Editorial Procedures
Rationale
Para1This website offers a semi-diplomatic edition of Douai Manuscript 787, which is here
made available to the public for the first time, in collaboration with the Bibliothèque
Marceline Desbordes-Valmo in Douai, France. The objective has been to provide a reliable
lightly-edited transcription of the manuscript reflecting its accidentals and layout,
which we believe are often significant. This transcription is wrapped into a critical
apparatus that offers the possibility to view images next to the manuscript or separately,
as well as various visualization tools, annotations, and collation.
Para2Because no reader will turn to the Douai Manuscript as a first-hand encounter with
Shakespeare’s text, the interface has been adapted and customized to be useful to
scholars desirous to read, study, or search the text as a source. We hope it will
be of interest to Shakespeare scholars, textual scholars in general, historians of
drama, and scholars working on Catholics in exile.
Para3For more on the interface and how to use it, see the User Guide.
Principles of this Edition
General
In accordance with LEMDO semi-diplomatic guidelines, we have not disambiguated i/j
and u/v, but we have regularized long
s.
The text has been rigorously transcribed and the layout of the manuscript respected,
including where we believe the scribe’s inconsistencies might indicate revision gestures
at successive times.
Abbreviations and symbols used for abbreviations (like
cut pfor per- or pre-) have not been expanded, although as an optional feature they can be expanded in the user-friendly reading mode.
Deletions in the text have been transcribed, and words or letters written-over provided
whenever possible. Conjoined words have not been corrected in the default (original) mode.
Short lacunae (like tears in the paper) are rendered by an ellipsis in the text, with
an annotation that describes the textual accidents. Long lacunae (for a part of the
page torn-out, for instance) are indicated in the text by a grey box, with an annotation
specifying the nature of the lacuna. The missing text is provided in the annotations
and supplied from F2, the manuscript’s source.
Occasional reading marks, usually crosses in the margins, are flagged in the annotations.
Folio Numbering
In the edition, the text has two folio numbering sequences. The numbers present in
the manuscript, most probably stamped in the nineteenth century at conservation stage,
are in the top right. They are provided only on rectos. We have added editorial folio
numbers which give each page a number, including versos, to make the process of quoting
from the manuscript easier. These numbers, in small type, are placed on the top of
each opening in grey. Speech headings are also numbered also for conveniency’s sake.
Stage Directions
In our edition, stage directions feature roughly where they are placed in the manuscript.
The layering of stage directions is one of the main difficulties of the transcription-edition.
Entrances are usually presented by the scribe as centered and exits either as flush
to the right of the page block or directly next to the lines; but at a revision or,
perhaps, performance stage, the scribe added new stage directions, often floating
around the text or in the margins. These latter stage directions have been treated
as additions, and have been tagged as such. They can be highlighted in the enhanced viewing mode and show in pink. When there was doubt about whether a particular stage direction
was added as an afterthought or in the moment of the transcription itself, we have
not treated it as an addition.
A few stage directions were also added by a later, second hand, more slanted and cramped:
these stage directions have also been indicated as additions, and can be highlighted
iin the enhanced viewing mode, where they show in red.
Critical Apparatus
The text comes with a series of annotations. Textual annotations indicate hand attributions
for the additions and offer comments on the most significant departures from the manuscript’s
source text, and on the most significant emendations. Commentary annotations comment
on salient aspects of the text’s appropriation of F2, especially when it suggests
signs of having been prepared with a performance in mind.
The collation is purposefully limited to a comparison between the manuscript and its
source, Shakespeare’s Second Folio. We have used the copy of second Folio held at
the Legislative Library of British Columbia, digitized and made available by the University of Victoria, as our source-text.
Important: The collation does not record all spelling variants, due to the heavy modernizing
of the text by the scribe; neither does it record systematically differences in lineation
or punctuation.
