals away, like a thief in the night. 133 in . . . lived Means "the way my father habitually dressed, when he was alive." The Ghost appears to be wearing the ordinary nighttime garments that Hamlet's father wore. 135 very Means "true" again. Gertrude is asserting: 'in truth, this is the coinage of your brain.' 138 Hamlet's "pulse" line is high irony. Gertrude's pulse is pounding like a drum, as she fears that her son, who has killed Polonius, is hopelessly insane. If Hamlet's pulse is calm, he's doing a lot better than she is. Her pulse is racing (but he doesn't know that. He doesn't realize how he looks to her, or the effect he's having on her. Shakespeare, who knew a great deal about Putting On A Show, knew that people can't see themselves the way others do.) 141 *And . . . matter The Folio is probably in error. There is double meaning, via wordplay, and the Folio "I" interferes with it, somewhat. Be that as it may, Arden is willfully negligent again by knowingly failing to do what they said they would. 141 reword Arden is egregiously wrong. It means exactly what Arden claims it doesn't. A rewording is an expression in different words. "Repeat" could be read there, since double meaning is to be expected, but it's a secondary meaning, and for plain reading Arden is exactly wrong. Hamlet does not, of course, mean that mindless parroting, word for word, is a display of human rationality. Hamlet, the university scholar, is referring to the old standard type of school testing, where a student is called upon to 'restate this matter in your own (different) words.' It's disgraceful and pathetic that university professors couldn't properly interpret this. By Arden's insane notion, a parrot would qualify as a sane man. The academics at Arden should stick to their featherless bipeds, and not bring parrots into it, as well. 146 mining Refers back to "old mole." Hamlet has just, unknowingly, called the Ghost a "rank corruption." "Infects unseen," L147, has allusion to Gertrude not being able to see the Ghost. 147-8 Confess . . . Repent Gertrude thinks she's hearing a new facet of Hamlet's madness. He sounds like a religious fanatic to her. She now views with suspicion everything he says. Hamlet is really only trying to sound impressive as he attempts to persuade her, and he's using religious metaphors to try to achieve that goal. 150 ranker Also means "higher," which will be the primary meaning later. Saint Gertrude of Nivelles is a patron of gardeners, by the way. 150 Forgive . . . virtue Neither Edwards nor Staunton could understand the play. What Hamlet says, and what Gertrude hears, are two different things here. Hamlet is speaking of his virtue, but Gertrude thinks he's calling her "My Virtue." Full discussion requires too much space for this comment. Throughout Hamlet, lines must be examined from both points of view, the view of the character who says it, versus the view of the one who hears it. Admittedly, Hamlet is a beast to interpret, because of all the double meanings, including double jokes and even double character lines, compounded by the necessity of taking both speaker's and listener's points of view into account, for every statement in a play of nearly 4000 lines. The word "genius" is an understatement for the Gentleman who wrote Hamlet. It's beyond anything. Hamlet is the Hyrcanian Tiger of literature, and any editor or commentator who tries to grab hold, is going to have the tiger by the tail. He had better realize what he's up against, before he reaches to grab on, or Hamlet will eat him alive. The many, many, bleached skulls in the graveyard of Hamlet commentary are a "tiger" warning. Shakespeare could be downright predatory with words. He was that good. 156 *live Arden, once again, should have been faithful to what they claimed they were trying to do. Q2 is correct. Hamlet thinks he's been persuasive in telling Gertrude to leave Claudius. As Hamlet speaks, "leave" is right. Hamlet is telling Gertrude, that with a purer heart, she should leave Claudius. Gertrude does not understand it that way, however. The speaker's understanding, and the hearer's understanding, are different. Full discussion requires more space, etc. 158 "Assume" is another "take" word, at root. Hamlet is telling Gertrude that if she has no virtue, she should take some. In other words, she should steal some. Shakespeare is devilishly making Hamlet advise: if you don't have any virtue, steal some. Anticipates Hamlet's encounter with the Pirates, the "thieves of mercy," later. Here, Hamlet is telling Gertrude to steal virtue, and later he'll speak of the Pirates as having stolen mercy. 159-63 The Folio is in error, proven by the allusion to the Ghost that the lines contain: "habit's devil." Goes back to: "my father in his habit." Hints of who the Ghost really is. The previous commentators Arden mentions are only skulls in the Hamlet graveyard. They couldn't understand the play, and didn't even read the play well enough to pick up the word "habit" and relate it. 159-60 who . . . devil The historical fussing over "devil" was silly and crazy. Johnson was, of course, exactly right about the antithesis. The word "devil" is not arguable. What happened to Theobald, Hibbard, et al was that, when they couldn't follow the passage, they tried changing Shakespeare's words, in an effort to help themselves. However, the passage was intentionally written by Shakespeare to be inordinately difficult to understand. Indeed, Hamlet's lines are impossible for the average person to interpret in his head. The author did not write it that way to fool readers. It's for authentic characterization. Gertrude can't understand it any more than Theobald could. Theobald et al didn't perceive that their incomprehension was exactly Shakespeare's desired effect - for Hamlet with Gertrude! The meaning of Hamlet's lines, 159-65, is: That "monster," Custom - meaning habitual behavior - who "eats" all perception of the "devil" of bad habits, is still an "angel" in this way: that in service to actions which are fair and good (good habits,) Custom - still meaning habitual behavior - provides a "uniform" that a person can aptly wear, to keep the "darkness" away, (through the development of good habits,) which makes continued abstinence easier and easier, etc. Arden has mispunctuated, and has blundered (and been irresponsible again) by using the Folio wording. Q2 is entirely correct, in both wording and punctuation. It's a simple, easy to follow little passage, right? Um-hum. Shakespeare intentionally made it almost unfathomable. And the tiger ate poor Theobald. Additionally, the lines have secondary meanings, allusions, and undertone. The average reader need not spend time trying to figure out the original language - it will take pencil and paper to do that. The way Shakespeare wrote those lines will overflow the normal human mental "stack" for language. There are too many referents for a normal person to keep in mind simultaneously. Which means, that although it does make sense, it's impossible for the average person to understand, just by reading it, or hearing it. The average person will inevitably lose track. The author did that on purpose, to be certain it baffles Gertrude. What the typical reader needs to understand is merely that Gertrude can't understand it, either, and to her it sounds like Hamlet is a religious nut, raving about devils and angels. That's the important point, in relation to how Gertrude views Hamlet now. She thinks she's hearing him babble unfathomable religious lunacy, about devils and angels. Did Shakespeare, himself, need pencil and paper in order to construct Hamlet's lines? - No. He could do it in his head. His mind had a higher "stack" than normal, for dealing with language. It was probably an innate ability, enhanced by a lot of practice. His special ability shows throughout Hamlet. Back to characterization. Hamlet is not crazy. He has the mistaken idea that he must use high-flown terms to impress Gertrude, in order to persuade her. So, he's scrambling for allusions and metaphors to try to sound impressive to her. But she can't follow him at all. Hamlet doesn't realize that if he calmed down, and spoke simply, he'd do much better. As to the Folio omission of lines 159-63, the Folio editor(s) perhaps got too lost, and bailed out, to escape the "tiger." Could easily be. 167 *shame Arden should have marked this word within their playtext, since it is not factually there in Q2, and is an editorial insertion. Print it within curly braces, or brackets, or something, guys. That's what a responsible editor would do. Arden's guess is poor. An opposite to "throw him out" is required, since Hamlet is basically speaking of Gertrude either allowing Claudius in, or throwing him out. Hamlet is speaking of opposite actions, by Gertrude towards Claudius. Hamlet isn't intent on shaming Claudius, but getting rid of him, after Gertrude "let in" Claudius, so to speak. A word is missing in the original text, which leaves an editor with no choice but to guess. The word "fetch" is more reasonable. First, "fetch" is a word that appears more than 100 times in the Shakespeare writings, and it's reasonable to play the odds, when there's no alternative. Second, "fetch" is a known word in the play, it was used earlier by Polonius. Third, it was Polonius who accidentally summoned the Ghost in this scene, with an unintentional "fetch of wit." Fourth, "fetch" as a noun refers to an apparition, with obvious pertinence to the Ghost. (The modern noun "fetch" refers to an apparition of a living person, but nevertheless, any meaning of 'apparition' is highly suggestive in this scene where the Ghost appears.) Fifth, "fetching" means "charming," which provides some allusion to the general notions of witchcraft, magic, etc. Sixth, the regular meaning of "fetch" works well, in opposition to "throw out." I offer "fetch." It must always be stated, however, that Shakespeare's own word is forever unknown - and the missing word could even be a word of his own coinage - so that an editorial suggestion is necessarily only a guess, which is acceptable only if reasonably credible and meaningful. ("Devil" is not spelled "deale" here in the original printing, so a free-standing meaning that incorporates a verb through metaphor is not available. By the way. The word, alone, cannot be read as "deal the devil.") 168 With wondrous potency Arden's parenthetical is wrong, and peculiar. Hamlet is talking about what he more expects such power to achieve. Not "less." The "wonder" is in how intentionally-developed habits can overcome natural inclinations, as Hamlet has just stated, of course. 169-70 And . . . you There is no mention of kneeling. The Hamlet actor might kneel, but that is entirely optional, and not dictated in the playtext. Arden's talk of kneeling is irrelevant to the meaning. Interpretation requires knowing that Gertrude hears it differently from what Hamlet intends. She thinks Hamlet says that if she desires blessing from him, he'll refuse, and he'll beg blessing from her, instead. To her, what he says sounds nuts, as though, if one person desires blessing, somebody else should get it. Hamlet means he'll also ask for blessing from her, in addition, but he fails to clearly say so, and she misunderstands. She's still hearing all his talk of devils, angels, blessings, etc. as the religious fanaticism of a diseased mind. But Hamlet is only searching for metaphors that he thinks might impress her, and he has latched onto religious ones. 170-1 For this . . . repent Hamlet's line has a double meaning. Can be read either as: 'For this act (of killing Polonius,) God, I do repent' - or as: 'for this lord here, (Polonius,) I do repent.' 172 Certainly Hamlet fears punishment for killing Polonius. Also, he's "punished" in that his effort for revenge against Claudius has become more difficult with the death of Polonius. 173 their . . . minister Hamlet is stuck in religious metaphor. The point for the play is that as Gertrude keeps hearing such things from him, she thinks he's a religious nut. He now sounds to her like he's saying he's the "scourge of heaven." He doesn't actually mean that. 174 bestow Means "house," again. Hamlet is going to "house" Polonius someplace else. Has the ironic implication that Hamlet is going to look for someplace else for Polonius's dead body to "live." 174 answer well Hamlet has come up with an "answer" to Polonius's death, that Hamlet hopes will work. He intends to use Polonius's body in connection with killing Claudius. 176 I must . . . kind The point for the play is that Hamlet recites a saying, rather mindlessly. It's exactly the same thing Polonius habitually did. Earlier, when Hamlet started to recite the "grass grows" saying to R & G, he stopped, because he realized he was sounding like Polonius, by using a saying. But here, Hamlet goes ahead and recites the saying without even thinking about it. Hamlet must have been too close to Polonius when he died, and Polonius's spirit has infected Hamlet. Hamlet has caught a touch of Polonius Disease! 177 This Q2 is correct. It goes to the issue of word order in poetry. Hamlet means, 'This begins bad..." The word order needs to be switched, for prose meaning. It establishes that "This" is right. The Folio change is probably an editorial attempt to make better sense of the printed word order. Notice the epigram form of L177. It's a further symptom of Hamlet's Polonius Disease. The Dent cite by Arden is truer than they realized. Polonius is the one who habitually spoke proverbs. 178 One . . . lady Certainly authorial, and intended to be there. Hamlet's desire to talk more is a symptom of his Polonius Disease. Hamlet now feels compelled to keep talking, and to throw in the occasional saying. Yep, poor Hamlet has caught Polonius Disease. 178 Gertrude's question is actually spoken to herself. Hamlet takes it as addressed to him, but she's asking herself what she's going to do about her crazy son, and his killing of Polonius. 180 bloat Gertrude takes Hamlet's phrase "bloat King" as reference to the King of Bloat, someplace that must exist in his frenzied imagination. Not only does she have no intention of going to bed with the King of Bloat, she never even heard of that kingdom. Hamlet still has her lost in his rhetoric. 181 Pinch wanton "Wanton" means "playfully." Further on L181, St Gertrude of Nivelles is a patron against mice, by the way. 185-6 That . . . craft Gertrude doesn't believe him, she thinks he's truly crazy. 186 'Twere . . . know It is absolutely not any sarcasm by Hamlet, he is deadly serious. Arden is badly wrong. Hamlet is embarking on warning Gertrude that Claudius is a physical danger to her, that Claudius, who killed his own brother, might murder her. 186-9 'Twere good . . . do so? Hamlet, thinking he still has to be mysterious, is making a bad mistake with his verbiage. He's trying to warn Gertrude that Claudius might kill her, but Hamlet phrases it so that she can't understand him, which makes the warning useless. The answer to his "Who would..." question is: "a wise queen," which he thinks she'll easily get, but after all the "paddock" and "bat" nonsense, she has no idea what he's asking her, or why he's asking. Hamlet, suffering from his Polonius Disease, and his own fondness for allusion, thinks he's giving her a good warning, but she hasn't the slightest. If she did understand Hamlet, she might be more careful around Claudius, like thinking twice before she sipped from a cup Claudius had touched, or something. 190 It is not one fable, it is reference to two things. Hamlet is garbling them together, through the "basket" idea. There are two baskets involved. First, there is the basket on the rooftop, with the birds in it. Hamlet is using the idea, of letting the birds out of the basket, as reference to letting a secret escape. Birds symbolize secrets: "a little bird told me." Then, the phrase "house's top" is reference to the idea of shouting something from the rooftops, i.e. letting everybody know. Hamlet is trying to tell Gertrude not to shout secrets from the rooftops, as the idiom has it. Then, Hamlet is continuing the "basket" idea in reference to something else. For Hamlet's second thing, the "ape" is the Socrates character in Aristophanes' play Clouds. In Clouds, Socrates was associated with a basket, and the Strepsiades character in Clouds, toward the end of the play, mentions falling and breaking his neck. The allusion to Clouds is complex and confused. Historically, Socrates was killed. As Hamlet struggles to find some connection between letting secrets out, and suffering for it, perhaps being killed, he is using the "basket" idea as the verbal connection, and then figuratively using birds to represent secrets, and using Socrates as the example of somebody associated with a basket, who suffered, and died. He's totally lost Gertrude, of course. She has no idea. Hamlet's fantastically ingenious construction is wasted on her, because of the way he mingles the concepts, in a "rhapsody of words." Gertrude, totally unable to follow Hamlet's allusions, takes it literally that there are birds in a basket on the roof, which Hamlet is warning her not to free. She thinks that Hamlet has been madly catching birds, and caging them in a basket, and that he has put the basket on the roof. And he is now warning her not to let them go. So, when Hamlet says "break your own neck," Gertrude thinks Hamlet is threatening her, that if she does let his birds out of his basket on the roof, he'll break her neck. Hamlet is trying to warn Gertrude that Claudius could be a danger to her. However, his odd metaphors have only confused and baffled her. 195-7 Gertrude is replying to what she took as a threat from Hamlet, to "break her neck." She promises she won't say anything of what he's told her. It's an extremely easy promise for her to make, and to keep. The reason is, she has absolutely no idea what he's been saying, and she couldn't repeat it if she was paid to. And she has no intention of telling anyone about his basket of birds. 198 It's perfectly clear how Hamlet knows. He was hiding in Claudius's room, and he heard Claudius say it. That has been misunderstood because scholars have not perceived exactly what an entry in Q2 means. The fact is that a character can be onstage, in Q2, before his express entry, as Hamlet was in the Prayer Scene (and as Polonius and Claudius were in the Nunnery Scene, when they were onstage behind the arras before getting their "enter" to emerge.) 200-8 There's . . . meet If there was a Folio cut it was not by Shakespeare, it was by the Folio editor(s). The author did not cut his own writing from his own closet drama, Q2. Perhaps the Folio reflects stage practice, or it may only reflect lack of understanding by the Folio editor(s), or it may be a misprint in F. 202 bear the mandate Hibbard was wrong, he did not understand. Claudius has arranged the mission so that Hamlet is a "social" ambassador. He's to shake the hands and do the talking with the foreign dignitaries. R & G are the clerical aides, to do the paperwork. Hamlet is the ambassador, and R & G are the scribes. That's why they will have the paperwork. Claudius has arranged things that way to keep the paperwork away from Hamlet, lest he read it. It's a normal arrangement. The ambassador, himself, does not usually do scribal work. 203 Let it work Double meaning. Hamlet is also asking fate to let his own plan work. He has thought of something. 205-6 and't . . . will "Hard" simply means "difficult." Hamlet is not talking about it needing luck, he's talking about it needing effort. He merely means, 'and it will be difficult.' As it turns out, he will need luck, but he isn't anticipating that here. Then, one always looks for double meanings, and "hard" goes back to "sport," L204. For that, "hard" is reference to playing a rough game. Hamlet further means that in this "sport" he's going to start playing rough. 206 mines Hamlet is intending to "undermine" R & G by killing Claudius before the trip, leaving R & G out of luck. 209 set me packing Hamlet is facetiously referring to his lugging of Polonius's body as the start of his "packing," for the trip he doesn't expect to take. 210 neighbour room The phrase is vitally important to the play, and Arden has missed it. This is the Queen's Room. The "neighbour room," from here, is the King's Room, next door. Hamlet is saying he's going to take Polonius's body to Claudius's room. Why? Well, Hamlet has a killing on his hands, so he's sure he has to do something about Claudius right away, lest he be thrown in the dungeon, with no hope from there of ever getting Claudius. Hamlet is going to take Polonius to Claudius's room, the "neighbour room," kill Claudius too, and try to make it look like they killed each other. Or, perhaps, try to make it appear that Polonius killed Claudius, and then Hamlet, in outrage, killed Polonius. It's a variation on Duncan's murder in Macbeth, as set up by Macbeth: supposedly a king killed by his servant, or servants. (But Shakespeare didn't let Hamlet accomplish it in Hamlet, he put something in the way: R & G.) Hamlet says "neighbour room" because, for one thing, he can't stand to say the name, Claudius. During this entire Scene, despite the amount Hamlet talks, he never says "Claudius." (That's part of the miscommunication with Gertrude.) Also, Hamlet doesn't like to think of Claudius as king, so he doesn't say "King's Room." He only uses the vague phrase, neighbor room. 213 most Certainly authorial, and to be spoken with emphasis. Arden needed to stop arguing against the very text they were supposed to be presenting; that's a fundamental flaw in their approach. The Folio has either a misprint or an editorial misjudgment. 