Chapter 3. LEMDO’s Taxonomies

Introduction to LEMDO’s Taxonomies

The documentation in this chapter is for all editors and encoders. It provides information about LEMDO’s categories and taxonomies including those categories needed to trigger specific processing, standard play IDs, and allowed values for placement of stage directions in semi-diplomatic transcriptions.

Types of Categories

LEMDO TEI files are categorized along many different vectors:
Document type (primary source text, born digital information page, etc.).
Editorial treatment (semi-diplomatic, modern spelling, etc.).
Book format (broadside, folio, quarto, etc.).
Work type (play, prose, poetry, etc.).
Original digital source (ISE IML encoding, TCP encoding, XWiki file, etc.).
These taxonomies (along with others) are defined in the TAXO1.xml taxonomies file, and incorporated from there into the project schema. Then every TEI document is assigned a number of <catRef> elements in its <teiHeader> :
<textClass>
  <catRef scheme="tax:emdDocumentTypes" target="cat:ldtPrimaryText"/>
  <catRef scheme="tax:emdEditorialTreatments" target="cat:letModernized"/>
  <catRef scheme="tax:emdWorkTypes" target="cat:lwtPlay"/>
  <catRef scheme="tax:emdDocumentHist" target="cat:edhSourceIML"/>
</textClass>
This example specifies that the text is a modern spelling version of a play, and its original digital source was an IML file from the Internet Shakespeare Editions repository. Many of these categories are assigned automatically when files are converted, but encoders are expected to check that they are correct and add any new categories required. If <catRef> values are incorrect or missing, a document may not render correctly, or the wrong Schematron rules may be triggered.
For full details of all LEMDO’s taxonomies, look at the Taxonomies page.

Additional Taxonomies

In addition to the categories that we use to classify our TEI files, there are a number of other taxonomies that are documented in this chapter. While the categories described above are used in the TEI header to ensure the correct processing is applied to files, our other taxonomies are largely to ensure consistent encoding throughout the LEMDO project.

Learning Outcomes

This chapter gives you all the information that you need to find and use values from LEMDO’s taxonomies. By the time you have worked through every section of this chapter, you will:
Understand and be able to update the categories ( <catRef> elements) in your files’ TEI headers.
Be familiar with the audiences our documentation can be directed towards.
Know where to find our list of authority identifiers for bibliography and citation.
Know what each of our placement and rendition values should be used for in semi-diplomatic transcriptions.
Have access to the lists of glyphs and ligatures that LEMDO has used for semi-diplomatic transcriptions.
Be able to find the DRE IDs for plays.

Contents

Section Description
Document Type Taxonomy Learn about key categories for classifying documents and triggering specific category-based processing
Work Type Taxonomy Learn how to capture the genre of primary documents (e.g., play, mayoral show)
Print Book Formats Taxonomy Learn how to capture the format of the copytext for your semi-diplomatic transcription (e.g., quarto, folio, manuscript)
Editorial Treatments Taxonomy Learn how to classify your editorial treatment of a file
Document Histories Taxonomy Learn how to capture key information about the origin of your file
Audiences Taxonomy Learn about the audiences we write documentation for
Document Status Taxonomy Learn about the values we use to track the progress of a file and to indicate a file’s current status
Responsibilities Taxonomy Learn about the responsibility categories we use to give credit to contributors and collaborators
IDNO Authorities Taxonomy Learn about the authority identifiers that we use to provide stable references in bibliography entries
Prefix Definitions Taxonomy Learn about the prefixes LEMDO has created to simplify linking practices
Placement Taxonomy Learn how to use our placement values to describe the location of stage directions and labels in semi-diplomatic transcriptions
Typographical Glyphs Taxonomy Learn about the glyphs that LEMDO has used in semi-diplomatic transcriptions (note that we no longer encourage encoders to tag glyphs in new files)
Typographical Ligatures Taxonomy Learn about the ligatures that LEMDO has used in semi-diplomatic transcriptions (note that we no longer encourage encoders to tag ligatures in new files)
DRE Play IDs Find the standard abbreviation for each play in the LEMDO repository
Renditions Taxonomy Learn about the standard renditions that LEMDO has created to simplify inline styling in semi-diplomatic transcriptions

Document Type Taxonomy

All documents in LEMDO are either born-digital documents or primary documents. Within those two general categories, LEMDO offers additional ways to categorize a file.
Born-digital documents in an edition include: annotations, critical paratexts, bibliographies, the edition landing page, and XML files containing instructions for generating the print output. Born-digital documents in LEMDO-dev include documentation pages, landing pages, databases, and programmatically generated pages. Born-digital files in an anthology include pedagogy pages, landing pages, About pages (i.e., about the project/anthology), history pages (e.g., history of a playing company), and information pages (e.g., copyright, citatation).
Primary documents in an edition include: facsimiles, semi-diplomatic transcription(s), collations, primary paratexts (commendatory poems, prefatory matter, addresses to the reader, alternate prologues), and modernized text(s). LEMDO-dev does not have primary pages. An anthology might have primary documents that are not in an edition, if the anthology chooses to present contextual documents relevant to the entire anthology (e.g., a lease for a playhouse).
Every XML file must have a document type indicated in its <teiHeader> . Capture this information via the <catRef> element. The value of @scheme is tax:emdDocumentTypes. The value of the @target attribute is the relevant category within the Document Type Taxonomy. This example indicates that the file has the document type category cat:ldtPrimaryText.
<textClass>
  <catRef scheme="tax:emdDocumentTypes" target="cat:ldtPrimaryText"/>
  <!-- Normally, there will be other catRefs here to capture the other, intersecting categories to which the document belongs. -->
</textClass>

Born Digital

@xml:id Name Description
ldtBornDigAbout About
Documents about LEMDO or another anthology.
ldtBornDigAboutPolicy Policy
Documents about LEMDO policy or the policies of another anthology.
ldtBornDigDocumentation Documentation
Encoding and editorial guidelines; programming, processing, and rendering instructions; how-to instructions; element descriptions; and records of remediation.
ldtBornDigLanding Landing
Landing pages.
ldtBornDigInfo Information
Information pages.
ldtBornDigDatabase Database
Entity collection files.
ldtBornDigGenerated Generated
Files created automatically during the build.
ldtBornDigAnthology Anthology
Anthology files (rooted on a <teiCorpus> element).
ldtBornDigEdition Edition
Root files for textual editions.
ldtBornDigPrint Print
Root files for print editions.
ldtBornDigParatext Paratext
Ancillary files that typically form part of an edition, such as acknowledgements.
ldtBornDigParatextCritical Critical
Critical material, such as a general introduction or a textual introduction.
ldtBornDigParatextBibl Bibliography
Bibliographies and reference lists.
ldtBornDigParatextCharacters Characters
Character lists and cast lists. Note that character lists for modernized texts belong in the header of the modernized text, not in a separate file.
ldtBornDigParatextAnnotation Annotation
Notes, glosses, and other annotations.
ldtBornDigParatextCollation Apparatus
Collation files.
ldtBornDigParatextHist History
Documents on historical background.
ldtBornDigParatextPedagogical Pedagogy
Teaching notes, lesson plans, and other pedagogical material.

