Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan (eds), The New Oxford Shakespeare: Critical Reference Edition, Vol. 1

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B1rSc. 11.1

Critical ApparatusEnter Barnardo, and Francisco, two Centinels.
Critical Apparatus Link 1

Bar. Whose there?


Fran. Nay answere me. Stand and vnfolde your selfe.


Bar. Long liue the King,

Fran. Barnardo.

Bar. Hee.


Fran. You come most carefully vpon your houre,


Bar. Tis now strooke twelfe, get thee to bed Francisco,


Fran. For this reliefe much thanks, tis bitter cold,

7And I am sick at hart.

Bar. Haue you had quiet guard?


Fran. Not a mouse stirring.

Bar. Well, good night:

9If you doe meete Horatio and Marcellus,

10The riualls of my watch, bid them make hast.

Enter Horatio, and Marcellus.

Fran. I thinke I heare them, stand ho, who is there?

Hora. Friends to this ground.


Mar. And Leedgemen to the Dane,

Fran. Giue you good night.

Critical Apparatus13

Mar. O, farwell honest souldiers, who hath relieu'd you?

Critical Apparatus14

Fran. Barnardo hath my place; giue you good night.

Exit Fran.
pg 1138B1v Link 15

Mar. Holla, Barnardo.


Bar. Say, what is Horatio there?


Hora. A peece of him.


Bar. Welcome Horatio, welcome good Marcellus,

Critical Apparatus19

Hora. What, ha's this thing appeard againe to night?


Bar. I haue seene nothing.


Mar. Horatio saies tis but our fantasie,

22And will not let beliefe take holde of him,

23Touching this dreaded sight twice seene of vs,

24Therefore I haue intreated him along,

25With vs to watch the minuts of this night,

26That if againe this apparision come,

27He may approoue our eyes and speake to it.


Hora. Tush, tush, twill not appeare.

Bar. Sit downe a while,

29And let vs once againe assaile your eares,

30That are so fortified against our story,

Critical Apparatus31What we haue two nights seene.

Hora. Well, sit we downe,

32And let vs heare Barnardo speake of this.


Bar. Last night of all,

34When yond same starre thats weastward from the pole,

35Had made his course t'illume that part of heauen

36Where now it burnes, Marcellus and my selfe

37The bell then beating one.

Critical ApparatusEnter Ghost.

Mar. Peace, breake thee of, looke where it comes againe.


Bar. In the same figure like the King thats dead.


Mar. Thou art a scholler, speake to it Horatio.


Bar. Lookes a not like the King? marke it Horatio.

Critical Apparatus42

Hora. Most like, it horrowes me with feare and wonder.

Critical Apparatus43

Bar. It would be spoke to.

Mar. Speake to it Horatio.


Hora. What art thou that vsurpst this time of night,

45Together with that faire and warlike forme,

46In which the Maiestie of buried Denmarke

47Did sometimes march, by heauen I charge thee speake.


Mar. It is offended.

Bar. See it staukes away.

Link 49

Hora. Stay, speake, speake, I charge thee speake.

B2rExit Ghost.

Mar. Tis gone and will not answere.


Bar. How now Horatio, you tremble and looke pale,

52Is not this somthing more then phantasie?

53What thinke you-ont?

pg 1139 54

Hora. Before my God I might not this belieue,

55Without the sencible and true auouch

56Of mine owne eies.


Mar. Is it not like the King?


Hora. As thou art to thy selfe.

59Such was the very Armor he had on,

Critical Apparatus60When he the ambitious Norway combated,

61So frownd he once, when in an angry parle

Critical Apparatus62He smot the sleaded pollax on the ice.

63Tis strange.

Critical Apparatus64

Mar. Thus twice before, and iump at this dead houre,

65With martiall stauke hath he gone by our watch.


Hora. In what perticular thought, to worke I know not,

Critical Apparatus67But in the grosse and scope of mine opinion,

68This bodes some strange eruption to our state.


Mar. Good now sit downe, and tell me he that knowes,

70Why this same strikt and most obseruant watch

71So nightly toiles the subiect of the land,

Critical Apparatus72And with such dayly [cast] of brazon Cannon

73And forraine marte, for implements of warre,

74Why such impresse of ship-writes, whose sore taske

75Does not deuide the Sunday from the weeke,

76What might be toward that this sweaty hast

77Doth make the night ioynt labourer with the day,

78Who ist that can informe mee?