213 foolish prating Strikes a chord with Gertrude, after what she heard from Hamlet in this Scene. Hamlet doesn't realize the self reference in what he says. 215 SD Gertrude does remain on stage, for a while. It takes her a while to realize what "neighbor room" meant when Hamlet said it. She paces, she frets, then after a minute or two it strikes her: Hamlet said he was taking Polonius's body to Claudius's room! Gertrude then rushes out, to Claudius's room, where she expects to find her son under arrest for murder, caught red-handed with Polonius's body, and sorely in need of her to defend him. Gertrude does not get an exit at the end of Scene, in Q2, even though she does rush out. And that is correct, for the playscript. Giving her an exit at the same time as Hamlet would be misleading. She does not exit at the same time as Hamlet. To show her exit correctly, in association with the playscript, would require including a description of what she does, and then the exit. However, Q2 does not include such descriptions, it only includes the dialogue. Hence, there is no place to put Gertrude's proper exit, in relation to the playscript. It must be left out - if it were included, with Hamlet's, it would be deceptive. She does not depart at the same time he does. This is why, although Gertrude does depart the Scene, her exit is not marked in Q2. Ironically, the author's desire to avoid being misleading, about the timing of Gertrude's exit, has led to universal misunderstanding of what Gertrude does, and has given people the false notion that she doesn't exit at all. She does. She runs to Claudius's room, but only after a minute or two has gone by since Hamlet left. Act 4 Scene 1 4.1 It is, in fact, a new Scene. We are now in Claudius's room, the King's Room. Gertrude has rushed here expecting to find Hamlet here, under arrest. She finds Claudius in conference with R & G, who have returned after packing for the trip. Hamlet is not here, however. The reason is, the presence of R & G. Hamlet either glanced in and saw them, or heard them talking as he approached the room with Polonius's body. It caused Hamlet to change his plans. Hamlet's idea was to kill Claudius, and try to make it look like Polonius had done it. But the presence of R & G makes Hamlet's idea impossible. Hamlet quickly drags Polonius's body away, and hides it under the stairs, as we'll later find out. The Folio error, which omits R & G from the stage direction, is a fatal mistake in the Folio. If R & G are not here, Hamlet has killed Claudius. Without R & G, we'll find Claudius (and Polonius) dead on the floor at the start of this Scene. Amusingly, in the Folio version, from 4.1 onward, Claudius is dead. Hamlet has killed him. The big, expensive book is not always the best book. The presence of R & G, exactly as shown in Q2, is mandatory to stop Hamlet from killing Claudius. That's why R & G are present in Q2, even with nothing to say before their quick exit. Their mere presence is functional, and vital, for the play. The Folio editor(s) did not have a firm grasp of the play, at least not the Q2 closet drama version. The tiger ate the Folio editor(s). More skulls in the graveyard. Arden is wrong with their SD comments. They did not understand the play. 1 heaves "Sobs" is wrong. Gertrude is out of breath from running down the hallway. 2 translate Arden is right for plain reading, but there's much more. It's complicated. The author wrote: "You must translate." That is, Shakespeare wrote (to you!): "You must translate." Do it. He was not kidding. We shall, therefore, translate. "Matter" is from Latin for "mother." "Profound" is from Latin, and means "forward bottom." As the author told us, himself, in the previous Scene, "heaves" are "kissing hills." Claudius's first line, "translated," is, as he looks at Gertrude's bosom: 'There's "mother" in these sighs, these forward bottom kissing hills.' In "translation," Claudius is calling Gertrude's bosom her "forward bottom kissing hills." It is, perhaps, a distinctly male point of view. Ahem. "Translate," itself, is from Latin, and means "across bear," or "bear across." That becomes "bear a cross." Claudius's "you must translate" becomes: 'You must bear a cross.' Gertrude does, indeed, bear a cross as she rushes in. Her crazy son, who has killed Polonius, is her cross to bear. "Them" is reference to Gertrude's sighs, and "fit" refers to a fit of madness. So, Claudius says: 'I understand your sighs, it's a fit of madness.' Putting it all together, here is a "translation" for Claudius's speech: There's "mother" in these sighs, these forward bottom kissing hills. You must bear a cross. I understand your sighs: it's a fit of madness. Where is your son? Claudius "reads" Gertrude's bosom, and rightly concludes that she bears a cross, and the sighs of her kissing hills have to do with her son, and his "madness." Claudius therefore asks where Hamlet is. Astonishingly, if that wasn't enough, there are double meanings within the "translation." "Translate" also refers to moving the body of a saint. Claudius's "you must translate," spoken to Gertrude, is then him saying to her: "You must move a saint." Queen Gertrude is symbolically associated in the play with Saint Gertrude of Nivelles, who is a patron of gardeners, pilgrims, the recently dead, and against mice. Through that association, Gertrude does, yes, move a saint when she moves. She moves "Gertrude," which is the name of a saint. And more can be found. 4 The "whoever" are R & G, of course. For pete's sake. Arden's confusion is because they missed the scene change, and they imagine Claudius has entered the Queen's Room. Not so. This is the King's Room, the "neighbor room." Arden is in the wrong room. Watch out. If you open the wrong door you don't get the lady. You get the tiger. 5 mine own lord Intimacy is not the point. Double meaning, is the point. Gertrude is only marginally addressing Claudius. She is mainly saying, 'my god.' Her question is both rhetorical, to Claudius, and also sincere as she asks herself about Hamlet. Arden's punctuation for L5 is wrong. 6 What, Gertrude? It's a question, of course. Claudius's "what" follows Gertrude's "what." To notice that requires: being able to read. Arden's notion of exclamation comes from somewhere on Mars. Q2 combines Claudius's two questions, with a comma, indicating only a brief pause between them. 7 Mad . . . sea Gertrude is doing no such thing as obeying Hamlet. She doesn't even know what Hamlet was trying to say. Arden does not understand the play. 8 lawless Means both "unruly," and also refers to the illegality of Hamlet killing Polonius. Double meaning. 9 something Gertrude is not being vague about the source of the noise. She is telling Claudius that it was Polonius. That is not vagueness. Gertrude thinks Hamlet is crazy, and that he really mistook Polonius for a rat, basing her view on Hamlet's exclamation. Hamlet didn't mistake Polonius, but she doesn't know that. 10 Whips . . . rapier Gertrude does not actually omit the subject. She is ascribing the use of the rapier to "lawless fit." She's blaming the fit for the use of the rapier. "Lawless fit" is effectively the subject of her statement. The Folio was wrong to change it. In apparently attempting to clarify, the Folio spoiled Gertrude's very point, of the fit being in control, not Hamlet, as his normal self. 12 good Observe that Gertrude calls Polonius "good" - when he's dead. It's pertinent to something later. 13 A characterization note is demanded, which Arden fails to provide. Claudius's first thought is for himself. This is highly revealing for the kind of character he is, and also reveals that Claudius doesn't much care Polonius is dead. Re Arden's actual note, Hamlet did not think he was killing Claudius. He knew it was Polonius. As far as Gertrude enlightening Claudius, she could hardly do so. She thinks Hamlet crazily believes that he did kill Claudius. She thinks Hamlet thinks Polonius is Claudius, and that Hamlet thinks Claudius is now dead. When Gertrude figured out what "neighbor room" meant, she took it that Hamlet thought he was only returning Claudius to his room, by dragging Polonius to Claudius's room. Needs longer discussion, not possible here. 18 kept short Means "kept on a short tether." Goes back to Polonius's use of "tether" while speaking to Ophelia. 25-7 O'er . . . pure Arden's note wanders beyond being wrong into the realm of the strange. Gertrude is saying that in the "baseness" of Hamlet's act, in killing Polonius, she has spotted gold. So to speak. She's spotted Hamlet's madness as a "golden" defense for him against a charge of murder. She's saying Hamlet is purely mad, and therefore, not culpable. 25 ore Means "gold." Johnson effectively had it, but took it too literally. It is not literal mineralogy, of course. The usage is figurative. 26 mineral Means what we'd now call "ore." Base mineral. 27 'a . . . done It's Arden who's inaccurate. Hamlet did cry, and Gertrude is telling the factual truth, as best she knows it. However, she's wrong about why Hamlet cried. There is a fantastic irony to Gertrude's statements in this Scene. Everything she says is factually correct, as far as she knows. However, she's really all wrong. Yes, Hamlet did cry, but not for the reason she thinks. She truly believes Hamlet is mad, but he isn't. She truly believes Hamlet thought he was stabbing at a rat, but he didn't think that. She believes Hamlet didn't know Polonius was there, but he really did. It's wonderful, wonderful writing by the author. Everything she says is true, as best she knows it. But actually, she's all wrong. 32.1 SD Oh, jeez. Arden did it, again. It almost gets to the point that one suspects mischief by the Arden staff. Could mere innocent incompetence be so bad? The Arden stage direction placement is wrong. Again. It is required that the SD be before Claudius says "countenance and excuse," because the line has a double meaning. The line is also reference to R & G, themselves, so they must be visible to the audience when it is spoken. Claudius is unintentionally calling R "false face," and calling G "excuse," in the pejorative sense (a "sorry" person.) Claudius is accidentally announcing that both "false face" and "sorry person" have arrived. R & G must be onstage for that to be discerned. They must enter before Claudius's phrase. That is why the SD is where it is in Q2. Q2 is correct, and is mandatory here. Arden has blundered, again, by failing to respect Q2, the text they claim to be trying to present. 35 from . . . closet This is the King's Room, Arden. For your information. "Neighbour room." 37 SD The SD is not really needed, but at least Arden didn't plop it into the middle of a line of blank verse. Thats something to be thankful for. There are only eight more lines in the Scene. Q2 has R & G follow Claudius and Gertrude out, and that's correct. 38 wisest friends They're the Danish electors, and other highly-placed and politically-influential people. Denmark is an elective monarchy, which is what made it possible for Claudius, instead of Hamlet, to become the King. Arden is wrong to imagine it refers to the King's councilors. The King's councilors are only his servants. Politically, he doesn't depend (very much) upon the support of his own servants. Claudius is talking about the people who made him King, and whose political support he needs to continue as the King. These political supporters are mostly Gertrude's friends, from her many years as Queen. They'll include the church leadership, any dukes of the realm, earls (whether courtiers or not,) and etc. Since they're mostly Gertrude's friends, she'll take over the task of talking to them. That's why we'll later see Claudius has returned alone. Gertrude will go on to talk to the political people she knows from her years as Queen, and Claudius will return to receive word about Hamlet. There's irony in Claudius's use of "wisest." He hopes he can fool the "friends," to some extent, certainly enough so there's no suspicion about him sending Hamlet to England. Claudius is saying "wisest," but he's hoping, "not too wise." Since Claudius has already fooled them all, into electing him king, he doesn't think they're very smart. 40 what's untimely done Nothing is missing from Q2. "Whose whisper" does have an explicit subject. It's "what's untimely done." That is, the subject is "what." We know what the "what" is, it's the death of Polonius. Claudius pauses, thoughtfully, after saying "done." Hamlet isn't "done," Claudius fears, and the thought gives him pause. 41-4 The lines are not that obscure, and it's nonsense to imagine the author would cut his own lines, from his own closet drama. The big, expensive Folio is in error. MacDonald caught a glimpse of the tiger, but couldn't identify what he was seeing: intentional double, and multiple, meanings. (Like the letter in Ralph Roister Doister, gone "mad," and run wild.) 42 Primarily refers to firing a gun at "point blank" range. Act 4 Scene 2 0.1 SD The Q2 entry is correct, and Arden is foolish to try to argue against it, especially when they're allegedly intending to present Q2. Where the dialogue begins, Hamlet is alone at center stage, already in his speaking position, and the others are entering from the side, moving to the speakers' area of the stage. The Q2 entry placement is required, because the presence onstage of R & G et al explains to the audience WHY Hamlet says he hears a noise. The audience sees the cause of the noise, at the side of the stage, in those approaching Hamlet. In other words, Arden has screwed up the stage direction, again, by not placing it where Q2 does. Arden's SD placement leaves the audience with no visible explanation of WHY Hamlet says he hears noise. Shakespeare knew that theater is necessarily visual. Arden is apparently careless of that fact. There is no suggestion in the Q2 entry for R & G that they somehow magically appear in a puff of smoke exactly on their marks in speaking position. The Q2 entry only means R & G are visible onstage, at the time when their entry is given, and they are moving into proper speaking position to say their lines. The Folio change is editorial, pointless, and it also deprives the audience of justification for why Hamlet mentions noise. 1 stowed Means both "stored" and "housed." Hamlet has found Polonius a new "home." There is the amusing idea that runs through the play, that wherever Polonius happens to be, he's "at home," just as Ophelia said. Her statement is true. Polonius is always "at home." And Arden does not understand the play. After finding it impractical to take Polonius to Claudius's room and kill Claudius, because R & G were there, Hamlet decided to hide the body. He does that to try to hide the fact of Polonius's death for a while, during which time he hopes to kill Claudius. Hamlet expects that when it's discovered he's killed Polonius, he'll be locked in the dungeon to stand trial for murder. Hamlet doesn't yet know how insistent Claudius is on sending him to England, and why. So, Hamlet is trying to gain time to kill Claudius. But unknown to Hamlet, Gertrude has rushed to Claudius's room, and has blurted out the whole thing, while trying to help Hamlet. No sooner does Hamlet get the body hidden, than here comes everybody, looking for the body, because his own mother tattled on him, when she was only trying to help him. Darn. 5 Compound . . . dust Actually, Hamlet gives the impression that the storage space beneath the stairs is very dusty. He uses a figure of speech suggesting burial. There must be enough dust in that neglected area to almost bury a person. 11 sponge! Arden errs in punctuation. Q2 is correctly followed. Hamlet's line 11 has a double meaning, for which the exclamation point is inappropriate. Arden is not competent to editorialize with punctuation. 11 replication Also carries the ominous undertone of Hamlet killing R & G, too. 16 *like an ape Arden is wrong. Q2 "apple" is correct. ROSEncrantz and GUILDenstern are "red and gold." Common varieties of apples are also known as "red" and "gold." The Folio has the misreading. 21 knavish Observe that Hamlet expresses himself in the form of a saying, without even thinking about it. It's a symptom of his Polonius Disease. He hasn't recovered yet. Arden's attempt at interpretation is odd. It isn't "knavish" to tell the truth. What's "knavish" about Hamlet's speech, is that he's threatening, subtly, that he's going to "squeeze" R. Hamlet is voicing a quiet threat to R. 25-6 The . . . body Hamlet is speaking of two kings at the same time. Notice that R did not specify which king he meant, or which body. So, Hamlet uses the opportunity to play with the "King" idea. Claudius's body is still with him, but King Hamlet is not with his body. King Hamlet is wandering around as a ghost (Hamlet thinks.) Hamlet is alluding to the Ghost, in addition to Claudius. The body (of Claudius) is still with King Claudius, but the King (Hamlet) is not with the body (of himself.) 26-8 The . . . nothing Hamlet is saying that King Hamlet is a thing... of nothing, i.e. a ghost. There is also an insult to Claudius in the lines, again the "no thing" idea. Jenkins was likely right about the additional Folio line. It's dubious. It's probably from an energetic exit the actors wanted to do. It could conceivably be an authorial line, provided by Shakespeare merely for that particular stage purpose, of an energetic exit, but it probably doesn't belong in the regular closet drama playtext as literature. It should always be noted, of course. Act 4 Scene 3 4.3 The setting is the King's Room, again. Gertrude has taken over the task of talking to the Danish political people, since they're mostly her friends, from her years as Queen. Claudius has returned to his room to await word about Hamlet, and Polonius's body. 0.1 SD Q2 is correct. Hamlet has killed somebody, so Claudius wants other people near him all the time, until Hamlet is caught. The "two or three" will properly include at least one armed guard. If a mix is wanted, the "two or three" can be an armed guard, a typical servant of Claudius's, and a courtier wearing a rapier. Arden is obviously wrong that the "two or three" could include the "wisest friends." The "wisest friends" cannot be there, because talking to those friends is the reason for Gertrude's absence. Claudius's speech is a semi-soliloquy. The others are nearby, but he's talking more to himself than to them. The others will not read as much into Claudius's use of "desperate" as Arden does. 4-5 Hamlet doesn't know how the public views him. He's been out of the country in Wittenberg, and since his return, he's been isolated inside the Elsinore "nutshell." Hamlet also thinks he must be unpopular, or he would have been chosen King. Hamlet doesn't know how Claudius really became King. Claudius is more aware of Hamlet's popularity than Hamlet is. We also know Hamlet doesn't try to exploit the public because he worries that a popular uprising would be uncontrollable, and might result in Gertrude being "mob-led" like Hecuba. Ironically, Laertes will prove Hamlet wrong on that particular point, when Laertes finds it easy to control the rabble he recruits. Laertes will show what Hamlet could have done, had he only known it. 4 distracted multitude Claudius is using "distracted" to mean "crazy." Claudius is basically saying that everybody is crazy except him. 6 weighed Means "judged," unfavorably. Claudius is saying that if people saw him punishing Hamlet, the punishment would be weighed unfavorably, regardless of Hamlet's offense. 7 bear . . . even It means, 'make things go smoothly, with no problem.' 9 Deliberate pause Means "deliberate end," i.e. a carefully-deliberated outcome, where "pause" is used in its root sense of "end" = outcome. The phrase has ironic allusion to the "end" Claudius already has planned for Hamlet, which was, indeed, the result of deliberation by Claudius. Arden's second sentence, in their note, is quite wrong for Claudius's view of things. Claudius has already arranged, in the commission he wrote, for the right moment (for England) to act against Hamlet. 11 SD Arden has done the stage directions wrong, again. Q2 is right. R gets the specific entry, by name, because he's the one who talks. R's entry is, as usual, a direction for his character to move to proper speaking position for delivery of his lines to the audience. Then, the simultaneous entry for "the rest" is to be sure of including G on stage, so that G is also in sight for the audience, along with R. R & G must always be in view at the same time. "The rest" here are Hamlet and G, with a guard and a servant, perhaps. This entry for "the rest" is different from the typical Q2 entry, in that Hamlet, accompanied by G, is not supposed to move at once to his speaking position. However, it's a necessary entry to insure that R & G are both in view, at the same time. The implication of Hamlet and G moving, at once, into speaking position is avoided by not using their names. Hamlet is being held at the door, with G beside him, since R & G don't know whether Claudius wants Hamlet taken to a cell, or wants to talk to Hamlet, or what. The audience can see both R & G, and also Hamlet. R approaches Claudius to find out what to do with Hamlet. Claudius, from his position, does not see Hamlet yet. The 15.1 SD then brings Hamlet to his speaking position on the stage, with G beside him. Entry by name is not necessary in Q2, since we already know "the rest" include Hamlet and G. Q2's "they enter" means Hamlet and G, and with a guard and servant optional, if personnel are available. (In literature, as the reader uses his imagination, an adequate number of guards and servants are pictured there, of course.) Also, in the printing of Q2, the "They enter" is done to the right of the dialogue, with little space to print the names. But Q2 is correct, and is not that hard to figure out. Arden has put G's entry in the wrong SD, for the way they did it. G accompanies Hamlet, not R. It's another bad Arden stage direction. 