Primary

@xml:id Name Description
ldtPrimaryText Primary Source Text
Edited primary source texts. Modernized texts and semi-diplomatic texts must have this value. Not to be used for supplementary texts.
ldtPrimaryFacsimile Facsimile
Files with <facsimile> pointing to digital surrogates.
ldtPrimaryParatext Primary Paratext
Dedications, addresses, commendatory poems, and other primary source paratexts. Do not use for EMDP. Use lpt values instead.
ldtTest Test
Test-only document.

Work Type Taxonomy

LEMDO’s work type taxonomy allows us to capture the genre of our primary documents. The work type triggers certain types of processing. The current list of work types is short: play, poetry, prose, and mayoral show, and dramatic paratext. We are open to adding new types as required for new anthologies.
Only documents that have the document type of primary (i.e., that have a value of ldtPrimaryText) can have a work type. Capture this information via the <catRef> element. The value of @scheme is tax:emdWorkTypes. The value of the @target attribute is the relevant category within the Work Type Taxonomy. In the following example, note that the file has the document type primary and the work type play.
<textClass>
  <catRef scheme="tax:emdDocumentTypes" target="cat:ldtPrimaryText"/>
  <catRef scheme="tax:emdWorkTypes" target="cat:lwtPlay"/>
  <!-- You will probably also have a catRef for editorial treatment. -->
</textClass>

Work Types

@xml:id Name Description
lwtPlay Play
Dramatic text, semi-diplomatic or modernized.
lwtPoetry Poetry
Work which is primarily non-dramatic poetry.
lwtProse Prose
Work which is primarily prose.
lwtShow Mayoral Show
Mayoral show, semi-diplomatic or modernized.
lwtPara Dramatic Paratext
Dramatic paratext transcribed for EMDP.

Print Book Formats Taxonomy

LEMDO’s print book format taxonomy allows us to capture the book format of the sources we transcribe in the semi-diplomatic transcriptions. The book format type triggers certain types of processing as well. The current list of book formats types is short: broadside, folio, quarto, and octavo. We are open to adding new types as required for new anthologies.
Only documents that have the document type value of ldtPrimary (or a subordinate primary document type such as ldtPrimaryText) and editorial treatment type of letSemiDiplomatic can have a book format type. Capture this information via the <catRef> element. The value of @scheme is tax:emdBookFormats. The value of the @target attribute is the relevant category within the Book Format Taxonomy.
<textClass>
  <catRef scheme="tax:emdDocumentTypes" target="cat:ldtPrimaryText"/>
  <catRef scheme="tax:emdWorkTypes" target="cat:lwtPlay"/>
  <catRef scheme="tax:emdBookFormats" target="cat:lbfQuarto"/>
  <catRef scheme="tax:emdEditorialTreatments" target="cat:letSemiDiplomatic"/>
</textClass>

Book Formats

@xml:id Name Description
lbfBroadside Broadside
Large sheet printed on one side only.
lbfFolio Folio
Print volume constructed from sheets folded once.
lbfQuarto Quarto
Print volume constructed from sheets folded twice.
lbfOctavo Octavo
Print volume constructed from sheets folded three times.
lbfManuscript Manuscript
Manuscript.
lbfDuodecimo Duodecimo
Duodecimo.

Editorial Treatments Taxonomy

LEMDO’s editorial treatment taxonomy allows us to indicate the general editorial treatment the editor has applied to the text. The editorial treatment type triggers certain types of processing as well. For example, some elements (e.g., <pb> , <fw> ) are allowed in texts given semi-diplomatic editorial treatment but not allowed in texts given modernized editorial treatment. The current list of editorial treatments is short: semi-diplomatic, modern, excerpted, and mixed.
Note that LEMDO created the mixed editorial treatment category (letMixed) to deal with legacy supplementary texts. New texts prepared on the LEMDO platform are not allowed to have this editorial treatment. If anthologies choose to allow supplementary texts in an edition, editors must follow either the modern editorial and encoding guidelines or the semi-diplomatic editorial and encoding guidelines. Unless there is some value in retaining semi-diplomatic (e.g., an excerpt from The Faerie Queene, in which spelling is semantically significant), supplementary texts should be modernized because their primary purpose is pedagogical. Most supplementary texts will also be excerpts, which means they will have the additional editorial treatment type of letExcerpted.
Only documents that have the document type value of ldtPrimary (or a subordinate primary document type such as ldtPrimaryText) can have an editorial treatment type. Capture this information via the <catRef> element. The value of @scheme is tax:emdEditorialTreatments. The value of the @target attribute is the relevant category within the Editorial Treatment Taxonomy.
A modern-spelling edition of a play would have the following <catRef> elements:
<textClass>
  <catRef scheme="tax:emdDocumentTypes" target="cat:ldtPrimaryText"/>
  <catRef scheme="tax:emdWorkTypes" target="cat:lwtPlay"/>
  <catRef scheme="tax:emdEditorialTreatments" target="cat:letModernized"/>
</textClass>

Editorial Treatments

@xml:id Name Description
letSemiDiplomatic Semi-diplomatic transcription
Texts in which original spelling and other features have been retained.
letModernized Modernized
Texts that have been modernized according to a set of editorial principles.
letExcerpted Excerpted
Texts which are not complete, usually because of editorial selection in service of a specific goal.
letMixed Mixed
Texts in which a variety of possibly incongruous editorial approaches have been mixed. Use this category in combination with ldtPrimary.

Document Histories Taxonomy

LEMDO’s document history taxonomy allows us to indicate the history of a document in cases where we have converted a file from some other source for use in the LEMDO ecosystem. The current list of document history types is short: IML (anything we converted from the ISE Markup Language), XWiki (anything we converted from XWiki, either directly from XWiki files before the server failed or from staticized web pages of XWiki output), TCP (anything we converted to LEMDO TEI P5 from EEBO-TCP’s TEI P4), MoEML (semi-diplomatic transcriptions of mayoral shows for the MoMS anthology), and SQL (anything we created from an SQL database).
Such converted files also undergo lengthy remediation. You will also use the @status attribute on the <revisionDesc> element to track the progress of the remediation. See Document Status Taxonomy.
Only documents that have been converted and have a prior history in some other markup language have a document history type. Capture this information via the <catRef> element. The value of @scheme is tax:emdDocumentHist. The value of the @target attribute is the relevant category within the Document History Taxonomy.
The following example gives the various <catRef> elements for the modernized text of a play that was first prepared in IML for the old ISE platform:
<textClass>
  <catRef scheme="tax:emdDocumentTypes" target="cat:ldtPrimaryText"/>
  <catRef scheme="tax:emdWorkTypes" target="cat:lwtPlay"/>
  <catRef scheme="tax:emdEditorialTreatments" target="cat:letModernized"/>
  <catRef scheme="tax:emdDocumentHist" target="cat:edhSourceIML"/>
</textClass>

Document History Values

@xml:id Name Description
edhSourceIML Original Source: IML
This TEI file was created based on one or more files from the Internet Shakespeare Editions anthology, originally encoded in ISE Markup Language (a custom markup language somewhat resembling SGML).
edhSourceCBJ Original Source: Cambridge Ben Jonson
This TEI file was created based on one or more files from the Cambridge Edition of the Works of Ben Jonson Online (CEWBJO or CWBJO), originally encoded in different customization of TEI.
edhSourceXWiki Original Source: XWiki
This TEI file was created based on one or more supplementary files from the Internet Shakespeare Editions anthology, originally encoded in HTML and stored in the ISE’s XWiki system.
edhSourceTCP Original Source: TCP
This TEI file was created based on an original encoding from the Text Creation Partnership.
edhSourceMoEML Original Source: MoEML
This TEI file was created based on an original encoding from The Map of Early Modern London.
edhSourceSQL Original Source: SQL Database
This TEI file was created from data originally captured in a SQL database structure.

