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/

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