14 Without This does not mean Hamlet is invisible to the audience. The Elizabethan stage was not set up as a closed room, using partitions, instead, it was all open. It's clear enough they hung a few arrases to indicate where the room walls were understood to be. Hamlet is conceptually outside the "room," but there's nothing blocking the audience view of him. Claudius can't see Hamlet, conceptually, but the theater audience can see where Hamlet is, with G beside him. 14 guarded MacDonald's comment was peculiar. Hamlet is certainly not "left to himself" in Q2. He's escorted by R & G to the ship. If Hamlet refused to go, and escaped from R & G, he'd be arrested and imprisoned for killing Polonius. Hamlet has no real choice of what to do, at this point. He can either go to England, or to a prison cell in the dungeon. That's hardly being left to himself. Maybe Hamlet could flee to the forest and live in a cave, but that's a different play. 17 At supper A person would ordinarily have supper at home, so Hamlet's line implicitly continues the idea of Polonius being "at home," wherever he is, just as Ophelia said. 25-7 Wherever the Folio omits a Q2 line it's a Folio error. The Folio was published for closet drama, and Q2 is "the" closet drama, so F should properly include at least everything in Q2. It is not sensible to think the author would have "cut" his closet drama. There is no playing time concern for closet drama. If the Folio was cut, while publishing closet drama, it was either an editorial mistake, or there's a misprint. 34-5 within this month Means "within a month." It's a joke. Hamlet means that Polonius smelled so bad in life, it'll take a month of him being dead for people to notice the difference. As usual, the line has meaning beyond that, as well. 36 lobby The Lobby is a specific room in the Castle. 37 SD, 38 SD Arden is wrong in their comment about the stage directions. The "two or three" who entered with Claudius are available, certainly, except that Claudius will want to keep any guards near himself while Hamlet is close to him. If a mix was used there, the servant or courtier would be available. The earlier "the rest" included specifically Hamlet and G, perhaps with another guard and servant. That servant would be available here. "Whoever" entered with Hamlet at 15 was of course G, and again, perhaps with a guard and servant. Reasonably, there would be two anonymous servants present to obey Claudius's instruction. Arden has placed the 38 SD dubiously. There's no need for the servants to wait to hear Hamlet before they exit. Since it's only a joke, he can call after them. They best exit immediately when Claudius tells them to go. 40 tender Primarily means "offer." Claudius is pretending to offer Hamlet safety. Arden is right enough, but the meaning they give is the secondary one. Double meaning, both insincere. 40 dearly Also means "affectionately." But Claudius is lying there. 44 tend Means what it says. The "associates" are R & G, who are "tending" Hamlet as Claudius speaks. 45 For England? Arden could not follow the play. Of course Hamlet is surprised. He expected to be confined in a cell to stand trial for killing Polonius. That is what would normally happen. It's a surprise to Hamlet that Claudius is still sending him to England, despite Hamlet's killing of Polonius, which could be charged as murder. It's been rumored that persons sometimes get imprisoned when murder is suspected, y'know. Maybe Arden never heard of such a thing, but people out in the real world have. You'll seldom win a free trip to England by killing your neighbor, so they say. Hamlet doesn't know Claudius's motive at this time. Hamlet won't find that out until after he's aboard ship. So, certainly Hamlet is surprised that he has won a free ocean cruise by killing Polonius. The unlikeliness of it is what raises Hamlet's suspicions, and leads him to want a look at the paperwork for the mission, as he'll later describe. It's too good to be true. Arden's reference to 3.4.198 is merely further illustration that they didn't understand the play. Hamlet was being facetious there, not being sarcastic here. At that time, Hamlet expected to kill Claudius when he took Polonius to Claudius's room, so he didn't think the trip would really happen. 47 I . . . them A cherub is a spirit. The spirit in the play is the Ghost. Hamlet is saying the Ghost told him about Claudius. Hamlet expresses it in a way Claudius won't understand, of course. Arden's note is useless. 48 Farewell, dear mother It's an absolute certainty that the words are intended to be addressed directly to Claudius's face. The double meaning tells us that. First, Hamlet is saying a sincere goodbye to his mother. He thinks it's her influence as Queen that has kept him out of the dungeon. So, he wishes her a sincere goodbye. But second, as he speaks directly to Claudius, Hamlet is using the short form of a word that a person ought not say in polite company. It is the short form for 'motherf--ker.' Gasp. Faint. Hamlet is calling Claudius that, straight to his face. Hamlet calls Claudius that three times. He gets away with it by putting "dear" and "my" in front of it, and with the obfuscation about man and wife. So, we know Hamlet is speaking the lines directly to Claudius. There is also the obvious point that for Hamlet to appear "mad" he must directly call Claudius "mother." (Although Hamlet isn't really mad.) If he speaks it toward wherever he thinks Gertrude is, it isn't mad, it's cute. Hamlet thinks Gertrude is still in her room, by the way. He doesn't know she ran to Claudius's room, and gave him away while sincerely trying to help him. Hamlet doesn't know how people found out about "the body." Nor does he know that she's now gone to talk to the electors, to try to keep the political situation calm. Hamlet's insult to Claudius is technically wrong, however, Hamlet doesn't know that. As we've learned, Claudius has "no thing." But there's still the further point that a person with "no thing" in the male sense, would be a woman. That would make Claudius female, and therefore, Hamlet's mother, just as he said. So, Hamlet would be literally right, conceptually, in that case. The tiger walks softly, be careful! - is Hamlet right, or wrong? Hamlet's word "mother," as he speaks it to Claudius, is both right and wrong, at the same time, in five different ways (at least.) It's literally wrong for Claudius. As insult, it's right for Claudius. In marital terms, the insult is wrong for Claudius, who has "no thing." But if Claudius has "no thing" it's conceptually right for him, since that would make him female. Then, in religious terms, as Hamlet said, it's right, again. Ponder that a while. 55 SD Ah, good, an Arden SD that's probably right. There's hope. The exeunt was perhaps left out of the Q2 printing because it would have had to appear at the right of the longest line in Claudius's speech on that page, and page space was a little tight. Also, it's easily inferred. 56-66 "England" is intentionally ambiguous. 58 cicatrice The Danish sword that inflicted the recent wound on England had to be that of Hamlet Sr. Claudius is trying to use Hamlet Sr's fearsome reputation to kill his son. 60 coldly set It means like setting food on the table cold. An instance on the Feast motif of the play. Also refers to indifference. Double meaning. 62 congruing Best glossed as "congruent," but only where simple gloss is demanded. Definitely related to "congruent." The author's word is best, however, since it makes the letters figuratively 'active,' so to speak. That is, the form of expression is as though the letters are doing something, rather than being inanimate objects, and that is the intended poetic impression. The way Claudius expresses it, his letters are his "active co-conspirators," agreeing with him about the need for Hamlet to die. The word usage is nice, subtle poetry. 63 present Means "imminent." Act 4 Scene 4 4.4 Editors who have argued that Act 4 should begin anywhere have been silly people, only skulls in the graveyard. Hamlet was not written to have Acts. It was written only in Scenes. From the author's hand, there aren't any Acts. There are twenty Scenes, so if you want five Acts, just divide it every four Scenes, and then imagine you've won a prize. The notion of Hamlet having Acts was never anything but a "mad" pedantic conceit, out of touch with reality. Acts are now useful for reference, since they've become traditional, but that's all. If Hamlet were walking to the coast, he'd have only yards to travel. Elsinore Castle is built on the coast. Hamlet is walking to the nearby town where the docks are. It's perhaps a quarter mile, if that. 0.1 SD The Captain needs no specified entry since he is, of course, part of the "army." Arden's specification of the Captain, apart from "his army" is logically wrong, while the form in Q2 is correct. This is not to say Arden is entirely wrong, only that the real Q2 is better. 2-4 Tell . . . kingdom Poland, eh? "Circuitous," I guess. Hey, Arden, there's this bridge I know of that's for sale. Lots of traffic, and if you bought it, you could put up toll booths, make a fortune. It's cheap now, and it'd be a great buy for you. But hurry, before the price goes up. You don't want to miss this opportunity. Babes in the woods. Watch out for the tiger. 3 Craves Is correct to the author's hand, and is not arguable. It's on the "stomach" metaphor that Horatio used when speaking about Fortinbrasse's enterprise in the first Scene. And it's on the Feast/Eating motif in the play. "Crave" further comes from a root meaning of "strength," obviously connecting to Fortinbrasse's name ('strong arm.') Even further, "crave" goes back to "craft," so it follows the mention of "craft" in the play. The Q2 word is unchallengeable. It is adamantine. The relationship of "crave" to "craft" is a hint. Fortinbrasse is, oh, so subtly, hinting of some "craft." Hint. 5 would . . . us Fortinbrasse does, indeed, use the royal plural - while he's standing on Danish soil. He speaks as though he's the King there. Or intends to be. Hint, hint. Recall when Hamlet used the royal plurals, shortly before he intended to kill Claudius. Hint. Poland? There's this bridge that's for sale... 6 express . . . eye Arden has the plain reading right. But in undertone, what is Fortinbrasse going to do in Claudius's eye? - Spit. Fortinbrasse is saying that if Claudius gives him any trouble, he's going to spit in Claudius's eye, and cut his dam' head off, right there and then. Hamlet will express a similar sentiment later. 8 softly Means "quietly." So as not to give the slightest impression of any aggressive intent. 8.1 SD Arden's "and others" is wrong. The Q2 "etc." means G. Rosencrantz gets the entry by name, in Q2, because he's the character who will speak. 11 part of Poland Means that little-known part of Poland that's in Denmark. Not many people have heard of it, but the Captain has. 15 frontier Notice that when Hamlet asks for specifics, about where in Poland, the Captain evades the question. Hamlet asks because he knows they're nowhere near Poland, unless there's some frontier he hasn't heard about. 16 The Captain's speech is a satire, from the author's view of Windsor Castle in his time, by the way. If you want to know. 19 Farmer, haha. Mahood was cutely naive. Even a cobbler or a chimney sweep would know you couldn't farm where Elsinore Castle is, because all the stonework would make it impossible to plow. 19 ducats The tiger already ate Theobald, as we know. The word is "five." 21 ranker "Higher" is right. It's soldier jargon. A higher rank is "ranker." From the ordinary soldier's view, a general is "ranker" than a colonel, a colonel is "ranker" than a major, and so on. So, "ranker" is associated with "higher." The jargon plays off the usual meaning of "rank." 23 garrisoned The Captain is certain their objective is already garrisoned, because he can see from where he's standing that it is. The Captain has quite the eagle eye. He can see all the way to "Poland" - while he's standing a hundred yards from Elsinore Castle. This "Pol-land" is Polonia, the land of Polonius. 24-5 Hibbard was only announcing that the tiger got him, that's all. One does not give away Hamlet's lines. Hamlet is the star of the play. 24 Two thousand . . . twenty thousand Arden does not understand the play. Hamlet is using the numbers figuratively, to mean "a lot" or "a great many." The usage is identical to his later "forty thousand brothers" spoken to Laertes. It's poetic usage of a specific to express a generality. 25 Will not debate Arden is flat wrong. Read the line with stress on the word "debate." Hamlet means the forces aren't just going to talk about it, (they're going to fight.) It's Hamlet's painful comparison with what he has achieved against Claudius, so far, which is only talk. And Arden is silly to take seriously the ignorant suggestion of the Captain speaking this line. Hamlet is comparing his own talk, against Claudius, with Fortinbrasse's action, and Hamlet finds the comparison highly unflattering to himself. 30 SD The Arden stage direction is wrong. Again. As already mentioned, Q2's earlier "etc." was for G. There are no "others." Arden's expressed surprise is because they don't understand the play. Hamlet can either go to the ship, or to a dungeon cell. 31-2 Hamlet's speech has twenty thousand double meanings. "A lot," that is. Gotcha. An editor who would omit the soliloquy, from a print publication, is an idiot. 44 Sith "Because." 46 mass and charge Somebody at Arden has been too free with the credit card. "Charge" (primarily) means "command." Not "expense." One may read "expense" as undertone, for double meaning, but that's all. Hamlet is wishing he had such a force to command, against Claudius. 47 delicate and tender Means "mortal and young." Fortinbrasse, like Hamlet, is young, and mortal. Hamlet, himself, tells us his meaning of "delicate" in his line 50. 52-5 Rightly . . . stake Arden doesn't understand the play. Hamlet finds nothing absurd in Fortinbrasse's actions. Hamlet is complimenting Fortinbrasse on the bravery of his actions, in comparison with which, Hamlet feels shame. Hamlet is saying that a truly great man will defend honor, regardless of the threat to honor, large or small. None of Arden's note is right. To defend one's honor, is to defend oneself. 55 honour's . . . stake The metaphor comes from the idea of burning at the stake. One would quarrel over even a single burning straw, if honor's tied to the stake. Fire motif. 59 twenty thousand Is, of course, the poetic use of a specific to express a generality. It means "a lot" (of.) Do I have to tell you that twenty thousand times? 60 fantasy and trick Means "ideal and allure." The men are motivated by ideals, and the allure of fame, Hamlet thinks. "Fantasy" also alludes to "dream," (as in "bad dreams,") and "trick of fame" also alludes to the Ghost. 63 continent Means "land area." Act 4 Scene 5 4.5 The location is the Throne Room. We know that because it's the right place for Laertes to challenge Claudius as King. Symbolically, the audience has to see the King's Throne in the background when the challenge occurs. Also, it's during daytime on a business day, and the Throne Room, for the conduct of royal business, is where Gertrude and Claudius will mostly be. As to the passage of time, Hamlet will tell us, in writing, how long it has been. 2,4 SP Woman? That's interesting. This GENTLEMAN is the author. His surname is "Shakespeare." He stepped in to give his audience a little advance warning about Ophelia, since he thought it only fair to do so. The Folio left the author out of his own play, which tells us much about the Folio editor(s). The Folio editor(s) lacked good familiarity with the closet drama version of Hamlet. 2 importunate The only really apt gloss is "forward." As in: 'the forward violet thus did I chide.' There has been an abrupt change in Ophelia's personality. She has always been self effacing, but now she is insistent. 5 tricks The author wrote (to you!): "There's tricks i'th' world." Take heed. The tiger stalks. When Shakespeare, perhaps the greatest writer who ever lived, tells you "there's tricks in the world," you had better perk up and pay attention. If you don't think Shakespeare, with his great word power, could fool you, guess again. 10 botch . . . thoughts Another warning. Don't botch it up! That faint, hot breeze you feel on the back of your neck is the tiger's breath. 15 ill-breeding minds Is your mind "ill-breeding?" Do you jump to wrong conclusions? This is yet another "tiger alert." The author has given you three warnings, before Ophelia enters. That's all anybody deserves. If the tiger eats you now, it's your own fault. (And Arden's gloss is way off base.) What immortal hand or eye, or immortal name, could frame thy fearful duality, Hamlet? 15 Let her come in It's a double-character line. Gertrude nods, and then Gertrude and Horatio speak it simultaneously. Gertrude speaks it to Horatio, and Horatio to the doorman, (following Gertrude's nod,) at the same time. Q2 and the Folio, although different for the passage, are both right with this line attribution. The incident is startlingly reminiscent of the "thunders" line that Hamlet and Gertrude spoke simultaneously in the Closet Scene. It leaves Gertrude, especially, taken aback. She's had it happen again! Wheel of Fortune motif. 16 SD Nobody has to leave to admit Ophelia. There is, at least conceptually, a doorman for the Throne Room, to control access to the King and Queen, during business hours. A production can show the doorman, or he can be presumed offstage, beyond the stage door. Horatio has called out to the doorman, when he spoke simultaneously with Gertrude, and that's all it takes for Ophelia to enter. The GENTLEMAN does > * NOT * < exit, in a printing of Hamlet. The author does not "exit" from his own writing. The Gentleman fades away, like a ghost in his own Hamlet, and goes back to his pen and paper. One never imposes an exit on the Gentleman, in print. It would be rude. Arden was rude. They exited Shakespeare from his own printed play. Tsk. 18 toy Means "idea," something the mind plays with. Gertrude is not yet taking notice of Ophelia here, although her remarks do have some relevance to Ophelia. Arden does not understand the play. Ophelia sort of wanders in, in a meandering way. She's looking around, curiously, especially at the Queen's Throne. She dances, gracefully, a step or two. She sings a little, la-la, in a low voice. The Q1 lute is excessive for the closet drama. In her lines 17-20, Gertrude is speaking of her sick soul because she's done something she shouldn't have, something highly sinful. It's nothing to do with any supposed affair with Claudius, or any involvement in Hamlet Sr's death. It's something else. She's feeling guilty because she believes the whole mess with Hamlet proceeds from her sin. She arranged for somebody to die, thinking at the time that it was right. Again, it's nothing to do with Hamlet Sr's death. She doesn't mean that. She now feels very guilty about her sinful act, fears it's leading to a great disaster, and she can't think of any way out. She shouldn't be blaming herself so much, however. She doesn't know about the Ghost, that intentionally hid from her. But she's fearful now that somehow, inadvertently, she might reveal her feelings of guilt in a way so that Claudius could perceive how she actually feels about him. That would never do, because Claudius is the one she's set up to die. It simply would not do, at all, for him to become aware of how she really feels. 19 artless Means "natural." Also "plain," going back to Getrude asking Polonius to speak plainly. ("More matter . . . less art.") Gertrude is talking about the difficulty of hiding feelings that are natural, and plain to the person, herself. The concept is like a plain, natural face (as opposed to a painted face.) 20 No reference to paranoia. Gertrude is speaking of her real, well-founded fear, that Claudius, whom she's set up to die, might sense her true feelings. There's nothing paranoid in her fear of his wrath, a king's wrath, if he somehow found out. 21 beauteous majesty Double reference, to both Gertude and Hamlet. It mainly refers to Hamlet, as Ophelia herself tells us, when she immediately answers her own question in song. Hamlet has gone on a journey, we know. One recalls Ophelia referring to Hamlet as the rose of the fair state, and the rose as a symbol of beauty. Thus "beauteous." Arden's notion of some intended reference by Ophelia to Claudius is mad. And their notion of some alleged gender confusion at L72 is insane. It truly is. It is an insane attempt at interpretation. And what various actors have done onstage is not the written Hamlet, and Arden should know better. Arden's mistakes in this Scene are so numerous, I will not attempt to address all their errors, but will only hit the highlights, briefly. The tiger ate Arden. 26 sandal Arden has printed the wrong word. The word is "sendal." It's a type of silk. There's wordplay with "sandal," but the playtext word is "sendal," as Q2 shows. Ophelia is saying that she could recognize Hamlet by his silk slippers. If Ophelia saw a thousand pilgrims - make it twenty thousand - they'd all have the scallop shell and the staff, but among all the rest wearing sandals, Hamlet would have silk slippers, as Ophelia pictures it. She's picturing Hamlet as silk slippers in a world of sandals. 26 shoon In context, it means "slippers." 28 Say you Ophelia is not expressing irritation, she is being forward, importunate, exactly as the Gentleman said. To understand Hamlet, one must pay attention to what it actually says. 28 mark Ophelia is imitating, and mocking, her dead father. 33 O ho! Arden hasn't a clue. It is a sudden expression of delight. If the Ophelia actress is sufficiently athletic, she should jump and click her heels when she exclaims the phrase. Ophelia sings the 'dead' song with extremely put on sorrow, then suddenly exclaims "O ho!" and jumps and clicks her heels. To Gertrude it looks quite mad. If the Ophelia actress can't jump and click her heels, she should hop, slap the heels of her hands together, and do a "shimmy." A cartwheel would also be appropriate. The point is that the Ophelia actress should do a physical move which is unexpected and 'mad' looking, and not in the least expressive of grief. Amazingly, Arden got the punctuation right, for once, but without the slightest idea why it's right. 