The Reading Modes
Para4Our anthology interface provides three main reading modes of the texts, with options
that can be activated via the
Toolsmenu (see
User Guide). Once on the landing page of each play, click on the
Toolsmenu and click on a radio button to select or change the reading mode:
The Original reading mode (which is the default mode) offers a transcription of the manuscript
without any enrichments. The text’s layout has been preserved and all its accidentals
reproduced. By clicking the checkbox opening the menu at the top-left of the page,
the reader can select
Toolsto access other reading modes. In the default mode, readers can choose to display the facsimile images by clicking the relevant checkbox.
The Enhanced reading mode allows readers to display the critical apparatus, i.e. the layer of
annotations and collation, scribal corrections and additions. They can deselect the
box (
Display Annotations and Collation,still in the
Toolsmenu) to hide them. In this mode, another option comes clicked by default: it offers readers the possibility of visualizing the corrections and additions. This function allows for a better apprehension of the corrections made by the scribe while writing (hesitations, deletions, overwritten letters, for instance), as well as his corrections and additions of stage directions at an obviously later stage of revision (in pink). The additions include textual additions and extra stage directions. This option also highlights the occasional additions by other hands in bright red. This highlighting is optional and can be unclicked. In this mode, it is still possible to display the images or not.
The Reader-friendly mode of reading offers a cleaned-up display. This is a regularized viewing mode in
which all the abbreviations and symbols used for abbreviations are expanded, conjoined
words are separated, cut words joined, and deletions and hesitations in the text are
hidden. This version is particularly useful for word searches. In this mode, facsimile
images can be displayed by clicking the appropriate box.
Prosopography
Côme Saignol
Côme Saignol is a PhD candidate at Sorbonne University where he is preparing a thesis
about the reception of Cyrano de Bergerac. After working several years on Digital
Humanities, he created a company named CS Edition & Corpus to assist researchers in classical humanities. His interests include: eighteenth-century
theatre, philology, textual alignment, and XML databases.
Janelle Jenstad
Janelle Jenstad is a Professor of English at the University of Victoria, Director
of The Map of Early Modern London, and Director of Linked Early Modern Drama Online. With Jennifer Roberts-Smith and Mark Kaethler, she co-edited Shakespeare’s Language in Digital Media: Old Words, New Tools (Routledge). She has edited John Stow’s A Survey of London (1598 text) for MoEML and is currently editing The Merchant of Venice (with Stephen Wittek) and Heywood’s 2 If You Know Not Me You Know Nobody for DRE. Her articles have appeared in Digital Humanities Quarterly, Elizabethan Theatre, Early Modern Literary Studies, Shakespeare Bulletin, Renaissance and Reformation, and The Journal of Medieval and Early Modern Studies. She contributed chapters to Approaches to Teaching Othello (MLA); Teaching Early Modern Literature from the Archives (MLA); Institutional Culture in Early Modern England (Brill); Shakespeare, Language, and the Stage (Arden); Performing Maternity in Early Modern England (Ashgate); New Directions in the Geohumanities (Routledge); Early Modern Studies and the Digital Turn (Iter); Placing Names: Enriching and Integrating Gazetteers (Indiana); Making Things and Drawing Boundaries (Minnesota); Rethinking Shakespeare Source Study: Audiences, Authors, and Digital Technologies (Routledge); and Civic Performance: Pageantry and Entertainments in Early Modern London (Routledge). For more details, see janellejenstad.com.