Audiences Taxonomy

LEMDO’s audience taxonomy allows us to indicate the readership we have in mind when we write documentation. The current list of imagined audiences is short: remediators, encoders, editors, anthology leads, developers, repository users, and documenters. Each of these audiences (except for documenters) also has a Quickstart page. (See Introduction to Quickstart Guidelines.)
Audience types can be applied to the root element of a documentation file, i.e., the root <div> element or any child <div> element. We do not apply the audience types to more deeply nested <div> elements.

Audience Types

@xml:id Name Description
audRemediator Remediator
An encoder who has the responsibility of converting IML-encoded or TCP texts to the LEMDO TEI P5 customization.
audEncoder Encoder
Anyone who is encoding texts in the LEMDO TEI P5 customization.
audEditor Editor
Anyone who is editing a play or related works for publication in a LEMDO anthology.
audAnthologyLead Anthology Lead
Anyone who is responsible for a group of editors who are editing plays or related works for publication in a LEMDO-generated anthology (e.g., the leads of MoMS, QME, DRE, NISE).
audDeveloper Developer
Anyone who is responsible for maintaining the repository, writing processing, running builds, or customizing a CSS file for an anthology. Normally, developers are based at UVic and work in the lemdo/code section of the repository. Anthology leads may hire a developer/designer to customize a CSS file for an anthology.
audRepoUser Repository User
Anyone who commits work to the LEMDO repository, including editors and RAs who have write privileges on an edition portfolio.
audDocumenter Documenter
Anyone who writes project documentation.

Document Status Taxonomy

LEMDO’s document status taxonomy allows us to track the progress of a file from creation to publication. For converted files, the values allows us to track the progress of the remediation. The document status value triggers different aspects of the schema. For example, a document with the @status value of IML-TEI will not trigger most of the schema and Schematron errors. The schema and Schematron kick in only when you changed the @status to IML-TEI_INP. This feature of LEMDO ensures that the files we commit, regardless of their state of remediation or completion, are always valid according to the set of rules that we apply.
Although it may seem redundant, we capture the status in two places whenever the status changes:
On the <revisionDesc> element. The <revisionDesc> element captures the current status of the file.
On the <change> element. When the status of the file changes, add a <change> element with a @who attribute for yourself, a @when attribute for the date, and a @status attribute for the new status.
The reason we have adopted this approach is that it allows us to keep track of the date of all the status changes. Ultimately, we are most interested in the date of publication so that future users can cite the page by its publication date.
A born-LEMDO file will normally go through the following status changes:
TEI_INP: give the document this value as soon as you create it and retain it as you work on the file.
TEI_proofing: give the document this value when it is ready to be proofread and maintain it while you proofread the file.
TEI_proofed: give the document this value once someone has finished proofing the document.
peerReviewed: give the document this value once it has been peer reviewed.
published: the LEMDO Team will give the document this value once they have determined (alongside you and your anthology lead) that it is ready to be published in an anthology release. For more information on publication, see Proofread and Change Status.
A file that was converted from EEBO-TCP will normally go through the following status changes:
prgGenerated: give the document this value when you (a developer) run the conversion.
TCP-TEI: give the document this value as soon as you need to check it against the basic rules in the LEMDO schema.
TCP-TEI_INP: give the document this value while you are working on bringing the document in line with the full LEMDO schema. If you cannot achieve a valid file before you commit, revert the document status back to TCP-TEI and validate again before you commit.
TCP-TEI_proofing: give the document this value when it is ready to be proofread and maintain it while you proofread the file.
TCP-TEI_proofed: give the document this value once it has been proofread by another encoder or an editor.
published: the LEMDO Team will give the document this value once they have determined (alongside you and your anthology lead) that it is ready to be published in an anthology release.
A file that was converted from IML will go through the following status changes:
peerReviewed: give the document this status when you convert it, if the document had been peer reviewed for the legacy anthology, with a date showing the last date by which it could have been peer reviewed (the date of conversion or the date the old software failed, whichever is earlier).
prgGenerated: give the document this status when you (a developer) convert it, with the date of conversion.
IML-TEI: give the document this value as soon as you need to check it against the basic rules in the LEMDO schema.
IML-TEI_INP: give the document this value while you are working on bringing the document in line with the full LEMDO schema. If you cannot achieve a valid file before you commit, revert the document status back to IML-TEI and validate again before you commit.
IML-TEI_proofing: give the document this value when it is ready to be proofread and maintain it while you proofread the file.
IML-TEI_proofed: give the document this value once it has been proofread by another encoder or an editor.
published: the LEMDO Team will give the document this value once they have determined (alongside you and your anthology lead) that it is ready to be published in an anthology release.
In the example below, we show how we tracked the status of the conversion and remediation of the modernized text of Famous Victories in the <revisionDesc> of emdFV_M. We know that the file was peer reviewed before 2018, when the ISE server failed. Joey Takeda ran the conversion on 2018-07-11. Tracey El Hajj started to remediate the file on 2020-07-10, work that took some time. Janelle Jenstad proofed the file on 2020-12-03. On 2020-12-21, the file was published. The status of the file on the <revisionDesc> would have changed on each of those dates. Since <revisionDesc> shows only the most recent status, the @status attribute on the <change> elements allows us to keep a history of the status changes.
<revisionDesc status="published">
  <change who="pers:JENS1" when="2020-12-21" status="published">Regularized metadata. Licensed and published file.</change>
  <change who="pers:JENS1" when="2020-12-03" status="IML-TEI_proofed">Worked on the TEI header and proofed the document.</change>
  <change who="pers:ELHA1" when="2020-10-16">Added anchors and modified using XSLT.</change>
  <change who="pers:MATT2" when="2020-10-13">Specified quotations and removed Video headings.</change>
  <change who="pers:MATT2" when="2020-10-08">Updated Character List; removed compound characters and updated name elements and information from emdFV_M_Characters.xml.</change>
  <change who="pers:ELHA1" when="2020-08-03">Added document xml:id to the ids throughout the file using XSLT.</change>
  <change who="pers:ELHA1" when="2020-07-13" status="IML-TEI_INP">Removed supplied elements that do not have attributes, using XSLT.</change>
  <change who="pers:ELHA1" when="2020-07-10" status="IML-TEI">Added status IML-TEI.</change>
  <change who="pers:TAKE1" when="2018-11-15">Added <gi>front</gi> with titlePart using XSLT.</change>
  <change when="2018-07-11" who="pers:TAKE1" status="prgGenerated">Created TEI from IML file.</change>
  <change who="org:QME1" notAfter="2018" status="peerReviewed">File prepared for QME and reviewed by QME. Prior history not known.</change>
</revisionDesc>
Note that you can switch your document from IML-TEI_INP back to IML-TEI if you have not been able to achieve a fully valid document before you need to commit your file and end your work session for the day. As long as the file is valid with the @status of IML-TEI, you may commit it.
Note on @status published and peerReviewed: LEMDO has anticipated that some parts of editions may be published before undergoing peer review and that some parts of an edition may never undergo peer review (e.g., supplementary materials). LEMDO’s system is designed so that you can have a file published first and peer reviewed later, or vice versa. The date of publication and the date of peer review will be taken from the @when attribute on the <change> element. The final status of the document can be either peerReviewed or published without implying anything about peer review or publication status.
Note on @status draft: This status is for born-digital documents (i.e., documents with <catDesc> of ldtBornDig (or subordinate categories).
Note on @status empty: Do not use this value. We have a handful of empty files left over from the batch conversion of IML files to TEI, to which we have given the status empty to help us find them. Once we have added the content from other sources, we will deprecate this status. Normally, there is no good reason to create an empty file. Most of the time, you will have at least some content to add right away or a template in place. Consult with the LEMDO team at UVic if you do want to create an empty file.