36.1 There's no awkwardness in Claudius's entry. Arden doesn't understand the play. He's entering because he heard the singing, of course. An editor who can't understand such a simple point as this is woefully incompetent to attempt any play, let alone Hamlet. Could the Arden editors have been so stupid they didn't realize singing can be heard? Since there is no "awkwardness" to Claudius's entry, of course, Arden's attempt to argue "rewriting," on such a basis, is purely fatuous. The Folio placement of Claudius's entry is another Folio printing error, as can be seen in that it misplaces his entry with respect to Gertrude's remark to him. The Folio printer put his entry after the wrong song. 38 Larded It's used in reference to Amleth, where the Polonius equivalent was fed to the pigs. 39 not Is intentional by Ophelia, of course, and thank goodness it's in all the original texts, or silly publications with "Arden" in their names would probably stupidly omit it, as the tiger crushed their windpipes. The characters onstage don't notice it. The theater audience is supposed to. 41 pretty lady Claudius's tone is, of course, patronizing. 42 good dild you "Dild" is short for "dildo," which is an obsolete word referring to the refrain of a song. The word also appears in The Winter's Tale. Ophelia is saying she hopes god will make Claudius the "refrain" to her song about her father's death, by killing Claudius. She means, she wishes Claudius would die, so she could sing about it, as the refrain to her song about her father's death. It can be read as: 'I hope you die, too, so I can sing about it.' Claudius smiles, and nods. He thinks she's wishing him well. 42-3 owl . . . daughter Ophelia is the "owl" now, she's wiser. When she gets another chance she'll give everything to her "saviour." She won't give too little again. 44 God . . . table "Table" is from Latin 'tabula,' referring to an inscribed slab. An inscribed slab, in Hamlet, is a gravestone. Ophelia is telling Claudius: 'I hope god is at (work on) your gravestone. (Now.)' She's telling Claudius she hopes he drops dead while she's looking at him. He thinks she's blessing his dinner. 46 Pray . . . this Arden has no clue. As soon as Claudius refers to her father, Ophelia responds that she doesn't want to hear a word about her father. 48-66 Nor is the song going to be found elsewhere. 57 without an oath Arden has no clue. Means 'without a wedding vow.' 58 Saint Charity The Arden comment is incompetent. Saint Charity: "One of the daughters of Saint Sophia. Tortured and martyred for her faith at the age of nine in the persecutions of Hadrian." Etc. The Arden editors should have made a trip to the library once in a while, or just used the internet. Additional Information: Catholic Online. Print References: Roman Martyrology, 3rd Turin ed.; also New Catholic Dictionary. Connects to "Jephthah." Saint Charity was tortured and killed as a child, her body burned. The daughter of Jephthah was sacrificed as a "burnt offering." The Arden, which can't even identify Saint Charity, is so flawed that a wise reader will not fully trust anything it says. 61 Cock Editors who claim double meaning are, of course, right. 63 promised me to wed Confirms Ophelia and Hamlet's secret engagement. 71 my coach Ophelia departs like a fairy tale maiden whose dreams have come true. 72 Goodnight, ladies Arden's note is crazier than Ophelia is. Ophelia is imagining herself leaving a fairy tale ball, saying goodnight to all the ladies who are jealous of her, because the Prince loves her. Ophelia is, in fact, speaking to ladies. The ladies are Gertrude's ladies-in-waiting, whom a Queen will naturally have. Arden is apparently so ignorant of history as not to know of a queen's ladies-in-waiting. Shakespeare well knew of ladies-in-waiting, of course, especially as a resident of Queen Elizabeth I's England. Queen Gertrude's ladies require no specified entries or exits in the play, since the parts are for non-speaking extras. They merely come and go with Queen Gertrude whenever she's in a public area, the same as Claudius's guards and personal servants will come and go with him. The ladies stand to the side, or in the background. The plural applies to the ladies, as we see in the dialogue, so a proper production of Hamlet will have two or more. Gertrude's ladies-in-waiting are the ladies to whom Ophelia is madly wishing good night during the daytime. Arden's crazy notion of gender confusion incompetently fails to place the play in the context of its times, and in the context of a royal court where a queen is present, and their expressed notion that only more "courtiers" could be present is historically oblivious and ignorant. 74 SD Claudius saw Ophelia address Gertrude's ladies-in-waiting, and with his attention drawn to them, Claudius tells them to keep watch on Ophelia. It is not Horatio who exits, it is those ladies. Arden's stage direction is unfaithful to Q2, and is oblivious to the play dialogue. The exit for the ladies-in-waiting was probably omitted from the original Q2 printing because it was thought too obvious to mention, since "ladies" has just been stated. 75-6 It . . . death Arden doesn't have a clue what Hamlet's role is in causing Ophelia's condition, nor does Claudius. 76 and now behold The phrase is authorial, of course, and Arden's note is inappropriate in company with the playtext. It's authorial reference to the "audience" idea in an instance of the Putting On A Show theme. 78-9 When . . . battalions Claudius unknowingly anticipates the arrival of Fortinbrasse with his army, and "single spies" is allusion to the Captain, who took a good look at the defenses when he was inside Elsinore Castle. 82-4 Arden has mispunctuated, and by all appearances the Arden editors are some of the last people you'd want messing with the playtext. 83 greenly Means "recently." Arden is mad to think Claudius is intending to publicly announce that his handling of Polonius's death was foolish. The word from the author has that ironic undertone, but it is obviously not Claudius's meaning. Arden's gloss is not correct, for a simple gloss. 88 in secret Claudius is saying Laertes didn't inform Claudius of his return, which Laertes properly should have, since Polonius's family are servants of the King, because Polonius was. Laertes kept his return a "secret" from Claudius. Claudius has no spies worthy of the name, or he'd have at least a hint of what Fortinbrasse is up to. Claudius has been informed of Laertes's return in the ordinary way, merely from people talking. 89 Feeds . . . wonder Q2 is right, of course. Feast/Eating/Food motif. 89 clouds Claudius means where he can't "see" Laertes. Goes back to Claudius saying "clouds" to Hamlet, when he couldn't "see" Hamlet, the "son." Nice "son" - "clouds" wordplay by the author. Laertes is now a "son" hidden in clouds, says Claudius. 90-1 infect . . . speeches Of course it's a parallel intended by the author. 96 Attend! Means "attention!" 100 impiteous Shakespeare's own word, and must be respected. Means both "impious," and "unfortunate" (on the Wheel of Fortune motif.) Refers to both lack of respect, and misfortune. 101 in . . . head The Arden note is useless. Refers both to Laertes being at the head of the riotous mob, and to him being "riotous" in his own thoughts, shown by his attitude. 103-5 Arden has no clue. That "incongruity" they see is intentional characterization of the Messenger. The Messenger is in sympathy with the rebellion. His personal feelings are showing. He's hoping Laertes succeeds. The Messenger enthusiastically exclaims about Laertes being King, three times, right in front of Claudius. 106 *They cry The "Garrick Copy" (British Library) facsimile of Q2, on the World Wide Web, does show "They." Internet Shakespeare Editions website. 106 Choose we Arden doesn't understand the play. The multitude is supporting any prospective challenger to Claudius. Ironically, Hamlet could have done the same as Laertes is doing, and more, but Hamlet didn't know it. 111 (The doors are) broke Important to keep in mind. 111.1 The court is not in mourning for Polonius. Claudius has forbidden that. Claudius doesn't want Polonius's death marked, because it's such a political problem. It raises questions about why Claudius sent Polonius's killer to England, instead of imprisoning him, and Claudius doesn't want to face such questions. So, Claudius is trying to suppress acknowledgement of Polonius's death. This is extremely easy to surmise, from what we already know of Claudius's action to suppress observance of his brother's death, since the subject is a problem for him. Claudius will do essentially the same thing about Polonius's death, he'll declare it mustn't be marked, that people must look to the future instead, and his court will obey their king. We know how Claudius reacts when a prominent death is a problem for him. He orders his people to put it behind them. Of course "others" enter. Q2 says so. Arden can't read. The point is not arguable. We know some of these "others" do, in fact, move into their proper speaking positions on the stage, wherever the director may wish to make that, because they do, in fact, have lines to speak in the playscript. One could make the "others," who enter, two or three ringleaders, with the suggestion of a much larger group at the door, wanting to enter, too, but waiting for Laertes's permission. 113 give me leave Means 'give me permission to speak to Claudius.' 114 We will A note is required. The author has provided vast irony in how easily Laertes controls his mob. Hamlet could have controlled them, too. Hamlet could have recruited enough people to overthrow Claudius, with no fear of Gertrude being "mob-led," but Hamlet didn't know that. 121 looks Claudius is in denial that Laertes's mob could really be so giant-like as to overthrow him. This is characterization of Claudius's mentality. Also another "watch" word. 122,126 Let . . . Gertrude Gertrude is defending Claudius, not for his sake, but because if Laertes takes over it'll ruin her plan for Hamlet to be King. As far as Laertes killing Claudius, she couldn't care less about that. She's defending Claudius to preserve Hamlet's link to the crown. 123 divinity . . . king Actually, the "divinity" that's "hedging" Claudius as he speaks is Gertrude, who's keeping Laertes away from him. Claudius is thanking God for Gertrude's presence, or he'd be a dead duck. As always, there's further meaning, too. 126 Let him go Claudius doesn't care whether Gertrude holds on to Laertes, just as long as she's between them. 130-1 There was nothing "conventional" about Polonius's pledge at 2.2.44-5. Arden does not understand the play, and only succeeds in misrepresenting it. Polonius's pledge was his "Jephthah" pledge. "Bad dreams." 136 My . . . world's Laertes says only his own will can stop him, but Gertrude is standing there, and she's got Laertes stopped like he hit a stone wall. Laertes is blustering. "World's" does go back to L133, intentionally. 137-8 And . . . little Arden is lost. Laertes is calming down, and thinking more seriously about becoming king. He has no military support, no church support, and no support among the aristocracy, at this time. All he has is a rabble of town ruffians. It isn't much. He's shown he can take the castle with what he has, but that alone won't come near to sustaining him as king, and he knows it. He's still blustering, but the reality of his situation is beginning to sink in. Arden's exact note is illiterately wrong. The rabble are not supporting Laertes in a quest for his personal revenge, they're supporting him as King. That was explicitly stated in the play dialogue by the Messenger. Arden can't read. Laertes's "means" are his town rabble, which is why he uses the word "they." "Little" means they lack proper military equipment. Arden didn't know to what Laertes was referring. 140 father, is't Q2 is correct. But Claudius isn't being tactful in avoiding express mention of Polonius's death, he's being devious. Sane interpretation of the play does require recognizing that Claudius is the villain. Villains are not "tactful," they're devious. Not to be dreadfully trite about it, or hit the point with a sledgehammer, but was Hitler "tactful" in suppressing publicity of the Holocaust? One does not sanely describe villains so. After Laertes's admission of his weakness, Claudius is starting to lead Laertes, for Claudius's own ends. 145-6 kind . . . pelican Claudius asked Laertes if he would know his father's enemies. Laertes replies by making a crazy speech about a bleeding pelican. Laertes is essentially telling Claudius that, no, he won't know friends from enemies, because he's too much of a fool. Claudius is now sure that he can manipulate Laertes. A pelican is a bird. A bird has a bird brain. By comparing himself to the bleeding pelican, Laertes is unintentionally saying that he's a bloody birdbrain. Laertes is standing there on stage, with his arms spread like a bird's wings, madly proclaiming: "I'm a bloody birdbrain." Bleeding pelican = bloody bird... brain. "Pelican" comes via the Greek from a meaning of "bird of prey." Laertes will "prey" on Hamlet, as we'll see (and he's already "preyed" on Reynaldo.) 149 most sensibly in grief Requires a note. Claudius has been slandering Hamlet, casting his normal grief for his father as "madness." But now, Claudius has to claim that he's grieving for Polonius. He says "sensibly" to avoid getting caught in his own propaganda. Claudius doesn't want anybody to say he's "mad" because he's grieving. A person who takes such a 'rational,' premeditated approach to mourning is not really mourning at all. Claudius is lying. Villains will do that. The flowers are real, or at least real imitations. Theater is visual. Any production that would be so cheap as to only pretend to have flowers is not worth your time or money. Imitation flowers are not very expensive these days. In the real Hamlet, the flowers are real, or at least good imitation, and always were. 151 SD1 The "noise" is wolf whistles. The men in the Lobby are whistling at something. Somebody, that is. 151 Let . . . in Laertes expressly told his followers: "keep the door." Laertes's followers control the door now. It has to be primarily Laertes's line, exactly as Q2 shows. It flatly cannot be a solo line for Claudius, which is obvious to anybody who can read. However, having said that, it's best played as a double-character line, once again. Laertes and Claudius speak it simultaneously. So, here, Laertes and Claudius simultaneously say "Let her come in," the same way Gertrude and Horatio said the same thing in unison earlier. Both times Ophelia enters when she's "mad," it's as though it "madly" takes two people speaking in unison to admit her, and saying the same thing each time. 152 How . . . that Out of the mouths of babes, but Arden had no clue what they were saying. 154 virtue Means "goodness." Laertes means that vision is good, normally, but here it is not good. He's exaggerating that he'd rather not see at all, than see this, because he sees no virtue in it. Earlier in the play, Ophelia was primly dressed, very conservatively, as we'd now call it, and she had only a simple, natural appearance. Her virtue was easily seen. But here, Ophelia is wearing obvious makeup (on the Painted Face motif.) Hamlet earlier exclaimed to Ophelia, in the Nunnery Scene, "God hath given you one face, and you make yourselves another" - and here's Ophelia, like that. She's wearing bright lipstick, rouge, eyeshadow, etc. That isn't all. In addition, Opheli is dressed like a royal courtesan, and wearing lots of jewelry. How so? When the Castle was in turmoil, because of Laertes's mob, Ophelia took the opportunity to raid Gertrude's room. Ophelia has "borrowed" Gertrude's makeup, jewelry, and one of Gertrude's fancy ball gowns. (The dress is violet, we know, because of the use of the word "violet" in assocation with Ophelia.) When Hamlet sat beside Ophelia at the 'Mousetrap Play' he made many suggestive remarks to Ophelia, as he tried to shame her about what he thought she was doing with Claudius. Since there is actually no such relationship between Ophelia and Claudius, Ophelia didn't fathom that as Hamlet's intent. Instead, Hamlet gave Ophelia the mistaken idea that Hamlet would like Ophelia to be his courtesan, Hamlet's courtesan. Hamlet told Ophelia, in the Nunnery Scene, that he didn't love her, but at the 'Mousetrap Play' he apparently still had a strong sexual interest in her, as she heard it. ("You are keen, my lord.") So, Ophelia got the idea that although Hamlet wouldn't marry her, he wanted her to be his courtesan. Since Ophelia loves Hamlet, she's agreeable, if it's the closest to him she can be. What's happening here, is that Ophelia is "rehearsing" to be Hamlet's courtesan, when he gets back. She wants to be the best courtesan for Prince Hamlet that she can. Taking advantage of the disorder in the Castle, she has raided the Queen's Room to get things to fix herself up for Hamlet. So, she has used Gertrude's makeup, and is wearing some of Gertrude's best jewelry, and has put on Gertrude's showy ball gown. Costumed like that, she strides into the Throne Room in this scene. The impression Ophelia conveys is: Courtesan Princess. She sparkles and shines. She is very, very showy, and she struts into the Throne Room like she owns it. Laertes is shocked, bewildered, and amazed. As are they all. Laertes is certain that the Devil, himself, has personally leaped up from Hell, and directly into his sister's soul. It leaves Laertes at a total loss. 159 a poor man's life Q2 is correct to the author's hand. Hamlet has described himself as a "beggar," so "poor" gives allusion to Hamlet's life (unintentional by Laertes.) The Folio probably missed that allusion, and changed it to make it more overt for Polonius, and it may have been more overt, for Polonius, in the stage version, as Q1 shows. Re Edwards's idea, Q2 was not written as a playhouse script. 160-1 Perhaps it's from some lament, but more likely it's a take-off on laments. There's no compelling reason to look beyond Shakespeare here. 160 bare-faced Ophelia says this in making the point that she could see her father's face at the funeral, which confirmed that he was really dead. She had trouble believing it, until she saw it for herself. Also, an instance on the Painted Face/Natural face motif. 162 Fare . . . dove This line is not sung. It's spoken by Ophelia as she makes the symbolic gesture of releasing a dove. A dove in flight is a good omen. Ophelia is symbolizing that she thinks the death of her father is a good omen. She's "showing" Laertes that. As we immediately see in Laertes's next line, he doesn't get it. The birdbrain knows pelicans, but he doesn't know doves. 165-6 You . . . 'a-down-a' The lines are spoken to Laertes. We know this because the dialogue is exclusively between Ophelia and Laertes. The others are only watching, bewildered: an "audience" for the "performance." The "actors" in the "show" are Ophelia and Laertes, while Claudius and Gertrude are the "audience." Observation of the simple fact, that the dialogue is between Ophelia and Laertes, is extremely important for correct interpretation of this passage. In the phrase "a-down" the "a" means "he." The phrase means "he dead," that is, "he's dead." To be "down" is to be dead, and with reference to being down in the ground, buried. Ophelia wants Laertes to sing, "he's dead," meaning Polonius. Ophelia is telling Laertes that he must sing "he's dead" as the refrain to her song about her father being dead. In the phrase "a down a" the first "a" means 'a' and the second "a" means "he." The phrase means "a down he," that is, "a dead man." A "he" is a man. And again, to be down, is to be dead, and with reference to burial, down in the ground. Ophelia says Laertes must call Polonius "a dead man," or "a down (and buried) man." 166 wheel Double meaning. Both things mentioned by Arden are right, simultaneously. Ophelia is saying both that the refrain suits the song, and also that she thinks the Wheel of Fortune has done her a good turn. 166-7 It . . . daughter The "false Steward" is "lying Hamlet." Hamlet told Ophelia he lied to her when he said he loved her, so she calls him "lying," by using the word "false." (But she doesn't know the full story.) Hamlet is a "Steward" of God, or Jesus, as are all Christian men, who serve God, or Jesus. "Steward" is capitalized in Q2 because it refers to a named person, Hamlet. Then, the "Master's daughter" is Ophelia, herself. The "Master" is Jesus. (Thus, "Master" must be capitalized, as in Q2; Arden missed that.) After Hamlet insisted Ophelia go to a nunnery, she started planning to do so. She was taking his advice. At the nunnery, she would be "Jesus's daughter." But when she heard that Hamlet had killed Polonius, she decided to stay at Elsinore to await Hamlet's return. So Hamlet, by killing Polonius, "stole" Ophelia from the nunnery. The false Steward (lying Hamlet) "stole" Jesus's daughter (Ophelia) from the nunnery, by killing Polonius. 168 Arden's comment is oblivious. It's perfectly clear what sense Laertes detects in what Ophelia says: none. He hasn't the slightest. 169-78 The flower recipient is express in the playtext. Laertes gets all the flowers. There is no factual question of this, we know, because the dialogue is exclusive to Ophelia and Laertes. The scene may be typically played on stage to involve Gertrude and Claudius, for more action, but that is not authentic to the true Hamlet text. The Q2 dialogue clearly shows that Ophelia gives all of the flowers to Laertes, since the dialogue is only between them. Ophelia gives all her rosemary and pansies to Laertes to symbolize that he can have all the remembrance and thoughts of Polonius. She wants none of those. The fennel means: "open your eyes," "see clearly," brother, that these flowers are messages to you. The columbine means: "you're a fool," brother. The rue 'with a difference' means: have no regret (that Polonius is dead.) The "difference" is the negative. The daisy means: you're just like Polonius, as I see you. The 'withered' violets mean: I don't love you. 170 Pray . . . remember Ophelia turns aside from Laertes to speak this. It's to Hamlet. 