Collation Types
Rationale
LEMDO separates collations into two types: horizontal and vertical. This documentation
will explain the difference between these two types of collation, define a number
of key terms, and explain the decision-making process that you will follow when preparing
to collate.
Practice: Collate Textual Variants
A horizontal collation (also referred to as a synchronic or a press-variant collation)
captures variants across multiple extant witnesses of a single edition. This type
of collation file points to anchors embedded in an semi-diplomatic transcription.
LEMDO does not require this type of collation, nor do most of its anthologies.
Copy-specific collation requires time, money, and travel, luxuries that are not equally
available to all editors. Copy-specific collation may not offer much in the way of
editorial or pedagogical return and may delay your work on other parts of the edition
for which there is a more pressing need. For Shakespeare, copy-specific collations
are widely available in other publications or resources. For non-Shakespearean plays
that have not been subject to the same textual scrutiny as Shakespeare, you may be
able to make a genuine contribution to scholarship. Consult with your anthology lead
if you have the ability, resources, and desire to undertake such a collation.
Should you undertake a collation of extant copies, you will first create a semi-diplomatic
transcription of a single copy of an early edition. You will anchor your collation
of variants in a semi-diplomatic transcription.
Practice: Collate Historical Editions
A vertical collation (also referred to as a diachronic or a historical collation)
captures substantive variants between editions from the early editions (early printed
playbooks—e.g., quartos and folios up to 1700) through subsequent editorial interventions
(from 1700 on). This type of collation usually presupposes an ideal copy of the edition
being collated. This type of collation file points to anchors embedded in a modernized
text. These collations are required by LEMDO, but you will consult with your anthology
lead about how many witnesses you need to collate for your edition.
Before you begin to modernize your text, you will choose your copy-text. LEMDO will
prepare a template for your modernized text from your chosen copy text. The template
will contain your semi-diplomatic transcription of your chosen copy-text and the basic
tagging for a modernized text. Before you begin to modernize the text, you must collate
at least the early editions (pre-1700). For example, if an editor decides to base
their modern edition of Heywood’s 2 If You Know Not Me, You Know Nobody on the Q1 text (transcribed from the the Boston Library copy) we will convert the
XML file of their semi-diplomatic transcript into a base XML file upon which the modernized
text can be inscribed. That base XML file is essentially a palimpsest, which will
begin by containing both the semi-diplomatic transcript and the skeletal tagging for
the modernized text. See
Convert IML to LEMDO TEIfor more information on this conversion.
The point of this type of collation is to prepare you for the modernization process.
If you end up adopting a reading introduced by an earlier editor, this collation also
serves the function of giving credit where credit is due, as LEMDO editors build on
the work of their predecessors by adopting, adapting, and/or rejecting the interventions
and changes made by earlier editors. While all accepted or adapted collations must
be recorded, not all rejected interventions need to be collated. Consult with your
anthology lead before you undertake this task.
File Comparison of Horizontal and Vertical Collations
| Collation type | Main text (containing lemmatic readings and anchors) | Example | Collation file (containing stemmatic readings and pointers) |
| Horizontal collation | Semi-diplomatic transcription of an early edition | emdMV_Q1 | emdMV_Q1_collation.xml |
| Vertical collation | Modern text (before the text is modernized) | emdMV_M | emdMV_M_collation.xml |
Terms for Working on Collations
Extant: Surviving. Not all materials of the past have lasted to the modern day; those that
do are said to be
extant.
Witness (in the context of editing): A witness is an extant document or part of a document.
It could be a manuscript or a particular copy of an early edition.
Witness (in the context of encoding): Any manuscript or print edition. For encoding purposes,
the TEI Guidelines treat all manuscripts and printed editions (early editions and modern editions alike)
as witnesses.
Edition: A printed text, from the earliest printed texts up to the most recent edited modernized
texts.
Reading: What an edition or witness says (the lineation, words, characters, punctuation,
and spacing).
Lemma (lemmatic reading): What the text says in the digital file in which you are putting
anchors. A lemma helps your reader establish a comparison between the base text/edited
text and alternatives expressed in the stemma.
Stemma (stemmatic reading): What a selection of other editions and witnesses say. Not all
stemma need to be represented in a collation note.
Siglum (plural sigla): An abbreviation for either an edition (e.g., Q, Q1, Q2, F, F2, Rowe, Pope, Capell,
Jowett) or for a particular witness, usually a manuscript (e.g. Ard., Dev., Mid).
When to Collate
There are two distinct approaches to the timing of collation, each with its own rationale:
Collate then modernize.
Modernize then collate.
Collate then Modernize
You will normally prepare your collation of substantive variants between editions
before you begin to modernize your text. Doing this collation prepares you to make
sound decisions grounded in deep knowledge of the editorial history of the text. (LEMDO
recognizes that many editors making the transition to LEMDO will have already modernized
their text before they create the collation file because of the ISE platform’s use
of string-matching.)