Hora. That can I.

79At least the whisper goes so; our last King,

80Whose image euen but now appear'd to vs,

81Was as you knowe by Fortinbrasse of Norway,

82Thereto prickt on by a most emulate pride

83Dar'd to the combat; in which our valiant Hamlet,

84(For so this side of our knowne world esteemd him)

85Did slay this Fortinbrasse, who by a seald compact

Critical Apparatus86Well ratified by lawe and heraldy

B2vCritical Apparatus Link 87Did forfait (with his life) all these his lands

88Which he stood seaz'd of, to the conquerour.

89Against the which a moitie competent

Critical Apparatus90Was gaged by our King, which had returne

pg 114091To the inheritance of Fortinbrasse,

Critical Apparatus92Had he bin vanquisher; as by the same comart,

Critical Apparatus93And carriage of the [article desseignd],

94His fell to Hamlet; now Sir, young Fortinbrasse

95Of vnimprooued mettle, hot and full,

96Hath in the skirts of Norway heere and there

Critical Apparatus97Sharkt vp a list of lawelesse resolutes

98For foode and diet to some enterprise

99That hath a stomacke in't, which is no other

100As it doth well appeare vnto our state

101But to recouer of vs by strong hand

102And tearmes compulsatory, those foresaid lands

103So by his father lost; and this I take it,

104Is the maine motiue of our preparations

105The source of this our watch, and the chiefe head

Critical Apparatus106Of this post hast and Romadge in the land.

Critical Apparatus107

Bar. I thinke it be no other, but enso;

108Well may it sort that this portentous figure

109Comes armed through our watch so like the King

110That was and is the question of these warres.

Critical Apparatus111

Hora. A moth it is to trouble the mindes eye:

112In the most high and palmy state of Rome,

113A little ere the mightiest Iulius fell

Critical Apparatus114The graues stood [tennātlesse], and the sheeted dead

115Did squeake and gibber in the Roman streets

Critical Apparatus116As starres with traines of fier, and dewes of blood

117Disasters in the sunne; and the moist starre,

118Vpon whose influence Neptunes Empier stands,

119Was sicke almost to doomesday with eclipse.

pg 1141Critical Apparatus120And euen the like precurse of [feard] euents

121As harbindgers preceading still the fates

122And prologue to the Omen comming on

123Haue heauen and earth together demonstrated

124Vnto our Climatures and countrymen.

Enter Ghost.

B3r Link 125But soft, behold, loe where it comes againe

126Ile crosse it though it blast mee: stay illusion,

It spreads

127If thou hast any sound or vse of voyce,

his armes.

Critical Apparatus128Speake to me,

129If there be any good thing to be done

130That may to thee doe ease, and grace to mee,

131Speake to me.

132If thou art priuie to thy countries fate

133Which happily foreknowing may auoyd

134O speake:

135Or if thou hast vphoorded in thy life

136Extorted treasure in the wombe of earth

Critical Apparatus137For which they say your spirits oft walke in death.

The cocke

138Speake of it, stay and speake, stop it Marcellus.

Critical Apparatus139

Mar. Shall I strike it with my partizan?


Hor. Doe if it will not stand.

Bar. Tis heere.

Hor. Tis heere.

Mar. Tis gone.

141We doe it wrong being so Maiesticall

142To offer it the showe of violence,

143For it is as the ayre, invulnerable,

144And our vaine blowes malicious mockery.


Bar. It was about to speake when the cock crewe.


Hor. And then it started like a guilty thing,

147Vpon a fearefull summons; I haue heard,

148The Cock that is the trumpet to the morne,

149Doth with his lofty and shrill sounding throat

150Awake the God of day, and at his warning

151Whether in sea or fire, in earth or ayre

152Th'extrauagant and erring spirit hies

153To his confine, and of the truth heerein

154This present obiect made probation.


Mar. It faded on the crowing of the Cock.

Critical Apparatus156Some say that euer gainst that season comes

157Wherein our Sauiours birth is celebrated

Critical Apparatus158This bird of dawning singeth all night long,

Critical Apparatus159And then they say no spirit dare sturre abraode

160The nights are wholsome, then no plannets strike,

pg 1142Critical Apparatus161No fairy takes, nor witch hath power to charme

B3vCritical Apparatus Link 162So hallowed, and so gratious is that time.