173 fitted A "fit" in Hamlet is a fit of madness. The primary meaning of "fitted" is: "tangled in a fit of madness." Laertes just spoke the word "madness." Arden is adequate, however, to the secondary meaning. 175 You may Is correct. The Folio has the error. Ophelia, the Rose of May, says "may" when she's handling flowers. 176 difference The word is most certainly not from heraldry in this instance. That is impossible. With Polonius dead, Laertes is the senior male, and Laertes therefore does not use a "difference." Any heraldic difference for Laertes vanished instantly when Polonius died. Shakespeare would have known that. The "difference" here is the negative: no regret. Arden is obviously ignorant of what a "difference" in heraldry actually is. 178 They . . . end Ophelia means that she approves of people saying the end of her father was "good." Claudius and Gertrude have both called Polonius "good" - after he's dead. 179 For . . . joy It's very unlikely this is the actual line from a popular song. It's adapted by the author from Greensleeves. Observe the last line: Greensleeves, now farewell! adieu! God I pray to prosper thee! For I am still thy lover true, Come once again and love me. Greensleeves was all my joy... Sendal is mentioned in the old lyrics of Greensleeves, by the way. 180 Thought Refers to reason, the capacity to reason. Laertes presumes incapacity in this case. Laertes is swearing here. He says, "Thought and afflictions! Passion!" Then, the word "Hell" begins a new utterance. It needs an exclamation point after "passion" in modern printing. "Thought and afflictions" means "thought with afflictions," or "afflicted thought." It's a hendiadys that Arden has missed. The plural, "afflictions," is correct, and the Folio is wrong. "Turns" is the important word in L180-1, and the word order needs rearrangement for prose. 181 turns Means "transforms." Laertes is saying that, as he sees it, Ophelia has transformed Hell, itself, into favor and prettiness. He means Ophelia is acting as though Hell were a favor, and something pretty. Then there's double meaning in the lines, as usual. 182-91 The source is "Shakespeare." 188 Flaxen . . . poll Ophelia's phrase means Polonius's head was yellow. It is not a reference to hair color. The skin of Polonius's head and face had a distinctly yellow tone. Ophelia mentions this because it confirmed to her that Polonius was really dead. His skin looked yellowish, she saw it, herself. Secondarily, the phrase refers to the linen burial cloth, the pall. Linen is made from flax. The Arden note is flatly wrong, and stupidly wrong. Flax is not white, it is straw color, pale yellow, (which Arden ought to have known, and could have learned from any book of reference.) And Arden should have starred their word change, since the genuine Q2 spelling is "p-o-l-e," which is a known word. And further, Arden should have known that Q1 does not "support" the Folio if the Folio is only repeating a Q1 error. That is not "support," it is propagation of error. 190 we . . . moan Arden does not understand the play. Ophelia means two things. She is throwing away the moans of sadness she uttered under the oppression of Polonius. With him dead, she no longer needs those moans of sadness. Also, she is casting moans of longing toward Hamlet. 192 SD Q2 has no exit here. An exeunt for both Ophelia and Gertrude, following Ophelia, is proper (especially since Ophelia is wearing some of Gertrude's jewelry and clothing, that Ophelia "borrowed," and Gertrude will want the things back.) By the way, Gertrude's exit here, following Ophelia, accounts for Gertrude being the one who later reports Ophelia's death. 193 *see Q2 is correct, and Arden has blundered again by not being true to their goal. Laertes is asking God whether he has done that to Ophelia, (as opposed to the Devil having done it.) From Laertes's religious education, he does not ask questions of the Devil, he only talks to God. A good Christian does not talk to the Devil. So, Laertes asks God the question, although he suspects the Devil. His line means "Do you (do) this, O God?" spoken with the stress on "you." Then, the exact way the Q2 line is written, it's open whether "do" or "see" is meant, which gives, guess what, double meaning. Both "do" and "see" are understood there, simultaneously. The Folio is wrong to specify "see" (and Arden is wrong to follow the Folio.) Apparently the Folio editor(s) thought a word was missing, and added "see," spoiling the author's intended ambiguity. It means both "do" and "see" at the same time. 194-5 I . . . right Double meaning. Again, Claudius has to be careful about his own propaganda against Hamlet. Claudius doesn't want people to think he's "mad" because he says he's grieving, so he asserts that his own alleged grief is "rightful." He isn't really grieving for Polonius, or he wouldn't be so carefully rational about it. The word "commune" primarily means "join," and then with a secondary reference to speech, expressing condolences. 196 wisest friends Irony. Based on what he's seen from Laertes, Claudius is sure that Laertes's friends are not going to be very wise. Claudius is confident that he can manipulate Laertes, and his friends, too, as necessary. It's essentially the same as the earlier phrase, where Claudius used "wisest" to mean "not too wise." 198-9 direct . . . touched Has a wicked, very subtle undertone of allusion to the Ghost, and the Devil. 205 (obscure) funeral "Obscure" has double meaning, both that Polonius was buried before Laertes returned to attend, so he did not 'see' his father's funeral, and also that Polonius's funeral ceremony was hidden from public view, which Claudius did to try to minimize the political problem. The funeral was 'obscure' for both Laertes, and the public. The word further conveys Laertes's lack of understanding. There is great irony, that first Claudius demanded to know where Hamlet had hidden Polonius's body, and then Claudius tried to hide it, himself. Claudius should have left Polonius under the stairs where Hamlet put him, and he was "at home". In Q2, Horatio exits here, of course, since he had no stated exit earlier. Any honest, faithful reproduction of Q2 will note it that way. Act 4 Scene 6 4.6 This Scene follows immediately from the previous. It's the Lobby, the room next to the Throne Room. Horatio follows Claudius and Laertes out of the Throne Room, as they go to talk to Laertes's friends, and Horatio is stopped here in the Lobby by the Gentleman (who is our old friend, again.) The Sailors (pirates) who want to talk to Horatio have not entered the Lobby, they're trying to stay out of sight as much as possible. They're waiting beyond the door. Being so close to the guards and military personnel at Elsinore makes them uneasy. 0.1 The Q2 "others" in the Lobby are the remnants of Laertes's mob, a few who are still there in hopes of overthrowing Claudius. Soldiers and guards are there, too, looking rather bruised, and keeping a watchful eye on the unruly townsfolk who haven't left yet. 4 SD The Gentleman author does let the Sailors in, but he needs no exit to achieve that. He simply writes it that way. Horatio says, "Let them come in," so alright, the Author writes them in. Q2 shows no exit for this brilliant Gentleman, and one does not give him an exit in a Hamlet printing. The Gentleman fades from view, in his ghostly way, again. 6.1 Two sailors are mandatory, and both speak. The "to" at the end of line 8 puns with "two," for double meaning. By the pun, the phrase "bless thee 'two'" tells us there are two. The first sailor speaks the first Sailor line. Horatio then says "...bless thee too/two." The second sailor then speaks. Horatio intends "too," but the two sailors take it as "two," since there are two of them. Arden's note is oblivious and illiterate. 10 th'ambassador Hamlet is, in fact, the ambassador, officially named so by Claudius. Editors who have not understood that have not understood the play. Hamlet is the ambassador, and R & G are his diplomatic aides, his scribes, in Claudius's arrangement (and it's a normal arrangement.) And Arden's wild notion, of Hamlet having to warn pirates to be cautious where there are government guards and military personnel, is breathtakingly stupid. It's the pirates, themselves, who know to be cautious, of course. Further, it is an unmistakable sign of Claudius's poor security leadership, that pirates have entered the Royal Castle (not to mention Laertes's town rabble. The pirates took the opportunity to simply follow the mob inside.) Claudius is hopelessly inept as a commander in chief. King Claudius is ultimately responsible for security leadership, especially where he, himself, lives, and the security is dismal. The pirates know what the letter says. They read it before allowing its delivery. Arden is horribly stupid not to realize that very simple point. Good heavens. 13 overlooked Also with the secondary meaning of Horatio overlooking that the letter is being delivered by pirates. 15 were . . . old With the undertone that Hamlet felt "reborn" upon leaving Elsinore. When the pirates attacked, Hamlet was "two days old" after his "rebirth," so to speak. 20 thieves of mercy Means the pirates acted like they had stolen mercy from somebody else. By nature, they are not merciful people, so Hamlet facetiously concludes they must have stolen some mercy, or they wouldn't have any at all. The Arden note is worthless. 21 a turn Is correct. The Folio change is apparently an editorial attempt to help, which didn't. It is not hard to surmise what the pirates want Hamlet to do. When they learn Hamlet can get into the castle, close to Claudius, they want him to kill the King of Denmark for them. The lack of top leadership will further disrupt the Danish naval command, and give them more piracy opportunities, and also make it less likely they'll get caught. So, they want Hamlet to kill Claudius. Hamlet has promised that, well, alright, since they insist, he'll give it a try. Hamlet's "craft," and the pirates' "craft," have "met" in wanting the death of Claudius. 24-5 too . . . matter Arden is wrong. The Q2 word is "bord," which means the boards on the side of a ship. A warship's side boards are its armor. Hamlet is using sea fighting metaphor, and he is referring to a gun battle, but he means the "cannons" of his words are too weak to penetrate the "bords" of the enemy vessel. It's reminiscent of Claudius's "loved, Armed" speech (and verifies the Q2 wording for that later speech by Claudius.) The word "bord," exactly as it appears in Q2, is the Old French word for the side of a ship. The author picked it up, somewhere. Both the OED and Arden are wrong. 24 *bore The Q2 word is "bord," it is exactly the intended word, and it is spelled correctly. However, it is not an English word. The author used it for a pun with "board," of course. Arden has erred again by not being true to their goal. 25-6 These . . . am The pirates did not want to bring their ship very close to the cannons at Elsinore Castle, so they have landed Hamlet some distance away. The distance would be to insure they're out of sight from the castle, and beyond cannon range. Five miles or so, perhaps. 27 *He Arden blunders - again - in not respecting Q2, the text they were allegedly attempting to present. The Q2 word "So" is right. The Folio editor(s) did not understand it, either, apparently. Hamlet adds the phrase so that Horatio will know the letter is really from Hamlet. The closing phrase means: 'so that you'll know it's me.' It is not a prearranged code phrase. Hamlet is relying on Horatio's perception and intelligence to tell Horatio what it is, and Horatio does understand it. The letter is going to be suspicious to Horatio, because of the circumstances. Hamlet knows that. So, Hamlet adds the phrase to tell Horatio that, yes, he can trust what the letter says. The pirates did read the letter, but they're not very literate people, and they took it as only a friendly closing, when it's actually a reassurance to Horatio. 28-9 *will . . . way Arden blunders, again, in not respecting the Q2 wording. Q2 is right, again. It's wordplay, with more than one meaning, but it primarily means that Horatio will "weigh" the pirates favorably, for the sake of the letters. Horatio would otherwise "weigh" them very unfavorably. Since to be "under way" is to be "under sail" Horatio's line can be read as him saying he'll "sail" the pirates to deliver their letters. Nautical metaphor, of course. This verifies the Q2 wording that Arden ought to have honored. Act 4 Scene 7 4.7 This is Claudius's room, the King's Room, where he has brought Laertes for private conversation. It's perhaps two hours, or three, after the end of 4.5. Claudius and Laertes have been to the nearby town to talk to Laertes's friends there, and have now returned to the Castle. The town is within easy walking distance. It's sad that Arden can't figure out where the "wisest friends" are. They're people in the nearby town, of course, where Laertes raised his mob to storm the Castle. This is not difficult to figure out. 3 Sith "Because." 5 Pursued my life Claudius is wrong. Hamlet was not actually trying to kill Claudius, when he accidentally stabbed Polonius to death, but Claudius thinks he was. Of course Claudius is right in the general way, that Hamlet is after him. 6 proceed The Q2 tense is correct. Laertes is asking why Claudius isn't even now proceeding against Hamlet (ironically not knowing that Claudius, in fact, is proceeding against Hamlet, in his own way.) The Folio past tense is not appropriate. 8 greatness Is correct, connecting back to Laertes speaking of Hamlet's "greatness," 1.3.17. For Laertes, the extrametricality is because he's no poet. The lapse of good poetry in his speech is characterization. 15 *conjunct The Q2 word is correct, and Arden has erred, again, in not honoring Q2. Q2 "conclive" is "concleave," as in the idea of husband and wife "cleaving together," as the Bible says (Matthew 19:5.) "Clive" is a Middle English spelling of "cleave" which was still being printed in the author's lifetime, for example, Ovid's Metamorphoses by Golding, published 1567. "Concleave" is Shakespeare's word, based directly on the Bible, the identical passage about man and wife being one flesh that Hamlet already cited. Arden should have done better research, or simply been true to their goal; they missed another genuine Shakespeare word. For himself, Claudius is saying that he is "stuck" with Gertrude. That's an important point in the play. It's certainly not a celebration of love. 17 I ... her The Arden paraphrase is wrong. Claudius is saying he couldn't stay in his sphere without Gertrude, i.e. he couldn't be King without her. 19 general gender Means "women in general," as we know since Claudius just mentioned Gertrude. Women don't have the vote in Claudius's Denmark, but nevertheless, he recognizes the importance of women's influence on the political situation. There is additional meaning of the general public. Double meaning, as usual. 21 spring . . . stone The Arden reference to limestone deposit is essentially correct. Reference is to Hamlet becoming armored, like wearing a suit of armor. The stone deposit on wood "armors" the wood. The passage has allusion to the Ghost, in armor. 22 gyves Means shackles. Claudius means if he shackled Hamlet, he fears the people would "bless" Hamlet and turn against him. 23 *so loud a wind Arden blunders in not following Q2, the text they're supposed to be presenting. The Q2 wording is right. It needs a comma after "loved," for modern printing. The line means: Too slightly timbered for (one) so loved, (and so) armored, The Folio editor(s) apparently couldn't fathom it, and tried a change of wording, but it isn't that difficult. The original Q2 "Arm'd" was probably capitalized to point the allusion to the Ghost, a named character, in armor. 25 aimed Is right. Arden's curiousness is their own blunder. The word "armed" does not disappear if Q2 is obeyed and the text is done right. 27 terms The Arden gloss is wrong. It means "expressions." Laertes has (mis)interpreted Ophelia's remarks as desperate expressions of mad grief. 28 Whose worth Hibbard was wise to say nothing, since there's nothing sensible he could have said about his mistake. Q2 is obviously correct. Laertes is applying the "value" idea to Ophelia, with his word "worth," which is the same offensive idea Polonius applied to her earlier in the play. 29 on mount A "mount" is a pedestal, for mounting a statue. Laertes is invoking the notion of putting a woman on a pedestal. 33 That . . . shook Claudius is referring to his beard shaking because of his chin trembling with fear. It does connect back to Hamlet's remark, but is not the identical idea. 34 You . . . more Claudius means, of course, that he shortly expects to hear from England that Hamlet is dead, and Laertes will also be so informed. But Arden has caught a faint glimpse of the tiger. Double meaning, intentional ambiguity in the writing. Claudius's line is unintentionally prophetic, as he (and Laertes) immediately hear more than Claudius expected, with the delivery of the letters. 37 this . . . Queen Of course Hamlet has also written to his mother. He is a good son. A good son will write to his mother. As far as Claudius reading Gertrude's letter, he does not break the seal on her mail; that would be a bad political mistake. She wouldn't like it, and Claudius knows he needs her support (he said so.) Claudius would ask her about the letter later, and attempt to judge its importance to him, if any, by her reply. That's the way he is. Concerning the content of Gertrude's letter from Hamlet, it will express affection, and tell the basic news that Hamlet is returning. That's all that Hamlet would say in it, because he couldn't be certain that Claudius won't see it. 38 From Hamlet Arden's exclamation point is inappropriate. Arden has made another mistake by trying to editorialize through punctuation. Claudius asks two questions in quick succession, shown in Q2 by the use of a comma, then a question mark at the end. Claudius's questions express doubt and puzzlement. 39-41 Sailors . . . them Q2 is right, and there is not any over-elaboration. The lines are for completeness, and are a mark of how careful the author was in his writing. Horatio said he would help get the letters to Claudius, but Claudius had left with Laertes, so, what happened? The Sailors, and Horatio, entrusted the letters to Claudio until Claudius returned to the Castle and could receive them. The similarity of "Claudio" and "Claudius" is fully intentional: it's because Claudio is Claudius's "stand-in," so to speak. The Folio editor(s) didn't realize the importance of the lines, for completeness, and Hibbard misinterpreted, what else is new. The author crossed a T nicely here, and used the perfect name to do it. Claudio is Claudius's stand-in. 40 Claudio Kind fates would spare the world Arden's guesses about what Shakespeare thought. Better Arden should have concentrated on the play. The name "Claudio" is, of course, fully intentional, and indeed, is superbly chosen. As mentioned above, Claudio is Claudius's stand-in. Or, one could express it that Claudio is Claudius's "double," for purpose of receiving the letters. That's where the double meaning is in this instance: Claudio is Claudius's "double." As we now know, the play is rampant with double meanings, even including double jokes and double-character lines. Now, here is a character's "double." Claudio "doubles" for Claudius, temporarily, to receive the letters. And the tiger ate Arden. Another skull in the graveyard. 43 naked Means two things, or perhaps three. First, Hamlet means he's like a person newly born, like a naked baby. This is sarcasm by Hamlet, after he learned that he was supposed to die in England. Hamlet means that after being "dead in England," he's reborn like a naked baby in Denmark. Then, Hamlet is referring to a naked sword of vengeance, unsheathed and ready to swing. Then, there may be allusion to loss of personal possessions, as well. 45-6 eyes . . . recount Hamlet's interest in Claudius's eyes is the same as Fortinbrasse's: spit. Hamlet is a polite fellow. With "asking you pardon" he means he will first say, "I beg your pardon," and then he'll spit in Claudius's eye. Q2 "you" in L45 is the author's word. "You pardon" is read as "pardon of you," or "from you." 49 character Double meaning. Primarily refers to the handwriting. Secondarily means the letter reflects Hamlet's character, i.e. it's just like something Hamlet would write. 51 devise Is correct in Q2, without doubt. It connects back to the 'Mousetrap Play' king saying, "our devices still are overthrown." (The L62 "device" gives the same allusion.) The allusion establishes it. The Folio editorial substitute is wrong. For plain reading, "devise" takes its root meaning of "direct," and should be so glossed. Claudius is asking Laertes for "directions." 54 I live The Q2 phrasing is correct. Arden's 'mad' compulsion, to quibble with the very playtext they allegedly want to present, is a disservice to the reader. 55 didst Is correct. Edwards's interpretation, in The New Cambridge Shakespeare edition of Hamlet, is exactly right. Laertes imitates a sword thrust at Hamlet. It is vital to get this, because Laertes's action is what gives Claudius the idea for the fencing match. This is crucial to the flow of events in the play, and emphasis must be on what Laertes does. So, we know that "didst" - which is a form of "does" - is the correct word in the play, exactly as Q2 shows. When Claudius sees what Laertes does, Claudius starts thinking about Laertes's skill with a sword, which then leads Claudius to think of the fencing match. 