LEMDO’s practice is to convert the semi-diplomatic transcription of your choice to
a base file that you will modernize. For example, if you wanted to base a modern edition
of The Merchant of Venice on the 1619 Pavier quarto, LEMDO would take your semi-diplomatic transcription of
Q2 and create a template for your modern edition. When you begin work on this file,
you will see your old semi-diplomatic transcription with skeletal tagging in place
for the modernized text that you will eventually create by modernizing the semi-diplomatic
transcription. We will remove the tagging that captures forme works (running titles,
signature marks, etc.) and compositorial line beginnings.
Before you begin to modernize this text, you will insert anchors in your modern file
and create the individual apparatus entries (in your collation file) that point to
these anchors. See
Create Anchorsand
Practice: Encode the Root
<app>
Element for more information on adding anchors.Prosopography
Isabella Seales
Isabella Seales is a fourth year undergraduate completing her Bachelor of Arts in
English at the University of Victoria. She has a special interest in Renaissance and
Metaphysical Literature. She is assisting Dr. Jenstad with the MoEML Mayoral Shows
anthology as part of the Undergraduate Student Research Award program.
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.
Joey Takeda
Joey Takeda is LEMDO’s Consulting Programmer and Designer, a role he assumed in 2020
after three years as the Lead Developer on LEMDO.
Mahayla Galliford
Project manager, 2025-present; research assistant, 2021-present. Mahayla Galliford
(she/her) graduated with a BA (Hons with distinction) from the University of Victoria
in 2024. Mahayla’s undergraduate research explored early modern stage directions and
civic water pageantry. Mahayla continues her studies through UVic’s English MA program
and her SSHRC-funded thesis project focuses on editing and encoding girls’ manuscripts,
specifically Lady Rachel Fane’s dramatic entertainments, in collaboration with LEMDO.
Martin Holmes
Martin Holmes has worked as a developer in the UVic’s Humanities Computing and Media
Centre for over two decades, and has been involved with dozens of Digital Humanities
projects. He has served on the TEI Technical Council and as Managing Editor of the
Journal of the TEI. He took over from Joey Takeda as lead developer on LEMDO in 2020.
He is a collaborator on the SSHRC Partnership Grant led by Janelle Jenstad.
Navarra Houldin
Training and Documentation Lead 2025–present. LEMDO project manager 2022–2025. 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.
Nicole Vatcher
Technical Documentation Writer, 2020–2022. Nicole Vatcher completed her BA (Hons.)
in English at the University of Victoria in 2021. Her primary research focus was women’s
writing in the modernist period.
Sarah Neville
Sarah Neville is an associate professor of English and Theatre, Film and Media Arts
at the Ohio State University. She specializes in early modern English literature,
bibliography, theories of textuality and Shakespeare in performance, chiefly examining
the ways that authority is negotiated in print, digital and live media. She is an
assistant editor of the New Oxford Shakespeare (2016-17), for which she edited five plays in both old and modern-spelling editions,
as well as an associate coordinating editor of the Digital Renaissance Editions. She
regularly publishes on textual theory, digital humanities, pedagogy, and scholarly
editing. Neville’s book, Early Modern Herbals and the Book Trade: English Stationers and the Commodification
of Botany (Cambridge, 2022), demonstrates the ways that printers and booksellers of herbals
enabled the construction of scientific and medical authority in early modern England.
A theatre director and film artist who is a great believer in experiential learning,
Neville is the founder and creative director of Ohio State’s Lord Denney’s Players, an academic theatre company that enables students to see how technologies of textual
transmission have shaped the reception of Shakespeare’s plays.
Tracey El Hajj
Junior Programmer 2019–2020. Research Associate 2020–2021. Tracey received her PhD
from the Department of English at the University of Victoria in the field of Science
and Technology Studies. Her research focuses on the algorhythmics of networked communications. She was a 2019–2020 President’s Fellow in Research-Enriched
Teaching at UVic, where she taught an advanced course on
Artificial Intelligence and Everyday Life.Tracey was also a member of the Map of Early Modern London team, between 2018 and 2021. Between 2020 and 2021, she was a fellow in residence at the Praxis Studio for Comparative Media Studies, where she investigated the relationships between artificial intelligence, creativity, health, and justice. As of July 2021, Tracey has moved into the alt-ac world for a term position, while also teaching in the English Department at the University of Victoria.
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.
Metadata
| Authority title | Collation Types |
| Type of text | Documentation |
| Publisher | University of Victoria on the Linked Early Modern Drama Online Platform |
| Series | Linked Early Modern Drama Online |
| Source |
TEI Customization created by Martin Holmes, Joey Takeda, and Janelle Jenstad; documentation written by members of the LEMDO Team
|
| Editorial declaration | n/a |
| Edition | Released with Linked Early Modern Drama Online 1.0 |
| Encoding description | Encoded in TEI P5 according to the LEMDO Customization and Encoding Guidelines |
| Document status | prgGenerated |
| Funder(s) | Social Sciences and Humanities Research Council of Canada |
| 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 and LEMDO in any subsequent use
of the files and/or data; (2) the content cannot be adapted or repurposed (except
in quotations for the purposes of academic review and citation); and (3) commercial
uses are not permitted without the knowledge and consent of the editor and LEMDO.
This license allows for pedagogical use of the documentation in the classroom.
|