Document Status Values

@xml:id Name Description
prgGenerated Programmatically Generated
Files that are programmatically generated using xslt. Most such files are documentation or apparatus files.
published Published
Files that have been published.
publishedWithPeerReview Published with peer review
Files that have been published after being peer-reviewed.
publishedWithoutPeerReview Published without peer review
Files that have been published before being peer-reviewed.
peerReviewed Peer-reviewed
Files that have been peer reviewed.
draft Draft
Files that are being drafted.
empty Empty
Files that are empty (have no content other than a minimal TEI Header).
deprecated Deprecated
This document is no longer relevant or has been superseded, but is being preserved as part of LEMDO’s digital archive.
IML-TEI IML to TEI
The text has been programmatically converted from IML to LEMDO TEI via a series of transformations. The file is a .xml file. There are stray IML tags in these texts that we retain until we have proofed the TEI. The transcription may have been checked by an ISE editor but LEMDO has not yet checked it.
IML-TEI_INP IML-to-TEI In Progress
The programmatic conversion is in the process of being carefully checked and remediated by a LEMDO team member. The file is a .xml file.
IML-TEI_proofing IML-to-TEI Ready for Proofing
The fully remediated file is ready for proofing or in the process of being proofed by a LEMDO team member, editor, or anthology lead.
IML-TEI_proofed IML-to-TEI Proofed
The programmatic conversion has been carefully checked and fully remediated by a LEMDO team member and/or an editor or anthology lead. The file is now ready for peer review (or for publication without peer review).
TCP-TEI TCP-to-TEI
The text has been programmatically converted from TCP TEI P4 to LEMDO TEI (P5) via a series of transformations. The file is a .xml file. The transcription is only as correct as the underlying TCP transcription (which contains gaps, errors, and normalized long “s” characters). The TCP metadata is retained. This category is only for documents that also have the document type ldt:primary (but not ldt:primaryModern).
TCP-TEI_INP TCP to TEI In Progress
The text has been programmatically converted from TCP TEI P4 to LEMDO TEI (P5) via a series of transformations. The file is in the process of being carefully corrected, remediated, and proofed by a LEMDO team member. The file is a .xml file. This category is only for documents that also have the document type ldt:primary.
TCP-TEI_proofing TCP-to-TEI Ready for Proofing
The fully remediated file is ready for proofing or in the process of being proofed by a LEMDO team member, editor, or anthology lead.
TCP-TEI_proofed TCP to TEI Proofed
This semi-diplomatic text has been programmatically converted from TCP TEI P4 to LEMDO TEI (P5) via a series of transformations and carefully corrected, remediated, and proofed by a LEMDO team member. The file is a .xml file. The transcription has been corrected; gaps have been supplied; the long s has been restored. The TEI tagging has been checked and corrected by a LEMDO team member. This category is only for documents that also have the document type ldt:primary.
TEI_INP TEI in Progress
The text is being encoded in TEI.
TEI_collating TEI Collation in Progress
A modernized text has been created from other sources, but has not yet been remediated to fix e.g. capitalization issues or speech prefixes.
TEI_proofing TEI Ready for Proofing
The fully remediated file is ready for proofing or in the process of being proofed by a LEMDO team member, editor, or anthology lead.
TEI_proofed TEI Proofed
The text is finished in TEI and proofed.

Responsibilities Taxonomy

Because LEMDO is committed to the Collaborators’ Bill of Rights and the Student Collaborators’ Bill of Rights (see LEMDO Ethos), we have an extensive taxonomy of responsibilities that allow you to give credit in specific ways to everyone who contributed in any way to a file. We use the same method to give credit to the early modern authors and printers.
We have used the Library of Congress MARC Code List for Relators (MARC relators) taxonomy as much as possible. See https://www.loc.gov/marc/relators/relaterm.html. The LoC has occasionally added MARC relators at our request (e.g., mrk was a new addition to capture the role of the encoder or markup editor). In other cases, where there is no MARC relator for the responsibility we need to capture, we have created a value of our using the same principle of three letters representing an abbreviation of the full role name.
We give credit via a <respStmt> in the <titleStmt> of the <teiHeader> . You need the name and xml:id of the person responsible. You need the value that best describes their role from the responsibility taxonomy. Finally, you need a phrase for the text node of the <resp> element.
In this example, we indicate that a play is by Thomas Heywood:
<respStmt>
  <resp ref="resp:aut">Author</resp>
  <persName ref="pros:HEYW1">Thomas Heywood</persName>
</respStmt>
In this example, we give credit to the LEMDO team for encoding a transcription and supplying metadata:
<respStmt>
  <resp ref="resp:edt_mrk">Encoder</resp>
  <orgName ref="org:LEMD1">LEMDO Team</orgName>
</respStmt>
Note on the text node of the <resp> element: This is a free text field. LEMDO encourages anthologies to develop their own standardized wording for different types of work but does not currently have any diagnostics to ensure consistency across an anthology.

