By modern standards, stage directions in seventeenth-century editions of Hamlet are frequently incomplete or confusing. Examples include the missing exit after the Ghost’s ‘Adiew, adiew, adiew, remember me' (D3r [Q2]), the lack of information in stage directions regarding Polonius' hiding place during the closet scene (I2r [Q2]), and Rosencraus and Guyldensterne's aborted double entrance in the quarto editions’ presentation of the subsequent scene between Claudius and Gertrude (K1r–K1v [Q2]). 1 Inconsistencies of this type were addressed by eighteenth-century editors, and their emendations often form the basis for modern critical editions. However, these changes are not always correctly attributed. As I will show in this note, the creation of the ‘Player King’ and ‘Player Queen’ speech prefixes during the Mousetrap scene has been misattributed since at least 1877 and continues to be misattributed in the scholarly editions we use today.