55-6 If . . . otherwise The Arden comment is wrong. Claudius is talking about Laertes's bloodthirstiness, for revenge. Claudius's lines are an instance on the Revenge theme. 60 *As . . . voyage Arden blunders in following the Folio, which is in error. The Q2 wording is correct. The Arden comment has things backwards, it's the Folio which has the misreading. Claudius's lines L60-1, correctly printed in Q2, mean: As (I was) the King who sent him on his voyage, and if he intends Not to undertake that voyage further, I will (since I am still King) manipulate him... Claudius is saying that he was the King when Hamlet sailed, and is still King, and can therefore try again, against Hamlet. Claudius means that nothing has really changed, in terms of his power over Hamlet. The correctness of Q2 is established conclusively simply by observing what results when L59 & 60 are read without pause: "...If he be now returned As the King..." It intentionally, and ironically, anticipates Hamlet proclaiming himself "The Dane" at the graveyard, which will be the next time Claudius sees Hamlet. Arden was foolish not to obey Q2; they obviously missed Shakespeare's actual wording. 66-80 My . . . graveness The Folio blundered in omitting these authorial lines from a closet drama printing. Hibbard was crazy to speak, in relation to a closet drama, of speeding the action. A closet drama, which the Folio printing manifestly is, can of course be read at leisure. Hibbard: "Ohmygosh, this is too slow!" Well, turn the page, you silly twit. 74 siege Requires gloss as "throne." King Claudius is talking about Laertes being a kind of king, a king of swordplay. 76 very ribbon "Very" means "true," again. Claudius is saying that fencing skill, for a youth, is a "true ribbon" on his cap, or hat. The exact Q2 spelling, "ribaud," may be intended as an ironic undertone, since "ribald" (coarse) is from Middle English "ribaude." This latter is only speculative. Arden's quote from AC looks like "ribalded" might work there, in the broad sense. One would seek "ribaud/ribaude" in Chaucer and similar, which I have not done yet. 79 weeds The undertone is of the weeds growing on Polonius's grave. 80 Importing . . . graveness Editors who have found "incongruity" have been incompetent to deal with Hamlet. There is intentional, ironic reference to Polonius's health, which is, at this time: "bad." More editors' skulls in the Hamlet graveyard. The tiger feasts well. 85 horse Subtle reference to the Trojan Horse. Goes back to murderous Pyrrhus. 87 *topped my thought Probably a subtle use of phrasing for double meaning, as one would expect. Q2 is correct for plain reading, but "me thought" is to be understood as one word for that. But Q2 is printed to suggest "my thought" as well, as the reader ponders the lines. Probably Q2 and the Folio are both right here, with the Folio making explicit the intentionally-suggested second meaning. First meaning: 'He so greatly excelled, I thought, That I, in my imagination... Second meaning: 'He so far excelled what I thought one could do, That I, even in my imagination... It works either way, and is probably intended to. And there is probably an existing illustration of Claudius's "great horseman" fantasy of himself, by the way. 90 Lamord La Mort is certainly suggested. There is, perhaps, a chance that the Q2 "-mord" spelling may hint of Mordred, in the King Arthur legend. Hamlet, and the legend of Arthur, share some incidental details. A quick example is that Arthur sent Mordred away in a boat, intending him to die, but Mordred returned. The Arthur legend is worth a look, in relation to Hamlet. 91 brooch Chaucer mentions a brooch as a gold ornament, and the gem prominently mentioned in the play is the carbuncle, which is red. "Brooch and gem" is subtle allusion to the colors gold and red, like the characters R & G. 93 made . . . you Arden does not understand the play. "Confession" is Shakespeare's subtle allusion that Claudius is leading Laertes to something sinful. For plain reading, the reluctance is best taken as mock, or slight, such as in the expression, 'Well, yes, I do have to admit...' 95 art . . . defence "Art and exercise" means "skill and employment." A reading as hendiadys can be done, but only by stretching the meaning. 98-100 Th'escrimers . . . them Edwards and Hibbard can argue anything until they're blue, but Shakespeare is still going to outlast them both, thank goodness. 98 *Th'escrimers Arden blunders in not honoring Q2. The author anglicized the French term, as Q2 shows, and Arden has thrown away his effort in doing so (as did the Folio, mistakenly.) That is exactly how much of English vocabulary has been built, through the adoption, with some modification, of foreign terms. This is a bad oops by Arden, not only for Shakespeare Studies, but for English studies. In Q2 we see Shakespeare turning a French word into an English word. This is important. Shakespeare's English word must be respected in English printings. The Folio editor(s) apparently did not realize the word was an anglicization and mistakenly reverted to the French. The Q2 spelling should be obeyed, exactly. 99 had (neither) Means "did not have" (adequate...) 104 What . . . this Arden has no appreciation of the play, in even the simplest instances. Claudius pauses, for thought, and Laertes's question indicates that he's interested in what Claudius is talking about. It shows that Claudius has "hooked" Laertes. Claudius has aroused Laertes's curiosity. This is significant to the flow of events, as Claudius leads Laertes into the scheme. Arden's suggestion of impatience is quite stupid, and a disservice to sincere readers who really would like to understand the play. 106-7 painting . . . heart Goes back to the pictures in the Closet Scene, and also the Player's recital mention of "painted tyrant." Claudius is unintentionally calling himself "like a painting of a sorrow." Then, "face without a heart" alludes to Hamlet stabbing through the heart of Claudius's picture when he stabbed Polonius, leaving Claudius's picture a "face without a heart." Hamlet stabbed through the king tapesty of Claudius, right through the heart. 112-21 Claudius is saying that he used to love Gertrude, when he was young, but he doesn't now. Gertrude married his brother, and it ate at Claudius over the years, until now, married to her, which was always his dream, he finds he doesn't love her. The candle of his love burned too long, so to speak, and it has gone out. This is, of course, very significant to the play. It confirms that the marriage of Gertrude and Claudius is political, contrary to the Ghost's insinuation to Hamlet. 116-19 Claudius is wishing he had killed his brother years before, when the idea first crossed his mind. He's revealing that he had thoughts of killing his brother for many years, wishing he could become king, and marry Gertrude. Claudius wasted his whole adult life envying his brother's position as king, and coveting his brother's wife. When he finally did kill his brother, and could be King and marry Gertrude, Claudius found himself old, drunk, and impotent, and no longer in love with her. That's what he's talking about. 123 *in . . . son Malone's emendation is stupidly pointless, and an insult to the reader. Any literate person already knows that "indeed" is from "in deed." Q2 is right, of course, and Arden blunders in not respecting it. The author's intent, with his Q2 wording, is to suggest "in deed" as undertone, which any attentive reader will find, easily enough. 127 *wager on Arden blunders in not respecting Q2. The Folio is wrong. Q2 "ore" is intentional to suggest gold ('or') i.e. that it will be a valuable wager, a high stakes wager (in more ways than one.) The Q2 word is inarguably correct, and Arden is stupid to try to claim they can read a non-existent manuscript and see what it "really" says. They cannot, and anybody with any sense knows it. 135 shuffling Of course it suggests, in undertone, dishonest dealing. Double meaning. The OED is not a source for Shakespeare; vice versa. 138 *for that purpose The Folio change, which Arden unwisely follows, is actually unmetric, and further, is redundant. Laertes's remark is not iambic pentameter, and "purpose," by itself, conveys "the end." 140 that, but dip Arden couldn't read the play. The syntax does not change, and the sentence is not incomplete. It's concise. Laertes means, in L139-41: I bought an unction... So deadly that, (if you) only dip a knife in it, (Then) Where (the knife) draws blood... It is perfectly good syntax, with the pronouns "it" being interpreted in the order of the nouns. The first "it" refers to the unction, the second "it" refers to the knife. That is normal English. Apparently the Folio editor(s) couldn't read English, sometimes. Nor could Arden. 142 Collected Double meaning. Refers both to the simples, and the time of collection, under the moon. Perhaps best punctuated with a comma after it, in modern printing. 143 Under the moon Primarily means what it says. Collected at night. Night is the magic time. Reference is to the natural virtue of the simples being given magic enhancement, to use magic against magic. It could be presumed to imply "anywhere" but that's secondary, at best. There is irony in relation to the Lucianus speech, intentionally. And the idea of "simple virtue" under the moon, is allusion to innocent Ophelia. Recall Laertes's mention of the moon when he talked to Ophelia before going to France. 157 preferred Means "reserved." Claudius will have the cup "reserved" especially for Hamlet. The idea, of preference applying to something no person would want, is irony. 158 chalice The religious implications are intentional irony. 163 O, where? Arden couldn't read the play. The author had Laertes ask "where" for a specific reason. One is supposed to think about the known locations in the play, the "wheres" of Hamlet. Elsinore Castle is directly by the sea, like Kronborg Castle. If one hears about a drowning at Elsinore, the first thought would be that it occurred in the ocean. The ocean is only yards from the Castle. Laertes is, first, expressing his disbelief that Ophelia could have been allowed to wander to the ocean and drown. He is right to disbelieve that. Then, what else do we know about places around Elsinore? One place we know of is the place Horatio mentioned to Hamlet: the cliff that beetles o'er its base into the sea. Horatio described it. It's a cliff that can make a person think about jumping, even without any motive. The cliff turned out to be not immediately relevant, so why did Shakespeare mention it? That cliff is Suicide Cliff. It is exactly where a person would go if he wanted to kill himself by jumping into water. Horatio has only been at Elsinore a short time, and if he already knows of the cliff, Ophelia undoubtedly knew of it, too. But, did she die at Suicide Cliff? No. Laertes's question has told us something important. That is the reason Shakespeare had Laertes ask "where?" It answers the question of suicide in Ophelia's death. The answer is: no. She did not die at Suicide Cliff. 165 hoary The paleness suggests "ghost." Intentionally. Red or pale? - "hoary" = pale, like a ghost. The pale image is ghostly. When Ophelia falls, she falls into her own ghostly image in the brook, i.e. she falls into her ghost. 166 Q2 is correct, of course. Willow twigs are long and supple. Ophelia was gathering willow twigs to make the frames for her crowns of flowers. The question of Ophelia's death has already been answered, and Arden didn't notice. 167 crowflowers The alternate name "Ragged Robin" is the one, also the traditional use of the crowflower. In folklore, a crowflower under the pillow at night produced dreams of one's future mate. We are told that if they had lived, Ophelia would have married her Robin, Hamlet, and that she went to "sleep" dreaming of him. 167 nettles The nettle symbolizes bad luck, especially for a woman, and it has an additional symbolism of slander. The nettle means Ophelia had bad luck, and she'll be, and has been, slandered. It's advance allusion to the gravedigger Clown's blather about suicide, which will be "slander." And with the nettles, Ophelia had "bad luck" right there in the tree with her. This confirms that she fell by "bad luck." 167 daisies The daisy is a "sun flower." The name comes from "day's eye," which is reference to the sun. There's implicit sun/son pun, and the "son" is Hamlet. Ophelia's daisies were especially for Hamlet. Traditionally, if a beau asked a young lady for her hand, she would symbolize affirmation by wearing a crown of daisies. Ophelia was making a crown wreath of daisies, for herself, to wear for Hamlet. The daisy further symbolizes innocence, and loyalty in love. Further, as a "sun flower" it symbolizes Heaven. This tells us that Ophelia has gone to Heaven. 167 long purples The Early Purple Orchid. Has considerable depth of meaning, but the primary meaning is given by the alternate name in the play: dead men's fingers. The more usual modern alternate is "dead man's hand." We're told that Ophelia was pulled down, so to speak, to her death, by the dead men's fingers. The dead men in the play at this time are the Ghost and Polonius. The name "dead men's fingers" comes from the shape of the root of the plant (actually a tuber.) So, we're told that the root cause, the ultimate cause, of Ophelia's death was that the hands of the Ghost, and her father, "pulled her down," so to speak. The flower is also known as the Devil's hand, which is more about the Ghost. 168 liberal Means "indecent," or lewd. This is confirmed, later. 169 *cold Arden is wrong. Means "insensitive." And Q2 "cull-cold" is correct. It is intended to suggest "cuckold," which is subtle wordplay. For plain reading, to cull is to sort, so it means "sorted to be cold," i.e. chosen for death, which is allusion to Ophelia, herself. For the maids, "cull-cold" means they are the "insensitive sort." 173 Fell Arden didn't understand the play. The speaker for 5.1 is a Clown. 175 lauds The Arden note is a litany of mad babble. Ophelia was a highly religious young lady, and lauds were the type of songs she mostly knew, from church. Of course "lauds" is correct. "Lauds" are morning songs. There is an implicit 'morning/mourning' pun. Ophelia sang morning (mourning) songs. This is symbolic of her death being a mournful event. The "morning song" idea further signifies a "new dawn" for Ophelia, as she rises to Heaven. Arden's gloss of "hymns" is incompetently inadequate, and for them to raise any question about what is obviously the genuine Q2 word is irresponsible and illiterate. 181 she is drowned To be spoken with stress on "is." 185 our trick Arden is wrong. It's reference to self deception. Laertes is saying it's self deception by men to think they don't cry. "Our" means "men." 188 *o'fire Q2 is correct, and Arden errs again in not respecting it. Laertes means the speech was already "burning" in his mind, that it was already "afire," but what he's heard has thrown water on it. The only change required in modern printing is to print Q2's "a fire" as one word. It was a "fiery" speech that was already "afire" in his thoughts. 189 this folly Arden is wrong. Primarily refers to Ophelia's death. 189-92 Let's follow Of course Gertrude follows. Good heavens. She isn't following Claudius, she's following Laertes. She feels great sympathy for Laertes. Gertrude knows about sons losing their fathers, and now this. Laertes is still weeping as he exits. Act 5 Scene 1 0.1 The Arden note about rustics is badly misguided, misleading to the reader, ignorant, and illiterate. We know for a fact that one of the Clowns is a sexton, because that is explicitly stated in the dialogue, and a sexton is factually not a "rustic." A "rustic" is a 'country' person, not a 'church' person. The Clowns are exactly that, and their roles are for amusement. Arden's woeful misinterpretation is stupidly oblivious to the Hamlet dialogue, in which Shakespeare had Hamlet expressly identify the "Clowns" as comic characters. Arden could not read the play, with normal comprehension and retention. Shakespeare already expressly told us what play "Clowns" are. When Hamlet was coaching the Players, he was not talking about "rustics," and anybody with normal reading ability can see that. The second Clown is the coroner's court bailiff, sent to inform the first Clown, the sexton, of the official decision about Ophelia's death. We know that about the second Clown because it is factually what he does. 2 wilfully . . . salvation The gravedigger Clown (sexton) has heard people talking, and he is repeating the ignorant, vulgar suspicion that Ophelia killed herself, which is not true. This is on the Slander/Rumor motif. Untrue gossip is going around that Ophelia's death was suicide, and the sexton has heard it, and is helping spread it. 3-4 Therefore . . . straight The second Clown does, indeed, speak with professional authority. He is the bailiff assigned to inform the sexton of the coroner's court decision. However, the bailiff is not a legally-educated man, and he does not know the legalities of it all, or the facts the court used as basis for its decision. The bailiff is merely a functionary, for the court. He's simply the deputy who's been ordered to inform the sexton. 4 straight Double meaning. Means both "right away," and also "properly." 9 *se offendendo Arden errs in not honoring the Q2 wording. The Clown does say "so offended," as Q2 shows, but it is indeed intended to suggest, to a knowing reader, the phrase 'se offendendo,' which the Folio reveals. This should be handled by leaving Shakespeare's phrase "so offended" in any Q2 playtext, and then including a note referring to the Folio phrase. 10 wittingly Also implies "cleverly." Double meaning. 12 *Argal Arden is wrong. The Q2 phrasing is correct. The Q2 phrasing means: "... an act has three branches: it is 'to act,' 'to do,' 'to perform,' or all three; (therefore) she drowned herself wittingly." The Folio word "Argal" is a mistake there. I do not want to get into the hopeless business of trying to read a nonexistent manuscript, but it does stand to reason that the 20-year old papers the Folio editor(s) had were harder to read at that time, than when they were fresh in 1604. Whenever a suspicion might exist about a possible misreading, the Folio must always be the prime suspect, simply because the papers were some 20 years older when the Folio editor(s) examined them. Q1 has a reporter's error, in anticipation of L19, and the Folio mistakenly picked it up, for some reason. The Clown idiotically calls an act a branch of itself, and after claiming three branches, he mentions four things: the three specifics, and the all-inclusive. He bases his conclusion on his zany theory of an act, without any reference to facts (since he doesn't know any facts.) The Clown's "logical" argument is silly gibberish. The bailiff is unable to rebut the sexton's "logic," however, since he doesn't know law, or logic, any better than the sexton does. The word "branch" has allusion to the tree branch that broke, in fact, and dropped Ophelia to her death. While trying to argue suicide, "logically," ahem, the Clown accidentally refers to the actual cause, the (tree) branch, and he doesn't know it. Three branches is wordplay with "tree branches." 14 goodman delver "Delver" plays on "deliver," referring to the delivery of a verdict by a jury. It hints of the sexton Clown foolishly trying to act as judge and jury on something he knows nothing about. The bailiff is trying to assert superiority on the subject, since he's the court's deputy. 17 willy-nilly Arden fails to note that the Clown uses the term foolishly, in exact contradiction to what he's trying to argue. "Willy-nilly" refers to chance, while he's trying to argue intent. 20 death shortens Comic timing? It's an ordinary English comma. Arden has obviously blundered by omitting it from their printing. Arden's omission is sheer obliviousness, both unprofessional and unscholarly, where they take express note of something in the original, and then blithely omit it. That is very poor editorial practice, amounting to willful negligence. The Clown pauses slightly, to give emphasis to his conclusion. You will see and hear that all the time in English, when a conclusion is being presented. 22 'quest The person on the "crowner's quest" was Ophelia. She was in the tree to get willow twigs to make frames for her crown wreaths of flowers. So, the phrase has allusion to why Ophelia was in the tree. The apostrophe before "quest" is not in the original, and should perhaps not be used, because it interferes with the author's intended allusion, for which the exact word "quest" is required. 23 on't L23 is an important moment in the conversation. The bailiff has now been convinced that Ophelia killed herself, even though he was sent to inform the sexton of the contrary. Shakespeare is showing how rumor and slander spread, despite the facts. The bailiff, who doesn't really know any better, as far as law or logic goes, or facts, has been convinced by nothing but the insistence of the sexton's foolish, pseudo-legal babble. We see the bailiff accept that it was suicide, even though it was not, and even though he's the person assigned by the court to tell the sexton that it was not suicide. This is a significant instance on the Slander/Rumor motif. 28-9 even-Christen There is great irony that the sexton Clown thinks of himself as a good Christian, when he arrogantly, and ignorantly, spreads defamatory gossip on a subject he actually knows nothing about. That is not being a good Christian. The exact Q2 spelling, "Christen," provides allusion to "equally baptised" (christened.) Baptism is done in water, so with Christen the sexton has accidentally alluded to Ophelia's fall into water. 