Responsibility Values

@xml:id Name Description
aut Author
MARC Code List for Relators definition: A person, family, or organization responsible for creating a work that is primarily textual in content, regardless of media type (e.g., printed text, spoken word, electronic text, tactile text) or genre (e.g., poems, novels, screenplays, blogs). Use also for persons, etc., creating a new work by paraphrasing, rewriting, or adapting works by another creator such that the modification has substantially changed the nature and content of the original or changed the medium of expression.
LEMDO uses the term author in two contexts: (1) to indicate the author of a primary work or document (such as Hamlet), and (2) to indicate the author of a secondary text (such as the Critical Introduction to Hamlet, by David Bevington).
aut_attrib Supposed Author
MARC Code List for Relators definition: An author, artist, etc., relating them to a resource for which there is or once was substantial authority for designating that person as author, creator, etc. of the work.
LEMDO usage aligns with that of MARC.
bsl Bookseller
MARC Code List for Relators definition: A person or organization who makes books and other bibliographic materials available for purchase. Interest in the materials is primarily lucrative.
LEMDO uses the term bookseller only in the metadata for publications and copies. In cases where a publication was issued with variant title pages, list all booksellers in all variant states of the title page.
csl Consultant
MARC Code List for Relators definition: A person or organization relevant to a resource, who is called upon for professional advice or services in a specialized field of knowledge or training.
Consultant or Technical Advisor: A person who is called upon for professional advice during the editorial and/or encoding processes. Give a person a credit in the edition page if their role is more than one would list in the Acknowledgements page. LEMDO uses this value for a technical advisor who provides training, answers questions, and advises on encoding matters.
edt Editor
MARC Code List for Relators definition: A person, family, or organization contributing to a resource by revising or elucidating the content, e.g., adding an introduction, notes, or other critical matter. An editor may also prepare a resource for production, publication, or distribution. For major revisions, adaptations, etc., that substantially change the nature and content of the original work, resulting in a new work, see author.
LEMDO uses the general term editor only in edition metadata and only to indicate when a person is responsible for editing all parts of an edition. Otherwise, use the more granular terms to describe the precise nature of the editorial role.
edt_asstcoord Assistant Coordinating Editor
This term is for use in project-level or edition-level credits if an anthology’s organizational structure includes this role. The term assistant coordinating editor appears in the metadata for documents produced before 2017. From 2017 on, this term is reserved for project-level credits. Do not use at the file level; if an assistant coordinating editor performs a specific function with respect to a file, use the precise resp value for their work.
edt_assoccoord Associate Coordinating Editor
This term is for use in project-level or edition-level credits if an anthology’s organizational structure includes this role. The term assistant coordinating editor appears in the metadata for documents produced before 2017. From 2017 on, this term is reserved for project-level credits. Do not use at the file level; if an associate coordinating editor performs a specific function with respect to a file, use the precise resp value for their work.
edt_assoctext Associate Textual Editor
This term is for use in project-level or edition-level credits if an anthology’s organizational structure includes this role. The term associate textual editor appears in the metadata for documents produced before 2017. From 2017 on, this term is reserved for project-level credits. Do not use at the file level; if an associate textual editor performs a specific function with respect to a file, use the precise resp value for their work.
cont Generic Contributor
Legacy term. Do not use: This is a generic category LEMDO uses when we have been unable to determine a more precise role for this person. All generic contributors should be replaced by a more specific value when/if we learn more information.
edt_cont Contributing Editor
A contributing editor makes a significant contribution to an edition. LEMDO uses this term to give credit to editors who have passed on their work (through choice, retirement, or death) to a new editor or editorial team. If the new editor retains or revises any of the original editor’s work, LEMDO acknowledges the original editor’s input via this resp value.
edt_sup Supervising Editor
An editor who supervises the work of a student editor.
edt_coord Coordinating Editor
Some anthologies have one or more coordinating editor. Use this value in responsibility statements on an edition title. Normally, anthologies should not list coordinating editors or general editors on every XML file in an edition.
edt_cpy Copy Editor
LEMDO uses the term owner for the person who checks facts, quotations, and citations; may make formatting changes; may convert from one citation style to another; may suggest wording changes; and enforces conformity with the project style guide.
edt_gen General Editor
This term is for use in project-level or edition-level credits if an anthology’s organizational structure includes this role. The term general editor appears in the metadata for documents produced before 2017. From 2017 on, this term is reserved for project-level credits. Do not use at the file level; if an general editor performs a specific function with respect to a file, use the precise resp value for their work.
edt_gentext General Textual Editor
This term is for use in project-level or edition-level credits if an anthology’s organizational structure includes this role. The term general textual editor appears in the file-level metadata for documents produced before 2017. From 2017 on, this term is reserved for project-level credits. Do not use at the file level; if an general textual editor performs a specific function with respect to a file, use the precise resp value for their work.
edt_genperf General Editor (Performance)
A person responsible for the performance strategy and methodology of a project.
man Project Manager
A person responsible for managing the LEMDO project or a project within the LEMDO suite of anthologies.
edt_mrk Markup Editor
MARC Code List for Relators definition: A person or organization performing the coding of SGML, HTML, or XML markup of metadata, text, etc.
LEMDO uses this term for someone who encodes a file, remediates a converted text, or reviews the XML markup of a file.
edt_perf Performance Editor
This term is for use in project-level or edition-level credits if an anthology’s organizational structure includes this role. The term performance editor appears in the file-level metadata for documents produced before 2017. From 2017 on, this term is reserved for project-level credits. Do not use at the file level; if a performance editor performs a specific function with respect to a file, use the precise resp value for their work.
edt_text Textual Editor
This term is for use in project-level or edition-level credits if an anthology’s organizational structure includes this role. The term textual editor appears in the file-level metadata for documents produced before 2017. From 2017 on, this term is reserved for project-level credits. Do not use at the file level; if a textual editor performs a specific function with respect to a file, use the precise resp value for their work.
prn Production Company
MARC Code List for Relators definition: An organization that is responsible for financial, technical, and organizational management of a production for stage, screen, audio recording, television, webcast, etc.
LEMDO uses this term for a group that performs a play or makes a film version of a play. Example: Lord Denney’s Players.
edm Video Editor
MARC Code List for Relators definition: A person, family, or organization responsible for assembling, arranging, and trimming film, video, or other moving image formats, including both visual and audio aspects.
LEMDO uses this term for a person who edits the video of a stage performance or edits a film version of a play.
pbd Anthology Lead
MARC Code List for Relators definition: A person or organization who presides over the elaboration of a collective work to ensure its coherence or continuity. This includes editors-in-chief, literary editors, editors of series, etc.
A person who presides over the creation of an anthology on the LEMDO platform, a role that includes commissioning editions, approving proposals, supporting editors, arranging for peer review, and liaising with the LEMDO team.
ptr Printer
MARC Code List for Relators definition: A person, family, or organization involved in manufacturing a manifestation of printed text, notated music, etc., from type or plates, such as a book, newspaper, magazine, broadside, score, etc.
LEMDO uses this term for an early modern printer and for a publisher who is also a printer. For booksellers who are not also printers, use the term bookseller.
rtm_ra Editorial Research Assistant
MARC Code List for Relators definition: A person who participated in a research project but whose role did not involve direction or management of it
Legacy term. Use rtm or appropriate role from 2017 on.
rtm Research Team Member
MARC Code List for Relators definition: A person who participated in a research project but whose role did not involve direction or management of it.
LEMDO uses this term for someone who contributes intellectual work but is not an RA.
scr Scribe
MARC Code List for Relators definition: A person who is an amanuensis and for a writer of manuscripts proper.
LEMDO uses this term to credit the person who copies a manuscript or prepares a fair copy of it. Hands can be described in the HAND1 file.
trl Translator
MARC Code List for Relators definition: A person or organization who renders a text from one language into another, or from an older form of a language into the modern form.
LEMDO usage aligns with that of MARC.
pdr Project Director
MARC Code List for Relators definition: A person or organization with primary responsibility for all essential aspects of a project, has overall responsibility for managing projects, or provides overall direction to a project manager.
LEMDO uses the term project director for the person who directs the LEMDO project. For anthology leads, use pbd.
drt Director
MARC Code List for Relators definition: A person responsible for the general management and supervision of a filmed performance, a radio or television program, etc.
LEMDO uses the term director for the person who manages or supervises a performance. We do not use it for project level directors.
pfr Proofreader
MARC Code List for Relators definition: A person who corrects printed matter.
LEMDO uses the term proofreader for the person who performs minor corrections to a finalized document, which usually include typographical or rendering fixes. For copy-editing, use resp:edt_cpy.
own Owner
MARC Code List for Relators definition: A person, family, or organization that currently owns an item or collection, i.e., has legal possession of a resource.
LEMDO uses the term owner for the person, family, or library that owns the physical copy of an artifact reproduced in facsimile on the platform. The owner is often but not necessarily the copyright holder.
vet Peer Reviewer
LEMDO uses the term peer reviewer for a person who reviews a transcription, critical materials, dataset, and/or some or all components of an edition.
cph Copyright Holder
MARC Code List for Relators definition: A person or organization to whom copy and legal rights have been granted or transferred for the intellectual content of a work. The copyright holder, although not necessarily the creator of the work, usually has the exclusive right to benefit financially from the sale and use of the work to which the associated copyright protection applies.
Normally the editor is the copyright holder for an LEMDO edition.
edt_comp Compiler
MARC Code List for Relators definition: A person, family, or organization responsible for creating a new work (e.g., a bibliography, a directory) through the act of compilation, e.g., selecting, arranging, aggregating, and editing data, information, etc.
LEMDO uses the term compiler for the person who chooses and aggregates the resources included in an edition, if those resources are not all by the editor of the edition. The compiler and the editor may be the same person; in that case, the person needs two responsibility statements.
aut_ann Author of Annotations
MARC Code List for Relators definition: A person or organization responsible for the commentary or explanatory notes about a text.
LEMDO uses the term author of annotations for a person who writes annotions for a text.
ann Annotator
MARC Code List for Relators definition: A person who makes manuscript annotations on an item.
aut_col Collator
A person who compiles the vertical collations for a text.
anl Analyst
MARC Code List for Relators definition: A person or organization that reviews, examines, and interprets data or information in a specific area.
LEMDO usage aligns with that of MARC.
prg Programmer
MARC Code List for Relators definition: A person, family, or organization responsible for creating a computer program.
LEMDO usage aligns with that of MARC.
trc Transcriber
MARC Code List for Relators definition: A person, family, or organization contributing to a resource by changing it from one system of notation to another.
LEMDO uses transcriber to describe those that transcribe the text from a digital surrogate of an early modern text into a semi-diplomatic transcription and for those that do significant work in correcting and encoding the transcription of an early modern work.
wtm Technical Writer
MARC Code List for Relators definition: Writer of Technical Material: A person responsible for writing or compiling documentation of the project’s editorial, encoding, and programming practices.
LEMDO usage aligns with that of MARC.

