Study of the Q1 Hamlet (1603) has been characterised by analysis of its degree
of similarity to the Q2 and Folio versions. Detailed consideration of the unique
lines in Q1 – that is, lines for which there is no analogue in Q2 or F – has been
ignored, with discussion of Q1 focusing instead on whether it ‘cuts’ or ‘remembers’ any lines from Q2 or F. This article demonstrates the consistent presence of a key image – the heart – in association with the character of Corambis in unique Q1 lines. This consistency means that whichever model of transmission one accepts, some account is needed of the prospect that unique lines were either cut or added systematically in conjunction with the change of name of the King’s counsellor.