31 hold up Has the ironic undertone of "steal." It's facetious allusion that the sexton Clown, who is not a good Christian, has unjustly adopted Adam's profession. Shakespeare tells us the sexton Clown is a "hold up" man. 33 bore arms Jenkins was credibly correct about the Q2 omission. The phrase "bore arms" has an intentional double meaning, in reference to both a coat of arms, and the right to bear weapons. William Shakespeare's son was named Hamnet, he was not named "Hamlet," according to his birth record. Arden's moronic attempt to confuse the name is only more nonsense from them, which almost looks, in this case, like an intentional lie to their readers. It is a known historical fact that the name of his son is recorded as "Hamnet," and it is unprofessional and unscholarly, to say the least, to lie about that. Interpretation is one thing, but outright falsehood is beyond the pale. But of course it's only more sloppy work in Arden. 36 Go to There are times the Arden gloss looks insane. It's sad they had such difficulty even with simple phrases, and had such poor perception of the flow of the dialogue. The bailiff is saying, "go ahead." The phrase is short for "go to it," meaning, go ahead with it. It's essentially identical to the "To't" in L45, and also L50, which Arden gets right. 60.1 Arden is ignorant of what an entry means in the Q2 Hamlet. It is not directly a reference to mere physical presence onstage. The Q2 entries are especially keyed to the spoken lines, except where some exception is required, such as when it was necessary to have both R & G in view of the audience. Hamlet and Horatio get their "enters" when they have lines, as Q2 shows. However, they will be present onstage, and approaching, before that. As already described, a character in Q2 can be onstage before his "enter." The timing of Hamlet and Horatio's approach is a director's judgment, for physical activity, in the "outdoors" location. 66 hath . . . sense Goes back to Polonius advising Laertes not to wear a callus on his palm, by shaking hands too readily, 1.3.63. The proverbial style is because Hamlet is still suffering a touch of Polonius Disease. Also, Hamlet first suspects that he may have returned in time to see Polonius's funeral, a thought which intrigues him. Hamlet doesn't know Polonius was buried so quickly on Claudius's orders. So, Hamlet at first thinks it might be Polonius's grave, with no idea that it's really the grave for Polonius's daughter, his own true love. 70 SD Why the star, since Arden did not use Q1's "shovel?" The Q1 word "shovel" is probably intended to mean "shovel(ful) of earth (with a skull in it.)" That Q1 "shovel" is probably short for "shovelful." The Q1 SD is printed to the right of the dialogue, in restricted space, which would naturally lead to abbreviation. "Riv" (the Riverside volume) is credibly correct, about Q1. The sexton Clown is happily shoveling skulls out of the grave, with the dirt. 71-205 That . . . flaw Is there anything in Hamlet that doesn't surprise Arden? I suppose it's all surprising to anybody who can't read the play from one line to the next. 74 pate . . . politician Allusion to Polonius. 74 o'erreaches The Q2 word is correct. The sexton, being alive, now has more "reach" than the dead politician, in several senses: physical reach, influence, verbal "reach." The Arden gloss is peculiar. 80 'a . . . it There is allusion to Ophelia, and Hamlet's tragic misunderstanding about her. 84 *mazard The OED is not a source for Shakespeare. Vice versa. The OED does not, and cannot, establish that the Q2 word is in any way erroneous. The Q2 word, 'massene,' is obscure, but is most likely Shakespeare's anglicization of French 'maison' meaning "house." Instead of saying the skull itself is being knocked, Hamlet may mean the skull is being knocked about (around) the house by the sexton, where the "house" is the grave. This would connect to Hamlet thinking the grave might be for Polonius, with Polonius being "at home." Arden should have respected the Q2 word in the playtext, then discussed the possibilities in a note. 86 trick Essentially means "luck." Wheel of Fortune motif. The Arden gloss is wrong. 96 mad Means "crazy," of course. It's irony in relation to Hamlet supposedly being the mad one. 104 this box This "rectangle." Refers to the rectangle of the grave excavation. Hamlet means that if all the person's deed papers were laid down flat, they'd about cover the size of the grave excavation, which is all the land the deceased now "owns." Second, is the exaggerated idea that it would take a hole the size of the excavation to hold all the deed papers; facetious, by Hamlet. 113 *O The "or" in Q2 is correct, and it is regular dialogue. The Clown is not singing here, he's talking to Hamlet. However, the song is still on his mind. It marks that the Clown is not giving his full attention to Hamlet at this time. The Clown looks down at the unfinished grave as he speaks the line. Arden errs in not respecting Q2. 129 absolute First, it means "literal." The Arden gloss is wrong. The undertone is Hamlet saying the Clown lacks poetry, appreciation of the figurative, the poetic. The second meaning is that the Clown is an "absolute knave" (an insult from Hamlet.) The knave is absolute = he's an absolute knave. 130 by the card Means "by the tablet." Refers to the use of written definitions, to avoid ambiguity. The Arden note is misleading. 131 this three years Tells us that Hamlet has been attending university three years. 132 picked Means the age has been "picked over," that all the best flowers have been harvested, and mostly "weeds" are flourishing now. Goes back to Hamlet speaking of the rank, unweeded garden, 1.2.135-6. Gardening motif. The word "grown" supports this interpretation, obviously. 135 Of the days Means "on the date." Means that the date (month and day) when the sexton got his job was the same date as when King Hamlet slew Fortinbrasse. The sexton isn't saying it's been the same length of time, he's speaking of events happening on the same date. 139 young Hamlet The sexton Clown does not tell us any such thing as Arden claims. Arden couldn't read the play. The tiger ate Arden. 148 Very strangely Goes back to Horatio's line and Hamlet's reply, 1.5.163-4 ("wondrous strange" ... "as a stranger give it welcome.") The Arden note is incompetent. 153 thirty years The Arden note is wrong. The sexton Clown makes no such "clear" statement. The sexton Clown's speech can be read two different ways (and more,) and that is intentional from the author. The precise Q2 wording is: I have been Sexten here man and boy thirty years. The original has no internal punctuation, and "Sexten" is spelled as shown, and with the capital. The two pertinent readings are: I have been (the) sexton here, (as) man and boy, (for) thirty years. That first reading is what has misled people to think Hamlet is 30. However, it is unbelievable. It is not sensible to imagine the sexton was the sexton when he was only a boy. The second pertinent reading is: I have been sixteen (years) here, [as sexton] - (and alive as a) man and boy, (for) thirty years. That's what the sexton is trying to say. The original Q2 word, Sexten, does double duty, which is why it's spelled that way. That should not be too surprising, after all the "doubling" that has been seen in the play, including double meanings, double jokes, double character lines, etc. The sexton means he's thirty years old, and has been sexton for 16 years. Thus, Hamlet is 16 years old. The Folio spelled Q2's 'Sexten' as "sixeteene." The Folio spelling was simply a correct spelling for what the word was supposed to be: sixteen. The primary meaning of the word is not "sexton," it is "sixteen," as the Folio reveals. The author mischevously spelled the word 'sexten', in his Q2, to create ambiguity, intentionally. Arden is also wrong about the sexton Clown's statement about Yorick. Read on. 154 lie i'th' earth Hamlet immediately follows the sexton's statement with a "lie" response. This goes back to their "lie" banter at the beginning. Hamlet is facetiously asking the gravedigger, himself, how long he can "lie" in the earth until he rots. The Clown misses the joke at his own expense, and takes it as a serious question about his profession. Hamlet gives the Clown the "lie" because he knows, of course, that he isn't 30, which is what Hamlet misunderstood the Clown to be claiming. 162 your whoreson dead body An unintentionally cruel remark to Hamlet, who thinks his mother a "whore" in her behavior with Claudius, and who will soon be a dead body. The Clown doesn't know about any of that; his remark is accidental. 163-4 Here's . . . years With the way the Clown tosses skulls around, he can't know which is which. He is making this up. 163 lien The Q2 word is "lyen," which is a pun to tell us that the Clown is lyin'. The Clown is making it up that the skull is Yorick's, and that Yorick has been dead 23 years. Arden fails to explain their own choice of spelling, which is an unprofessional lapse. Look at the Clown's exact Q2 wording: "now hath lyen you i'th earth 23. yeeres." Shakespeare, in his writing, did not always use the conventional word order for English grammar. That fact is well known, and examples to support it would run into the thousands. Apply that fact here. One then easily reads the sexton Clown's remark as: "now you hath lyen i'th earth 23. yeeres." Modernized and punctuated: 'now you have lyin' in the earth: 23 years.' The number, 23 years, is "lying in the earth." It is not true. The bad smell of the skull, mentioned shortly, is confirmation. The number 23 is a lie ("in the earth") from the sexton Clown. Hamlet's "lie" accusation comes true. The Folio phrasing is an unfortunate editorial attempt to straighten out the language, which ruins Shakespeare's "lyin" wordplay about the Clown. 163-164 three and twenty years Arden fails to star their change to the genuine Q2 wording, and their failure to do so is apparently intentional, judging by their comment. This is unprofessional and unscholarly editing. Q2 does not factually say what Arden prints in their playtext, and Arden knows that. At least star it in the note, guys, simply as a matter of integrity. 166-7 Whose . . . was? A note is mandatory. The Clown is checking to be sure that Hamlet can't identify the skull. Then, assured that Hamlet can't, the Clown goes on to tell Hamlet his Yorick anecdote (regardless of whose skull it is.) 169-70 'A poured . . . once Another bizarre comment by Arden. There is absolutely no reason whatsoever to imagine this sexton is employed by the royal court. It's a crazy idea. He's the sexton at the church in town, obviously, the church that provides the distant church bells in the play. The sexton encountered Yorick at one of the alehouses in the town, of course. Good heavens. Arden could not even perceive how arrogant, argumentative and dishonest this "good Christian" Clown is, which is obviously why Yorick would 'favor' him with a drenching, and well deserved. Good for Yorick! 171 Yorick's The name means "a Danish person of yore." It's the word "yore" with an '-ic' (or '-ick') ending to make a Danish name, on the pattern of 'Roric.' 174-84 Whether it's really Yorick's skull or not, has nothing to do with the sincerity of Hamlet's sentiments. The skull is only an object, to motivate his thoughts. 176-7 bore . . . abhorred Arden's interpretation is weird. Hamlet treasures his memory of Yorick, and what he abhores is Yorick's death. Arden missed the 'abhorred-aboard' pun. Hamlet, as a child, was aboard Yorick's back, and now Yorick's death "rides the back" of Hamlet's imagination, and is "aboard" his imagination, so to speak. 182-4 Now . . . come Another insane note from Arden. Hamlet is not misogynistic, he celebrates natural, not "painted," beauty, and he also favors faithfulness, and disfavors "whores." 183 table Is right (in Q2,) of course. Multiple meanings. The primary meaning is of a dressing table. Then, reference to the dinner table, on the Feast/Eating motif. Also alludes to Latin 'tabula,' an inscribed slab, implying a gravestone; Death theme. 190 smelt so Arden would have done better if, maybe in one out of a dozen notes, they had bothered to pay at least a little attention to Hamlet. Pardon my exaggeration, but, goodness. There's the implication that the Arden editors had a lot of trouble concentrating on what they were supposed to be doing. This phrase, "smelt so" is important in the play (as if any of the phrases weren't.) The skull that the sexton gave Hamlet still has a bad smell to it. That's clearly stated here, and it means the skull has only been in the earth for a maximum of eight years, or nine at the outside. It confirms that the Clown was "lyin" when he said "23." The Clown was "lying in the earth." Since Hamlet is actually 16, the eight year age, or less, of the skull would correspond to it being Yorick's skull. It would make Yorick alive when Hamlet was about eight, and younger. The age works. So, although the Clown was lying in what he said, only making things up, and he did not really know whose skull it was, nevertheless, the age works out. By coincidence, it is Yorick's skull! Although the Clown didn't know whose skull it was, and was only using it as an excuse to tell his Yorick anecdote, and express his indignation, the Clown did, indeed, give Hamlet Yorick's skull, by coincidence. The lying Clown told the truth (about it being Yorick's skull) - by accident! Wheel of Fortune motif. The liar told the truth by accident. 195 too curiously Refers both to excessive curiosity, and to eccentricity. 197 modesty "Humility." Secondarily, allusion to a "mode" or fashion/method of reasoning: there's method in his madness. The Arden gloss is wrong. 205 t'expel . . . flaw "Expel" is used poetically, as in getting rid of something. Caesar's clay would "get rid of" the hole, the flaw, by patching it, thereby "expelling" the flaw from its former place. The possessive, "water's," is also poetic: the hole "belongs to" the water as long as water can run through it. "Flaw" is not a form of 'flow,' rather, it refers to a flaw, or opening, in the wall of a grave. (As from a mole, mining in the earth.) The wall, here, is the wall of the grave. Caesar's clay would help to preserve an anonymous body for a little while longer, if it helped keep water out of the grave where the later body is buried, since water is, as we were told, a "sore decayer." Allusions go back to "mole of nature," etc. 205.1-2 The Folio omission of the cleric might be odd, but there's nothing odd about it in Q2. Printing space for the stage direction was tight in Q2. The Q2 SD is printed to the right of the dialogue, with such limited space that King and Queen are abbreviated "K." and "Q." It's apparent that the cleric was omitted from the SD because of space limitations in the printing. One could have Ostrick here, if desired, but that really has nothing to do with anything. There is not actually anything in Ostrick's later speech which corresponds to what Arden mentions from the other publication. There is no coffin. Ophelia's body is borne "bare faced on the bier." She, herself, told us of that practice. By the way, at the approach of the funeral procession, the sexton goes to ring the church bell. That was one of the duties of a sexton, to ring the bell, and the dialogue expressly states: "bell and burial." So we know where the sexton Clown has gone. He's the bell ringer. In an SD earlier in the play, 2.2, Arden added "courtiers" to an SD rather inappropriately. Here, they add "Lords" when in fact the word should be exactly "Courtiers," which we know beyond question because the word is stated in the dialogue. 206 soft "Quiet." Not "silent." 208-10 This . . . life One does not give away Hamlet's lines. He is the star. 210 it Should have been modernized to "its" in the playtext, for the simple reason that any modern reader will instantly conclude that the word 'it' is a typo. 211 Couch . . . mark We see that Arden did not grasp what a sexton is, which is very odd since they already mentioned it, at their note 153. Arden knew he was a bell ringer, or so they said, but they couldn't relate that to the play dialogue: "bell and burial." As already mentioned, the sexton has gone to ring the bell. He'll return after the service to finish his gravedigger job. 213 Arden again speaks of their surprise at something. They ought to have prefaced each note with how surprising it is - to them. Arden's comment about the audience is most inappropriate. The audience for an immortal closet drama has an eternity to ponder it, and the print publication of Q2 makes it a closet drama by definition, whatever else one may think about it. 215 SP Arden's choice of speech prefix is no less misleading to the modern eye than the genuine Q2 "Doctor" would be, since the "Priest" is a Protestant cleric, not Catholic. Arden should have honored Q2, the text they're allegedly attempting to present, and noted that the man is, indeed, a Doctor of Divinity. Arden could have called him D.D. and noted it, which would have avoided their own misleading choice. Laertes's later use of "priest" means "church elder." That is not a reference to a Catholic priest. This cleric is a Lutheran minister. Denmark was officially Lutheran in Shakespeare's time, and England also was divorced from the Catholic church - if one fathoms that as relevant for an English playwright: it's questionable a Catholic ceremony would have been presented on stage in any serious way, under an official Church of England government hostile to Roman Catholicism. Arden's identification of the cleric as a "Priest" is historically oblivious. Speaking, again, of misleading. 217 great command Reference to the coroner's verdict. It directly pertains to Claudius only in that the coroner is in service to the crown. However, it is reasonable to conclude that Claudius acted to enforce and expedite the process, to appease Laertes, so Claudius's influence is an undertone to the phrase. It's credible that Claudius exerted his kingly influence to hurry the bureaucracy, the same as he did for Polonius. 218 should . . . been Jenkins was right. 219 prayers Hibbard got something right. Hallelujah. 220 "Shards" is an error in the Folio. Reason unknown. It does not regularize the meter, although an adjective would. The pairing of "flints and pebbles" is in the author's style, for which a third noun is out of place. Further, flint is associated with fire, and pebbles are typically associated with water. The authorial phrase has allusion to fire and water. "Shards" doesn't connect to the other two words, in their elemental undertones. It's horribly hazardous to pretend to read a nonexistent manuscript. I cannot actually do such a thing. However, the Folio would appear to indicate a word may have been in the location where the Folio prints "shards." If, by chance, Q2 left out a word, it's more likely "sharp." The word "sharp" goes well with "flint," and would be an instance on the Edge motif. One could muse upon the hypothetical possibility the Folio editor(s) misread "sharp," on those two-decade old old papers. 221 virgin crants Unchallengeable as the author's phrase. Undertone of allusion to Ophelia's flowers she had in the tree. The apt allusion makes "crants" unshakeable. 222 strewments Double meaning, in reference both to flowers, and how the body is dressed. 226 requiem "Sage" should always get a note, because the word has a definition of a decorative, healing plant. It's plausible in association with Ophelia's flowers, and it fits the Gardening motif. There is, however, no realistic chance the word defeated a compositor. It deserves a look as perhaps being an authorial change that did not make the Q2 printing. If "sage" is editorial in the Folio, its "decorative plant" meaning is quite a fortunate coincidence. 231 liest howling Laertes is not telling the cleric to go to Purgatory. He is telling him to go someplace else. 233-4 I hoped . . . decked Arden could not follow the play. Not only did Polonius not think Ophelia inappropriate for Hamlet, Polonius's desire to see them matched is what produced the Nunnery Scene. Arden's note is badly wrong headed; they did not follow the flow of events. Polonius's view changed, dramatically. 236 double The word in F1 is an error there. It is unreasonable of Arden to question the Q2 compositor, rather than the F1 compositor, when it is a known historical fact that the original papers were some 20 years older when the Folio was done. 236-8 that . . . of Arden isn't even certain what "wicked deed" Hamlet might have done to which Laertes would object. They're hopeless. 243-5 What . . . Conjures Q1 is not Q2. Arden might have proved more competent if they'd simply paid attention to what they were allegedly intending to do. 244 Bears . . . emphasis Arden is wrong. What Hamlet is objecting to, is that Laertes is emphasizing himself, instead of respecting Ophelia's funeral. Laertes is putting on a "big show," with himself as the center of attention, rather than Ophelia's services, and Hamlet doesn't like that a bit. 246 wonder-wounded "Wounded" means "hurt," not "struck." 247 SD The SD Arden adds is wrong. No surprise. Hamlet jumps down into the grave. This is symbolic in anticipation of both Hamlet and Laertes going to their graves. The grave is only waist deep, if that. The sexton Clown hasn't finished the grave, because his work was interrupted by conversation, first with the bailiff, and then with Hamlet. The sexton will return to finish the grave after the funeral service. Important - Ophelia's body has not been placed in the grave yet. She is still onstage, at floor level, where she remains through the end of the Scene. Laertes did say to put her body in the earth, but it can't be done yet, since the grave isn't finished. Laertes, down in the grave, hugged Ophelia's body, still beside the grave, at about his lower chest height. As Hamlet and Laertes confront each other, waist deep in the grave excavation, Ophelia is in front of them at stage floor level (in front, because Laertes must face the audience as he hugs her body.) By the way, it's probably the only time he's ever hugged her; his "once more" is rhetoric as he blusters. Laertes, in his show of grief, is imagining an affection for his sister that he never expressed to her during her life. He never hugged her, and it's too late now. 249 I prithee . . . throat Hamlet's phrasing is scrupulously polite. Hamlet is trying to give Laertes a lesson in manners. 