IDNO Authorities Taxonomy

Part of LEMDO’s long-term linking strategy is to create links to stable projects that offer URIs for their resources. For many projects, the identification number of a resource or catalogue entry forms the basis of the project’s URIs and ultimately URLs to which we can link. In TEI, we wrap identification numbers in the <idno> element. IDNOs that we capture include DEEP numbers, DOIs, ISBNs, STC numbers, GitHub numbers, and others.

IDNO Values

@xml:id Name Description
BBTI BBTI
British Book Trade Index
BritDrama BritDrama
Number in Wiggins and Richardson, British Drama 1533–1642: A Catalogue
call Call Number
Library call number or shelf mark
DEEP DEEP
Database of Early English Playbooks: http://deep.sas.upenn.edu
DOI DOI
Digital Object Identifier
EMDP EMDP
Identifier given to playbook or paratext in the Folger SQL database version of Early Modern Dramatic Paratexts
TCP-GIT TCP-Github
TCP Github Number
EEBO-CITATION EEBO-CITATION
EEBO Citation Number
EEBO-VID EEBO-VID
EEBO Image Identifier
ESTC ESTC
English Short Title Catalogue: estc.bl.uk
Greg Greg
W.W. Greg’s A Bibliography of English Printed Drama to the Restoration
GB GB
Google Books
ISBN ISBN
International Standard Book Number
LEME LEME
Lexicons of Early Modern English
Mar_Census Marlowe Census
Marlowe Census, ed. Rob Carson (https://www.marlowecensus.org/)
Murphy Murphy
Murphy, Andrew
OCLC OCLC
World Cat
oldURI Old URI
The old URI of a webpage that has disappeared or is soon to be deprecated. Use in the sourceDesc for remediated ISE, DRE, QME, CWBJO, B&F, and EMDP texts, and in other contexts where the old URI might be useful. The value of recording old URIs is not just historical; sometimes these webpages have been captured by the Wayback Machine. Providing the old URI means that users can search for the webpage in the Wayback Machine.
LEMDO LEMDO
The current canonical URI of a modern edition of a play on the LEMDO site. This is used in the print edition of a play to provide a URL for readers to go from print to online.
PROQUEST PROQUEST
Proquest
ShakCensus Shakespeare Census
Shakespeare Census, ed. Adam G. Hooks and Zachary Lesser (https://shakespearecensus.org/)
sigla Sigla
The sigla for a bibliographic item in the collation
STC STC
Short Title Catalogue
TCP TCP
Text Creation Partnership
URI URI
Universal Resource Identifier
Wing Wing
Wing
WSB WSB
World Shakespeare Bibliography