Hora. So haue I heard and doe in part belieue it,

164But looke the morne in russet mantle clad

165Walkes ore the dewe of yon high Eastward hill

166Breake we our watch vp and by my aduise

167Let vs impart what we haue seene to night

168Vnto young Hamlet, for vppon my life

169This spirit dumb to vs, will speake to him:

170Doe you consent we shall acquaint him with it

171As needfull in our loues, fitting our duty.


Mar. Lets doo't I pray, and I this morning knowe

Critical Apparatus173Where we shall find him most conuenient.


Notes Settings


Critical Apparatus
1.0.1 Barnardo = Bernardo. Similarly throughout. The modernized spelling adopted here is the standard form of the name.
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1.1 Whose with large 'VV' followed by capital 'H'
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1.13 souldiers 2roberts; Soldier 1simmes, jaggard
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1.14 hath 2roberts, 1simmes; ha's jaggard. Shakespeare generally preferred the older form.
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1.19 Hora. 2roberts; Mar. 1simmes, jaggard
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1.31 haue two nights 2roberts, 1simmes; two Nights haue jaggard
Critical Apparatus
1.37.1 Ghost 2roberts, 1simmes; the Ghost jaggard. The correspondence between the quartos here and at 1.49 is not significant, as 2roberts always refers to 'Ghost' in stage directions, never 'the Ghost'.
Critical Apparatus
1.42 horrowes 2roberts; horrors 1simmes; harrowes jaggard. 2roberts's 'horrowes' may be an error, being unexpected as a spelling; but compare 'ottamie' for 'atomi' in Romeo and Juliet 5.58.
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1.43 Speake to 2roberts; Question 1simmes, jaggard
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1.60 he the 2roberts, 1simmes; th' jaggard. The elision 'th'' is all the more compelling in jaggard as a text that due to error has lost its original meter, and is adopted in Modern.
Critical Apparatus
1.62 the sleaded 2roberts; his leaded moltke; the steeled rasmussen; the studded conj. Taylor. Editors' difficulties with 'pollax' stem largely from 'sleaded'. The noun would have been more readily understood to refer to a weapon if it had been seen to be described in an intelligible way. Taylor's suggestion is prompted by the description of a poleaxe as 'studded' in Spenser's Fairie Queene V.12.16. It may be added that Shakespeare used 'studded' twice, once in an equivalent construction: 'The studded bridle on a ragged bough' (Venus and Adonis 37). But 'sleaded' is defensible, and is confirmed in jaggard. See Textual Introduction for this and 'sleaded'.
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1.64 iump 2roberts, 1simmes; iust jaggard
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1.67 mine 2roberts; my 1simmes, jaggard
Critical Apparatus
1.72 with 2roberts; why 1simmes, jaggard
Critical Apparatus
1.72 cast jaggard; cost 2roberts, 1simmes. Though 2roberts's 'cost' arguably relates to 'forraine mart', the more immediate correlation with 'nightly toiles' points to a reference to the labour of manufacture, as is suggested too by the more immediate reference to the metal in 'brazon'. Moreover, although 'impresse' two lines below refers to conscription, it also connotes the physical impression of metal, and so is related to 'cast'. Thus 'cast' is not only a better reading; it is evidently bedded into the pattern of imagery in such a way as to indicate that it is intrinsic to the passage ('nightly toils . . . daily cast', 'such daily cast of brazen cannon . . . such impress of shipwrights'), and so not a later improvement. As jenkins notes, 2roberts might hereabouts be influenced by 1simmes (47).
Critical Apparatus
1.86 heraldy = heraldry. Also at 7.361.
Critical Apparatus
1.87 these 2roberts; those 1simmes, jaggard
Critical Apparatus
1.90 returne 2roberts, 1simmes; return'd jaggard
Critical Apparatus