258-60 I . . . sum Editors of Hamlet over the years have given little sign they had any kind of comprehension of the play, sadly for us all among the readership. 258 forty thousand brothers Poetic use of a specific to express a generality. It means "a lot of brothers." For that, there isn't the slightest difference between "twenty" and "forty thousand," or "eighty eight zillion." The tiger ate Poel; another skull in the Hamlet graveyard. 263 *thou'lt Arden blunders in following the Folio instead of modernizing or leaving Q2 alone. The Q2 wording is exactly correct, if one does not modernize. It is not proper to switch archaic spellings in favor of F1 when one is supposedly presenting Q2. 265 eisel Jenkins was right. It means "vinegar." Hamlet is talking about childish "proofs of manliness," the kinds of foolish things a fellow would do to supposedly impress girls (or disgust them.) Hamlet doesn't know that Laertes already did weep, when told of Ophelia's death, and that Laertes already has conspired with Claudius to fight, to kill Hamlet. Hamlet's rhetorical questions about weeping and fighting have known answers, ironically, and the answers are: yes. 267 outface An instance on the Painted Face motif. Hamlet is referring to Laertes trying to "put a better face" on his grief for Ophelia than Hamlet does. Hamlet, carried away by his emotion, is trying to prove to Laertes that he can put on as good a show, and better, than Laertes does. So it is also an instance on the Putting On A Show theme. Hamlet is "painting his face" of grief, the same as Laertes, to "put on" the same kind of "show." 271 Singeing . . . zone Arden's mention of "the sun's orbit" is a remarkable accident. They show no sign of knowing they were referring to "the son's sphere." 272 thou'lt mouth Refers to declaiming, not just shouting. 273 SP This is, of course, Gertrude's speech, as allusion, among other things, proves. The Folio propagated the Q1 error. 273 mere The Arden gloss is wrong. It means "only." Gertrude is saying it's only a temporary outburst by Hamlet. She's responding to Claudius trying to promote his "madness" propaganda against Hamlet, L261. 277 drooping Means "exhausted." Has a death undertone in advance of the fencing match. 278-9 Arden couldn't read the play. Since Hamlet knows his killing of Polonius was accidental, he thinks others do, too. He knows nothing about Ophelia's "madness" or the facts of her death, and how he could be blamed. So, he doesn't understand why Laertes acts hateful to him. Hamlet has not intentionally done anything to offend Laertes. The characters speak from their own respective points of view. And yes, it was Laertes who was physically agressive toward Hamlet. The dialogue expressly said so. It was Laertes who grabbed Hamlet by the throat. We know that, because the dialogue said so (to those who can read.) All Hamlet did, toward Laertes, was talk. 280 Let . . . may Arden couldn't read the play. Lines 280 & 281 are taken together. Hamlet means, essentially, that no matter what men do, the nature of things will go its own way. The lines have considerable further meaning. And no, Hamlet is not saying he expects to fight Laertes. He's still after Claudius. 282 SD Arden has placed the stage direction incorrectly. Again. It is correct as Q2 shows. Horatio is following Hamlet, already, and his back is to Claudius as Claudius speaks. Claudius is attempting to assert control, but Horatio is ignoring him, and is already walking away when Claudius speaks to him. Claudius has drawn Laertes somewhat aside to speak to him. Gertrude is the only one, of the named characters, who is still standing at the graveside, paying proper respect, when Claudius speaks to her, from some distance, with his line 285. 287 thereby Unquestionably the correct word in the playtext. It is reference to something we would otherwise not know: the future location of Hamlet's grave. When Claudius says "thereby" he should make a hand gesture toward Ophelia's grave. It's Shakespeare telling us that Hamlet's grave will be there... by Ophelia's. Act 5 Scene 2 5.2 The setting is the Banquet Hall, the same place where the 'Mousetrap Play' was presented. Claudius will now have his turn to "put on a play," so to speak, but he's after more than Hamlet's conscience. 1,4 sir Hamlet's tone is because he now knows full well that Claudius is a deadly threat to him, and Horatio is his ally, in this very serious business. Hamlet thus accords Horatio extra respect. 3 Remember . . . lord No, good gosh, Arden. Horatio is asking for clarification, of what, exactly, Hamlet means. Hamlet then goes on to describe what he means, in detail. Arden's gloss is stupid, but at least they got the punctuation right, which is more than some can say. 5 *Methought Arden should have respected Q2. The Q2 phrase means, "My thought (was)," followed by a colon in modern printing. It's similar to 'methought' but not exactly the same. 6 *bilboes Arden should have respected Q2. The bilbo (singular) is a long bar with shackles on it, for shackling men together. There are several shackles attached, but it's only one bar. The Folio editor(s) got it wrong. And it does not mean "fetters;" the Arden gloss is wrong. Simple synonym won't do, the word requires description. 8 sometime The usage is not indifferent here. A terminal 's' of 'sometimes' would run into the initial 's' of "serves" when the line is spoken. It would be too sibilant. One must keep in mind the writing is by a great Poet. 9 deep plots Hamlet's idea against R & G in that earlier mention was different from this. 17 unfold It's the correct word, connecting all the way back to the second line of the play. Means "reveal." 32 fair Means wrote it well, in good handwriting. Not "formal." The context expressly tells us this. 33 statists Means "politicians." Refers to the higher political types who employ scribes to do writing for them, and who consider scribal work as something beneath themselves. 42 stand . . . amities A comma is a symbol used within a speech by one voice. It separates two clauses, or phrases, spoken by the same speaker. The basic idea is that although Denmark and England are separate entities, they are to speak as one voice. 47 shriving time The Ghost complained. That is not the same as saying Hamlet's father complained. 47 How . . . sealed Arden's comment is thoughtless. Of course Hamlet had writing materials. R & G did not walk him directly out of the Castle to the ship. They escorted him to his room, to pack, and then to the ship. Hamlet took along writing materials, to write to his mother, at least, and a candle to seal his letters to Gertrude. This is not difficult to figure out. It was supposed to look like a genuine ambassadorial mission, so of course Hamlet was allowed to pack for it, to present himself as the ambassador. 58 their own insinuation Actually, it's clear enough that R & G knew nothing of Claudius's intent to have England kill Hamlet. But Hamlet, based on what he heard R & G say at the beginning of the Prayer Scene, when he was hiding in Claudius's room, believes they were actively conspiring with Claudius against him. Also, Hamlet was present when Claudius sent the ambassadors with the letter to old King Norway. On that occasion, Hamlet heard Claudius give the ambassadors spoken instructions when he handed them the letter. Hamlet naturally presumes Claudius did the same with R & G, for the mission to England. So, Hamlet thinks R & G knew Hamlet was to be killed, but they didn't know. The irony runs deep. Hamlet thinks he sent murderous conspirators to their just reward, however, he sent two foolish flunkies to a death which will mystify them. The King of England will read the commission, order that R & G be taken out and killed, and they won't have the least idea why. In addition to mortuary amusement, this is authorial satire on kingly power, and how easily it can be misused, even by a good man. 66 Is't conscience? The additional Folio lines are authorial. It's unclear why the Q2 printing didn't include them. Their lack cannot credibly be authorial revision. If some explanation were absolutely demanded, it might relate to page space in Q2. The pages of the Ostrick passage are unusually full in Q2; the dialogue continually goes from margin to margin. One would view lack of printing space as an hypothesis to consider. In any event, the lines are authorial, and are properly included in any complete presentation of Hamlet. 66.1 Osric Arden should have used the Q2 name, although the terminal 'e' may be left off. It intentionally suggests "ostrich." The Folio form, which editors have unwisely further modernized, makes it more regular as a Danish name, but loses the author's wordplay. Also, the Q2 SD should be strictly observed. He is "courtier" here, because he has an implicit nickname as he speaks to Hamlet. The courtier's hat has a large ostrich plume on it. The plume is symbolic of "feather head." 68 *humbly Arden should have respected Q2, which they claimed to be trying to present. Q2 is right with "humble." Hamlet is "humble-thanking" the courtier. That is, Hamlet is giving the courtier only a humble thanks, which is to say, not much. The courtier does think Hamlet is humbly thanking him, but that is not what Hamlet means. 72-4 Let . . . mess Double meaning. Hamlet is also saying that if all men were beasts, this courtier would be the beastly king. 79-86 Arden has no clue about the hat business. Hamlet is playing the children's game of "hot and cold" with the courtier about where his hat is, and where it ought to be. Nor did Arden understand Hamlet's earlier conversations with Polonius. 80 The courtier is not pretending anything. When he says "hot" he means it. The excessive heat is why he has taken his hat off. However, the courtier's statement is foolish. Heat, indoors, is not a reason to put a hat on, rather, it's a reason to take it off, as he already had. The courtier has walked up to Hamlet fanning himself with his hat. The courtier foolishly thanks Hamlet for telling him to do something which will make him even hotter, when he was already uncomfortably hot. Hamlet notices the nonsense, is amused by it, and he begins a "hot & cold" game with the courtier, for fun. 81 cold Hamlet means that, no, since your hat is not on your head where it should be, you're "cold." We know with absolute certainty that the courtier puts his hat on before Hamlet's line 84. 84 or Q2 is, of course, right, but Arden has misinterpreted Hamlet's line. Hamlet's "or my complexion" means, "or is it just me?" as we'd say in modern terms. This is as in the well known type of expression: 'it's hot in here - or is it just me?' Hamlet tells the courtier that he's "hot" now, because he's wearing his hat. So we know the courtier now has his hat on. 86-7 sultry . . . tell how The courtier says it's sultry, but adds that he can't tell how. Well, the way it's sultry, for the courtier, is because Hamlet has talked the idiot into putting his hat on when it's too hot to be wearing it. The fool is standing there, wearing his hat when it's too hot, and he says he can't tell why he feels hot. The courtier stands there sweating under his hat the entire time he's talking to Hamlet. All he would have had to do, would have been to sincerely ask Hamlet's permission to leave his hat off, and Hamlet would probably have allowed that. 90 I . . . remember Arden is wrong. They should have paid attention to Hamlet, which is allegedly what they were trying to do. Other writings are not Hamlet. The courtier paused after saying "matter." Hamlet plays with that, pretending that the courtier can't remember what he's supposed to tell Hamlet, taking it that the "matter" is that the courtier can't remember what he's supposed to say. Hamlet affects dismay, and implores the courtier to remember what he's supposed to say to Hamlet. They're already done with the hat, for now. Gesturing at the hat here would be a foolish acting blunder. 92-120 here . . . sir Any editor who would commend the deletion of writing by Shakespeare from Hamlet is so hopeless an imbecile that he should not only be fired on the spot, for cause, but he should also be sued to try to prevent him from getting any severance benefit, and he should further be denied ever getting any letter of recommendation of any kind. Toss in a thrashing, for good measure. Heavens. One does not delete Shakespeare's writing, in literature. The practicalities of stage performance may rule, in that venue, but literature is a different thing. Arden is disgracefully irresponsible even to nod to the possibility of deleting Shakespeare's writing, in literature. Far from any deletion, even those words and phrasings which are credibly editorial, or credibly misprints, and not likely to be authorial, should be adequately mentioned in notes, in any worthy literary presentation. As to giving the slightest hint of possible approval to deletion of credibly authorial material, one simply does not do that with Shakespeare in print, except at the risk of being viewed as a disgrace to one's profession. 94 soft society Means "high society," referring to the upper class, the polite class, who do not do manual labor. No callus on the palm. 95 sellingly The correct word is "fellingly," as Q2 shows. Arden errs, again. They also continue to imagine they can read a manuscript which does not factually exist, which is an insane notion. The word connects to Hamlet's earlier mention of the "pass and fell incensed points," so we know with certainty the Q2 word is right - and Arden is wrong. It also goes back to Claudius's "it falls right," and so on. The courtier's word "infallibly" in L106 further confirms "fellingly" here. For plain reading, the courtier is saying that he's "bringing down" the truth about Laertes, however, he is also accidentally adding a "death" undertone, which is an instance on the Death theme, of course. continent . . . see The geographic meaning is primary. The courtier is impressed that Laertes has been to France. The courtier would like to go to France, too, at least to see the "part a gentleman would see:" the ladies. For plain reading, the courtier means that Laertes, himself, is the "best part of the world." The idea of a gentleman seeing the ladies of France is significant further along. 98 his . . . you Arden couldn't read the play. Hamlet's line is a joke. Hamlet is saying to the courtier, 'although you're the one praising him, that isn't enough to damn him.' 99 *dazzle The Q2 word, "dazzie," may be Shakespeare's exact own. It may be "daze" expanded on the pattern of "dizzy," and it would then mean both to bewilder and to fool. Arden's editorial change may have caused them to miss a genuine Shakespeare coinage. The exact Q2 word should be used in the playtext, with a note as to the possibilites, lest a possible genuine coinage go unremarked. Further, if "dazzie" is the right word, it is probably intended to be pronounced the same as "daisy." Ophelia's flowers, and the Gardening motif, indicate this. The Q2 word should be retained, in the text, but perhaps modernized to a spelling of "dazie," which is, by the way, how "daisy" is spelled in Q1 102 great article Also connects back to "more matter with less art." The undertone is a facetious comment on the "art" the courtier is using to describe Laertes. 103 dearth The words should not be simply treated as synonymous here, since "rareness" is on the Feast motif. 105 umbrage Umbrage does mean "shadow," but shadow then implies "ghost." Hamlet is unknowingly predicting Laertes's death, when he speaks of Laertes being traced (followed) by his shadow (ghost.) 106 infallibly Confirms "fellingly" as the right word earlier. 109 Sir? Ostrick is puzzled because he doesn't realize he has failed to tell Hamlet why he's talking to Hamlet about Laertes. This is similar to the earlier conversation of G with Hamlet, after the 'Mousetrap Play,' when G asked for an answer without realizing he had failed to tell Hamlet the question. While Hamlet was talking, Ostrick forgot the basic thing he was supposed to tell Hamlet. There is nice irony in this, after Hamlet's earlier facetious dismay when he begged Ostrick to remember what he was supposed to tell Hamlet. Here, Ostrick really has forgotten. And he's still standing there sweating under his ridiculous hat. 110-11 Horatio is saying to Ostrick: "Don't you understand English?" He is facetiously casting English as "another tongue" (foreign language) to the courtier. Hamlet is sublimely ironic, but sometimes the historical commentary on Hamlet is equally so, and perhaps even moreso. Generations of English scholars, and English professors, have been puzzled by a line which essentially means: "Don't you understand English?" 111 You will do't Means "keep trying, you'll get it." 111 really Is the right word, of course. One apparent reason the historical commentary on Hamlet is often inept to the point of idiocy, is because commentators habitually fuss with their own words, instead of paying attention to the words in Hamlet. As to the dearth of "really" in the Shakespeare writings, the author obviously had better things to do than toss the word around the way modern speakers do. He generally had much better words to use. Really. The author probably also perceived the unrealness of "really" in fictional writing. Here, "really" suggests "royally," connecting to the courtier being sent by Claudius, and also the courtier's "royally" preposterous verbiage. 119 I would you did The Arden paraphrase is wrong. Hamlet is saying he wishes Ostrick did, indeed, know his "ignorance" - Hamlet's "ignorance" is about the reason Ostrick is talking to him. The stupid courtier still hasn't revealed why he's talking to Hamlet. Hamlet is saying he wishes the courtier would realize he has yet to identify the point of the conversation, and would just tell Hamlet what he wants. 120 approve Hamlet is saying that if the courtier knew him well enough to know what Hamlet is ignorant about, in general, it would not compliment Hamlet for his choice of acquaintances. 125 *his weapon One does not call it a "clarification" when genuine writing by Shakespeare is omitted, as the Folio did. The Folio change in the single word, 'his' to 'this,' may be true error correction. However, the Q2 wording is easily interpreted as it stands: the courtier calls it "this weapon" because he stupidly thinks he already mentioned Laertes's swordsmanship. The original Q2 word "this" must be handled carefully, because it does offer a ready interpretation with respect to the courtier's characterization as a dunce. As to easy errors, Arden should know all about that by now. 125-6 in . . . meed It's a reference to Laertes's servants, the people in his employ. The courtier is trying to cover up that Claudius instructed him to praise Laertes's swordsmanship, so the courtier is pretending he heard about Laertes's skill from the servants, which is absurd. For one thing, it's manifest that the way this courtier is, he would not chitchat with servants, he would think it beneath him. Then, there's the point that Hamlet already knows Claudius sent him. The courtier's attempted evasion on this incidental issue is ridiculous, and especially when Hamlet hasn't even asked him who told him about Laertes's skill. There is a fantastic, subtle undertone to what the courtier says. Polonius's servants are now Laertes's servants. So, Reynaldo would now be Laertes's servant. Reynaldo is the only one we know about, who would be Laertes's servant. The courtier implies that Reynaldo could affirm Laertes is the best with a sword. How would Reynaldo know that? He would know that because of the skill Laertes showed in killing him. The courtier's remark is an allusion to the death of Reynaldo. 127 What's his weapon Of course Claudius was lying, to flatter Laertes. Claudius is the villain. Lamord praised Laertes, but Claudius exaggerated what Lamord said, to flatter Laertes. This should not be taken to imply Laertes is not good with a sword; he definitely is. And yes, Hamlet wishes the courtier would get to the point. 131 has impawned The courtier's "as I take it" is sincere. He doesn't have a solid grasp of what the bet means. This is part of his characterization as a dunce. He isn't entirely certain about the bet, although he does remember the facts Claudius told him. His phrase, "as I take it," is not directly because of the word "impawned." It's characterization, as he gives his "take" on the bet, as best he can. The Folio editor(s) apparently misunderstood, leading to their insertion of "impawned" later, inappropriately. 132 poniards Arden fails to comment that the original Q2 spelling is "Poynards," which is probably supposed to be "Ponyards," showing the word "Pony" within. It gives wordplay on a bet of "horse" versus "pony." 135 liberal conceit Liberal conceit = lewd "take" = nude women. Laertes has brought back some sword equipment from France with designs of nude women. Goes back to the courtier's mention of the "part a gentleman would see." The swords and equipment are done in a sexually-suggestive design involving nude women. Laertes has porno swords from France. Tsk! This courtier is extremely impressed by the designs, which are dear to his fancy. He wishes he had some French porno swords, too. 145 Why . . . it Arden couldn't read the play. Nor could any other professional editor of Hamlet, apparently, much to the profession's disgrace. Hamlet is simply asking the courtier: 'Why are you telling me about all this?' Arden's comma after "Why" is wrong (and is not in Q2.) 146-8 The . . . nine The 'insoluble problem' has a ridiculously easy answer. The foolish courtier has simply subtracted 3 from 12 and gotten 9, that's all. He does not know how to calculate