Prefix Definitions Taxonomy

LEMDO uses prefixes as a kind of shorthand across the project so that you do not have to type full pathways and URLs when you want to point to something inside or outside the project using a <ref> element. When we build an HTML page from your XML, we replace the prefix with the part of the URL that comes before the forward slash. So mol becomes “https://mapoflondon.uvic.ca/”. Prefixes are always followed by a colon and then the unique identifier for the resource within the project to which we wish to point.
You will want to use this page in conjunction with Encode Reference Links.
A prefix is an abbreviation for the predictable part of a Uniform Resource Indicator (URI). A prefix allows us to point easily to unique resources (URIs) within a digital project (e.g., documents, entities, entries, sections of documents) without having to repeat the predictable part of the URI. For example, the Map of Early Modern London’s (MoEML’s) URIs all begin with https://mapoflondon.uvic.ca/. We often point to MoEML resources from LEMDO editions. The full URI of those resources would clutter up our encoding. Instead, we use the prefix mol. When LEMDO’s static HTML pages are built from the underlying encoding, the processing instructions in the LEMDO taxonomy turn mol into https://mapoflondon.uvic.ca. We use prefixes to point to heavily used resources in our own project, such as the Personography and Bibliography, as well as to a few stable resources outside our project. As long as a project has predictable URIs that are constructed of a stable path plus a unique ID, we can use prefixes and the unique ID to point directly to that resource. Our encoding is thus efficient and consistent: doc:lemdo_about yields a link to https://lemdo.uvic.ca/lemdo_about.html; mol:CHEA2 yields a link to https://mapoflondon.uvic.ca/CHEA2.htm. This method of pointing is compatible with Linked Open Data applications and will help LEMDO connect its data to other datasets in the future.
Prefix Match pattern Replacement pattern Description
anth (.​+) $1.​xml anth allows us to point to an anthology document in LEMDO’s XML collection.
aud (.​+) TAXO1.​xml#$1 aud allows us to point to a defined taxonomy of audiences in LEMDO.
beed (.​+) BEED1.​xml#$1 beed is used for witness and citation references to entries in the Bibliography of Editions of Early English Drama (BEEED).
bibl (.​+) BIBL1.​xml#$1 bibl is used for bibliographic citations or witness references.
bin (.​+)\.​pdf binaries/​$1.​pdf bin points to a binary file such as a PDF in the binaries folder in the eventual output site.​ The file could be in any subfolder of the data/​binaries folder at encoding time.​ As of decision 2023-​01, only PDFs with a lower-​case extension are allowed.
cat (.​+) TAXO1.​xml#$1 cat denotes a pointer to a category in one of LEMDO’s taxonomies.
deep (.​+) https://​deepplaybooks.​org/​$1 deep points to a record in the Database of Early English Playbooks (DEEP).
doc ([\w\.​_-​]+)(#.​+)? $1.​xml$2 doc points to a LEMDO document by its xml:id or to a structural element with an xml:id within a LEMDO document (e.​g.​, a <div> element, a speech, or paragraph).
ebba (.​+) https://​ebba.​english.​ucsb.​edu/​ballad/​$1/​citation ebba points to a citation record in the Early English Ballads Archive (EBBA).
edimg (.​+) https://​lemdo.​uvic.​ca/​editionImages/​$1 edimg is an alternative to the above; when an edition uses many images, it is not appropriate to sore them in the svn repository, so they are stored on /​home1t/​hcmc/​www/​lemdo/​editionImages/.​ The remainder of the path from that root must be included in the link.
edt (.​+) TAXO1.​xml#$1 edt allows us to point to a defined taxonomy of document types in LEMDO .
estc (.​+) http://​estc.​bl.​uk/​$1 estc points to the URI for a single entry in the English Short Title Catalogue.
facs ^([^\|]+)\|(\d+)$ facs_$1.​xml#facs_$1_$2 The facs prefix points to a surface element in a facsimile file.
g (.​+) TAXO1.​xml#g_$1 g denotes a glyph or other special character defined in the taxonomies document.
gb (.​+) https://​books.​google.​ca/​books?​id=​$1 gb points to the unique URL for a single item in Google Books .
gloss (.​+) GLOSS1.​xml#$1 gloss allows us to link a term element to LEMDO’s centralized glossary .
hand (.​+) HAND1.​xml#$1 hand allows us to point to a single <handNote> in LEMDO’s centralized handNotes document. .
img (.​+) images/​$1 img points to an image in the images folder in the eventual output site.​ The image could be in any of many images folders inside the data folder at encoding time.
ldt (.​+) TAXO1.​xml#$1 ldt denotes LEMDO’s document type taxonomy and categories therein.
leme ([^\|]+)\|([^\|]+) https://​leme.​library.​utoronto.​ca/​lexicon/​entry/​$1/​$2 leme points to the URI for a single entry in Lexicons of Early Modern English.
lew (.​+) lew:$1 lew (=​ lazy editor witness) is required because the majority of collation apparatus elements inherited from old projects did not have properly-​defined witness lists, and just used plain text identifiers instead.​ This prefix is used to signify that the text still needs a <witList> element and for the identifiers to be reconfigured appropriately.
lig (.​+) TAXO1.​xml#lig_$1 lig denotes a ligature defined in the taxonomies document.
marc (.​+) http://​id.​loc.​gov/​vocabulary/​relators/​$1.​html marc points to a URI in the Library of Congress MARC Code List of Relators .
mol ([^#]+)(#.​+)? https://​mapoflondon.​uvic.​ca/​$1.​htm$2 mol allows us to point to the URI of a single entity (location, person, bibliography entry) in the Map of Early Modern London.
not (.​+) BIBL1.​xml#$1 not is essentially the reverse of the bibl prefix.​ It is used to point to an item through the @corresp attribute to signify that the two items are distinct; in other words, although they may seem to be identical, they are in fact distinct.​
or (.​+) sch/​lemdo.​odd#$1 or stands for ODD Responsibility, and it allows us to point from a @resp attribute on a documentation file or an element in one to a specific <respStmt> in the lemdo.​odd file.​
org (.​+) ORGS1.​xml#$1 org allows us to point to a single organization in LEMDO’s centralized orgography .
perf ^([^\|]+)\|(.​+)$ performances/​perf_$1.​xml#perf_$1_$2 The perf prefix points to a scene in a performance.
pers (.​+) PERS1.​xml#$1 pers allows us to point to the bio-​bibliographical entry for a single person in LEMDO’s centralized personography .
prod (.​+) PROD1.​xml#$1 prod allows us to point to an entry in LEMDO’s centralized production file .
pros (.​+) PROS1.​xml#$1 pros allows us to point to a single historical person in LEMDO’s centralized prosopography .
resp (.​+) TAXO1.​xml#$1 resp allows us to point to a single role in the defined taxonomy of LEMDO responsibilities .
rnd (.​+) TAXO1.​xml#rnd_$1 rnd is used to reference specialized styling instructions.
role ^emd([^_]+)_([^_]+)_(.​+)$ emd$1_$2.​xml#emd$1_$2_$3 role points to the id of a <person> in a <listPerson> in the <particDesc> of a play file.​ Downstream, this person will be harvested into the containing file’s appendix.​ Meanwhile, we try to construct the full path.
simple (.​+) http://​www.​tei-​c.​org/​Vault/​P5/​3.​3.​0/​xml/​tei/​Exemplars/​tei_simplePrint.​odd#$1 simple allows us to point to a predefined vocabulary of rendition types determined by the TEI-​Simple working group.​ Documentation for TEI Simple can be found here: http://​www.​tei-​c.​org/​Vault/​P5/​3.​3.​0/​xml/​tei/​Exemplars/​tei_simplePrint.​odd .
sip (.​+) https://​internetshakespeare.​uvic.​ca/​Theater/​artifact/​$1 sip is used to reference an artifact in the Shakespeare in Performance database.​ This link will be changed once SIP artifacts are moved to another institution.
sourcefacs (.​+) https://​lemdo.​uvic.​ca/​facsimiles/​$1 sourcefacs is used to reference an external image.
sourceperf (.​+) https://​lemdo.​uvic.​ca/​videos/​$1 sourceperf is used to reference an external video as used for performance editions.
static (.​+) https://​internetshakespeare.​uvic.​ca/​$1 Not to be used by encoders! This is a static resource; this link will be changed once file storage has been resolved.
tax (.​+) TAXO1.​xml#$1 tax denotes a pointer to one of LEMDO’s taxonomies.
wsb (.​+) https://​www.​worldshakesbib.​org/​entry/​$1 wsb points to the URI for a single entry in the World Shakespeare Bibliography.