1.92 comart 2roberts; Cou'nant jaggard. 'Mart' certainly picks up from 1.73, though the implication as to the agency behind this echo is uncertain. 'Co-mart' is not otherwise known (OED, EEBO-TCP). But there is no good basis on which to reject the reading as error. It compares with other rare instances of probable Shakespearean word-formation with the prefix 'co-' in Hamlet: 'comedled' (9.56; also altered in jaggard) and 'commutual' l(9.137; retained in jaggard). Shakespeare introduces coinages with the prefix 'co-' elsewhere too, such as 'co-supremes' in 'Let the Bird of Loudest Lay' 51. jenkins notes that the prefix is redundant: 'it is hard to see what a bargain could be other than joint' (427–8); but this criticism might also be applied to 'comutuall'.
Critical Apparatus
1.93 article desseignd allot (subs.); article desseigne 2roberts; Article designe jaggard; articled design conj. Proudfoot (in thompson-taylor). An easy misreading that might have occurred twice in setting or copying from a poorly penned terminal letter in the common authorial source document.
Critical Apparatus
1.97 lawelesse 2roberts, 1simmes; Landlesse jaggard. Although 2roberts gives the more usually accepted reading, jaggard makes good sense; if jaggard gives a legitimate reading, 2roberts falls under some suspicion as possibly derived from 1simmes. But the variants might also both be authorial.
Critical Apparatus
1.106 Romadge 2roberts(a); Romeage 2roberts(b); Romage jaggard. Both quarto forms are unusual. Egan notes, following Dane's general discussion of the issue, not only that the heap of sheets would be kept in sequence from the first forme when the second forme was printed, but also that this integrity in the heaps of different sheets would commonly lead to a comparable integrity in the sheets of the gathered copies of the whole book. In other words, a particular copy that has uncorrected or corrected sheets for which there is evidence showing the direction of correction is likely to have the same uncorrected or corrected state in other sheets where the evidence is not so conclusive. Such a pattern is clearly to be observed in the formes of 2roberts where the evidence indicates the sequence from uncorrected to corrected: hence, for instance, A(i), C(i), C(o), D(i), D(o), N(i), and N(o) are all uncorrected in the Yale and Huntington copies. Egan applies this observation to the determination of sequence for the remaining press-corrected formes B(o), G(o), and L(o). The reasoning is acceptable for the present reading. This points to 'Romadge' being the uncorrected reading, and hence (it may be added) the reading probably closest to the manuscript.
Critical Apparatus
1.106 Some copies read 'Romeage' instead of 'Romadge'
Critical Apparatus
1.107 enso = e'en so
Critical Apparatus
1.111 moth = mote
Critical Apparatus
1.114 tennātlesse 3smethwick (subs.); tennatlesse 2roberts. Passage not in 1simmes, jaggard.
Critical Apparatus
1.116–20 As 2roberts; At taylor. Passage not in 1simmes, jaggard. The sense remains strained even as emended. A line may be missing after 1.106 (Jennens), or 1.116–19 were added in the margin and should follow 1.124 (Tschischwitz; Wilson, Manuscript, 222–5). Or, as accepted here, Shakespeare may simply have lost control of the syntax.
Critical Apparatus
1.120 feard parrott-craig (Collier); feare 2roberts; fearce 3smethwick. Passage not in 1simmes, jaggard.
Critical Apparatus
1.128–9 Speake . . . done pope; 1 line 2roberts
Critical Apparatus
1.137 your 2roberts; you 1simmes, jaggard. 2roberts gives the informal indefinite possessive, as in 'your philosophie' at 5.166 (thompson-taylor).
Critical Apparatus
1.139 strike 2roberts; strike at jaggard
Critical Apparatus
1.156 say 2roberts, 1simmes; sayes jaggard
Critical Apparatus
1.158 This 2roberts; The 1simmes, jaggard
Critical Apparatus
1.159 dare sturre 2roberts; dare walke 1simmes; can walke jaggard
Critical Apparatus
1.159 abraode = abroad. The 'ao' vowel spelling is rare, but EEBO-TCP locates three other examples of 'braod(e)' for 'broad', and in 2roberts 'braod' also occurs at 10.81 and 11.2. Compare 'thraote', 7.470, and 'thraot', 17.121.
Critical Apparatus
1.161 takes 2roberts, 1simmes; talkes jaggard. 2roberts is usually preferred, and the sense 'bewitches' is Shakespearean: Merry Wives of Windsor 4.4.28, Antony and Cleopatra 28.37.
Critical Apparatus
1.162 that 2roberts, 1simmes; the jaggard
Critical Apparatus
1.173 conuenient 2roberts; conueniently 1simmes, jaggard
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