The Douai Romeo and Juliet: Introduction
Para1There is no title-page and the title of the play is not given. The play covers five
full quires. The scribe or the editor adds a list of characters; there was none in
F2, the source text. There is no division of acts in this play (as in F2), contrary
to what is the case with all the other plays of the Douai collection; it has no scene
numbers either. The F2 text only includes an indication for the first act and the
first scene; the scribe or editor only retains the mention of Act I. There is no prologue
(but this was also the case in F2), but the Douai MS also excludes the Chorus which
opens Act 2. In this edition, act numbers have been provided between brackets for
the reader’s comfort.
Para2The text of the Douai MS for Romeo and Juliet is relatively clean. It follows F2 consistently, although there are a great number
of cuts throughout the play, ranging from a couple of words to passages of a few hundred
words. The Douai Romeo and Juliet is the play that is the most heavily abridged of the volume, with cuts amounting
to almost a third of the play (almost 1,000 lines), which brings the playtext down
to about 2,000 words. The roles of the Nurse and Friar are considerably abridged,
as well as generally the comic passages that include bawdy jokes. Romeo’s ramblings
about the definition of love at the beginning of Act I (the scene is not numbered),
have been cut, like the scene in which Mercutio extemporizes about Queen Mab (usually
Act I, Scene 4). The long digressions, like the dialogues between Romeo and Mercutio,
Benvolio and Mercutio, and between Romeo and the Nurse or the Friar, are consistently
abridged; the scene between Peter and the musicians is left out. As a result the action
is deliberately focused on the tragic fate of Romeo and Juliet, but the long soliloquies
are often abridged. The cuts serve a higher dramatic efficacy, but some might be explained
by moral reasons, for instance when they include bawdy allusions, or Juliet’s threat
to kill herself.
Para3 As in the other plays of the MS, the lexis and syntax are often modernized. Archaic
spellings and verbal suffixes in -th or -st are often edited by the scribe or editor
and they have not been flagged in the collation; neither have lineation changes. The
punctuation is fairly light. The F2 text has been edited by the Douai scribe where
it is faulty or obscure, and the most significant textual emendations, some of which
predate later ones by Rowe or Pope, have been highlighted in the annotations and collations.
Only the major departures from F2 have been indicated in the collation, however, and
the salient points of the transcription-cum-edition have been flagged in the annotations.
Note that the Douai manuscript often substitutes yes for the archaic Ay or I; and my for mine; whereon is frequently replaced by on which. The scribe also uses whe for when. Some substitutions of a plural form for a singular, or vice versa, have not been
marked either, unless they were considered to be significant emendations.
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.
Si Micari-Lawless
Si Micari-Lawless is a research assistant with LEMDO and MoEML, and an incoming fourth-year
English major at the University of Victoria.
William Shakespeare
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 | The Douai Romeo and Juliet: Introduction |
Type of text | Critical |
Publisher | University of Victoria on the Linked Early Modern Drama Online Platform |
Series | Douai Shakespeare Manuscript Project |
Source |
Born-digital, peer-reviewed introduction 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 1.1 |
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, peer-reviewed |
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 cedex, France. |