Line Cottegnies
Line Cottegnies teaches early-modern literature at Sorbonne Université. She is the
author of a monograph on the politics of wonder in Caroline poetry, L’Éclipse du regard: la poésie anglais du baroque au classicisme (Droz, 1997), and has co-edited several collections of essays, including Authorial Conquests: Essays on Genre in the Writings of Margaret Cavendish (AUP, 2003, with Nancy Weitz), Women and Curiosity in the Early Modern Period (Brill, 2016), with Sandring Parageau, or Henry V: A Critical Guide (Bloomsbury, 2018), with Karen Britland. She has published on seventeenth-century
literature, from Shakespeare and Raleigh to Ahpra Behn and Mary Astell. Her research
interests are: early-modern drama and poetry, the politics of translation (between
France and England), and women authors of the period. She has also developed a particular
interest in editing: she had edited half of Shakespeare’s plays for the Gallimard
bilingual complete works (alone and in collaboration), and, also, Henry IV, Part 2, for The Norton Shakespeare 3 (2016). With Marie-Alice Belle, she has co-edited two Elizabethan translations of
Robert Garnier (by Mary Sidney Herbert and Thomas Kyd), published in 2017 in the MHRA
Tudor and Stuart Translation Series as Robert Garnier in Elizabethan England. She is currently working on an edition of three Behn’s translations from the French
for the Cambridge edition of Behn’s Complete Works
Mahayla Galliford
Assistant project manager, 2024-present; research assistant, encoder, and remediator,
2021-present. Mahayla Galliford (she/her) graduated with a BA (Hons) English from
the University of Victoria in 2024. Mahayla’s undergraduate research explored early
modern stage directions and civic water pageantry. She continues her studies through
the UVic English master’s program and focuses on editing and encoding girls’ manuscript
writing in collaboration with LEMDO.
Navarra Houldin
LEMDO project manager 2022–present. Textual remediator 2021–present. Navarra Houldin
(they/them) completed their BA with a major in history and minor in Spanish at the
University of Victoria in 2022. Their primary research was on gender and sexuality
in early modern Europe and Latin America. They are continuing their education through
an MA program in Gender and Social Justice Studies at the University of Alberta where
they will specialize in Digital Humanities.
Orgography
LEMDO Team (LEMD1)
The LEMDO Team is based at the University of Victoria and normally comprises the project
director, the lead developer, project manager, junior developers(s), remediators,
encoders, and remediating editors.
University of Victoria (UVIC1)
https://www.uvic.ca/Metadata
Authority title | Editorial Procedures |
Type of text | Paratext |
Publisher | Sorbonne Université and University of Victoria on the Linked Early Modern Drama Online Platform |
Series | Douai Shakespeare Manuscript Project |
Source |
Born-digital, peer-reviewed anthology page written by Line Cottegnies for publication in the Douai 1.1 anthology on the LEMDO platform
|
Editorial declaration | n/a |
Edition | Released with The Douai Shakespeare Manuscript Project 1.0 |
Sponsor(s) |
The Douai Shakespeare Manuscript ProjectAnthology Lead: Line Cottegnies. The project is a scientific collaboration between Sorbonne Université and the University
of Victoria.
|
Encoding description | Encoded in TEI P5 according to the LEMDO Customization and Encoding Guidelines |
Document status | published |
Funder(s) |
Social Sciences and Humanities Research Council of Canada
Fonds France Canada pour la Recherche / France-Canada Research Fund Sorbonne Université University of Victoria |
License/availability |
This file is licensed under a CC BY-NC_ND 4.0 license, which means that it is freely downloadable without permission under the following
conditions: (1) credit must be given to the author, Douai Manuscript Project, and
LEMDO in any subsequent use of the files and/or data; (2) the content cannot be adapted
or repurposed (except for quotations for the purposes of academic review and citation);
and (3) commercial uses are not permitted without the knowledge and consent of Douai
Manuscript Project, the editor, and LEMDO. This license allows for pedagogical use
of the critical paratexts in the classroom. Neither the content nor the code in this
file is licensed for training large language models (LLMs), ingestion into an LLM,
or any use in any artificial intelligence applications; such uses are considered to
be commercial uses and are strictly prohibited.
Images provided by the Bibliothèque Marceline Desbordes-Valmore are licensed under
a CC BY-NC-ND 4.0 license. They can be downloaded and reproduced in scholarly publications and presentations
provided that credit is included. Credit must include the phrase:
Used by kind permission of the Bibliothèque Marceline Desbordes-Valmore, Douai ,and must include the shelfmark MS 787and the folio numbers. We ask that a copy of any scholarly publication be sent to the Douai library via email attachment to the Curator, currently Jean Vilbas at jvilbas@ville-douai.fr, or via mail to the following address: Bibliothèque Marceline Desbordes-Valmore, 61 Parvis Georges Prêtre, BP 20625, 59506 Douai codex, France. |