notes, and is the number of the page where the passage is to be found.
If the student finds, for instance, against a certain line upon page 8,
the number 12, and turns to page 12, he will there find the number 8
against a certain line: the two lines or passages are to be compared,
and will be found in some way parallel, or mutually explanatory.

Wherever I refer to the Quarto, I intend the 2nd Quarto--that is
Shakspere's own authorized edition, published in his life-time. Where
occasionally I refer to the surreptitious edition, the mere inchoation
of the drama, I call it, as it is, the _1st Quarto_.

Any word or phrase or stage-direction in the 2nd Quarto differing from
that in the Folio, is placed on the margin in a line with the other:
choice between them I generally leave to my student. Omissions are
mainly given as footnotes. Each edition does something to correct the
errors of the other.

I beg my companion on this journey to let Hamlet reveal himself in the
play, to observe him as he assumes individuality by the concretion of
characteristics. I warn him that any popular notion concerning him which
he may bring with him, will be only obstructive to a perception of the
true idea of the grandest of all Shakspere's presentations.

It will amuse this and that man to remark how often I speak of Hamlet as
if he were a real man and not the invention of Shakspere--for indeed the
Hamlet of the old story is no more that of Shakspere than a lump of coal
is a diamond; but I imagine, if he tried the thing himself, he would
find it hardly possible to avoid so speaking, and at the same time say
what he had to say.