Placement Taxonomy

LEMDO’s placement taxonomy allows us to capture where something appears on the printed or manuscript page of the sources we transcribe in semi-diplomatic transcriptions.
These values may only be used in documents that have the categories ldtPrimaryText and letSemiDiplomatic. (See Document Type Taxonomy and Editorial Treatments Taxonomy.)
Note that some values may be used for both print and manuscript sources, some values may be used only for print sources, and some values may be used only for manuscript sources.

Placement Values

@xml:id Name Description
plc-right Right / Droite
A generic place value for anything to the right of the text or a figure, or on the right side of an otherwise empty line (in print) or space (in manuscript). Use this value for transcriptions of print or manuscript texts if your anthology is not using the more granular values of right-margin, right-inline, right-adjacent, right-top, and right-bottom. Allowed in print and manuscript texts.
Emplacement par défaut à la droite du texte ou d’une image, ou à la droite à la fin d’une ligne vide dans un livre imprimé / d’un espace vide dans un manuscrit. A utiliser pour la transcription d’un texte imprimé ou manuscrit si l’anthologie n’utilise pas les valeurs plus spécifiques de: marge-droite, intégré-droite, adjacent-droite, haut-droite, bas-droite. Autorisé pour les imprimés et les manuscrits.
plc-right-margin Right Margin / Marge-droite
In the right margin. For print texts, the right margin is a formal area to the right of the text block. For manuscripts, use your judgement about what constitutes the marginal area. Allowed in print and manuscript texts.
Dans la marge droite. Pour les textes imprimés, la marge droite définit la zone à la droite du bloc de texte. Ce qui constitue la marge dans le cas des manuscrits est à l’appréciation de l’éditeur. Autorisé pour les imprimés et les manuscrits.
plc-right-inline Right Inline (Print) / Intégré-droite (Imprimé)
Within a compositorial line of a printed text and aligned to the right margin. Allowed only in print texts and in manuscript texts that are modelled on printed pages.
Dans le corps du texte imprimé et aligné sur la marge droite. Autorisé seulement pour les imprimés.
plc-right-adjacent Right Adjacent / Adjacent-droite
Beside a speech or other literary division, inside the text block (printed texts) or close to the main text (manuscript) but not in the margin. Use this value for interjections, simultaneous speeches, and floating stage directions that span multiple lines. Allowed in print and manuscript texts.
A côté d’une réplique ou d’une autre division du texte, à l’intérieur du bloc de texte pour les imprimés, et à côté du texte principal pour les manuscrits, mais pas dans la marge. Valeur à utiliser pour les interjections, les répliques simulténées et les didascalies flottantes qui se poursuivent sur plusieurs lignes. Autorisé dans les manuscrits et imprimés
plc-right-top Right Top / Haute-droite
At the top right of the page. For print texts, the top is the forme work area. For manuscripts, use your judgement about what constitutes the top of the page. For print folio collections, use this value to indicate placement of page numbers. For manuscripts, use this value to indicate placement of foliation numbers. Allowed in print and manuscript texts.
Dans la marge supérieure à droite. Pour les imprimés, il s’agit du blanc de tête. A l’appréciation de l’éditeur pour les manuscrits. Pour les imprimés, utiliser cette valeur pour indiquer le placement de la pagination. Pour les manuscrits, utiliser cette valeur pour indiquer le placement de la foliotation. Autorisé pour imprimés et manuscrits.
plc-right-bottom Right Bottom / Bas-droite
At the bottom right of the page. For print texts, the bottom is the forme work area. For manuscripts, use your judgement about what constitutes the bottom of the page. Note that catchwords are assumed to be right-bottom, so you do not need to add a place attribute and value. Allowed in print and manuscript texts.
Dans la marge inférieure à droite de la page. Pour les textes imprimés, désigne le blanc de pied. Pour les manuscrits, à l’appréciation de l’éditeur. Notez que les réclames sont en bas à droite par défaut, il n’est pas pas nécessaire d’ajouter un attribut et une valeur d’emplacement. Autorisé pour les imprimés et les manuscrits.
plc-left Left / Gauche
A generic place value for anything to the left of the text or a figure, or on the left side of an otherwise empty line (in print) or space (in manuscript). Use this value for transcriptions of print or manuscript texts if your anthology is not using the more granular values of left-margin, left-inline, left-top, and left-bottom. Allowed in print and manuscript texts.
Emplacement par défaut à la gauche du texte ou d’une image, ou à la gauche de la ligne vide d’un livre imprimé / de l’espace vide d’un manuscrit. À utiliser pour la transcription d’un texte imprimé ou manuscrit si l’anthologie n’utilise pas les valeurs plus spécifiques de marge-gauche, intégré-gauche, adjacent-gauche, haut-gauche, bas-gauche. Autorisé pour imprimés et manuscrits.
plc-left-margin Left Margin / Marge gauche
In the left margin. For print texts, the left margin is a formal area to the left of the text block. For manuscripts, use your judgement about what constitutes the marginal area. Allowed in print and manuscript texts.
Dans la marge gauche. Pour les imprimés, la marge gauche définit la zone à la gauche du bloc de texte. Ce qui constitue la marge dans le cas des manuscrits est à l’appréciation de l’éditeur. Autorisé pour imprimés et manuscrits.
plc-left-inline Left Inline (Print) / Intégré gauche (imprimé)
Within a compositorial line of a printed text and aligned to the left margin. Allowed only in print texts. Prohibited in manuscript texts.
Dans le corps du texte imprimé et aligné sur la marge gauche. Proscrit dans les manuscrits.
plc-left-top Left Top / Haut gauche
At the top left of the page. For print texts, the top is the forme work area. For manuscripts, use your judgement about what constitutes the top of the page. For print folio collections, use this value to indicate placement of page numbers. For manuscripts, use this value to indicate placement of foliation numbers. Allowed in print and manuscript texts.
En haut à gauche de la page. Pour les textes imprimés, il s’agit du blanc de tête. Pour les manuscrits, à l’appréciation de l’éditeur. Pour les imprimés, utilisez cette valeur pour indiquer l’emplacement de la pagination; our les manuscrits, celui de la foliotation. Autorisé pour imprimés et manuscrits.
plc-left-bottom Left Bottom / Bas gauche
At the bottom left of the page. For print texts, the bottom is the forme work area. For manuscripts, use your judgement about what constitutes the bottom of the page. Allowed in print and manuscript texts.
Dans la marge inférieure gauche de la page. Pour les textes imprimés, désigne le blanc de pied. Pour les manuscrits, à l’appréciation de l’éditeur. Autorisé pour imprimés et manuscrits.
plc-centre Centre / Centre
A generic place value for anything centered roughly horizontally in a line or area on the page. Use this value in any print text (regardless of anthology policy) if you want to indicate that a compositorial line is centered (e.g., Finis). Use this value for transcriptions of print or manuscript texts if your anthology is not using the more granular values of centre-top and centre-bottom. Allowed in print and manuscript texts.
Valeur générique pour l’emplacement de tout élément centré horizontalement sur une ligne ou zone de la page. Utiliser cette valeur dans tout texte imprimé (quelle que soit la politique éditoriale de l’anthologie) si vous souhaitez indiquer qu’une ligne de la composition est centrée (par ex: Finis). A utiliser pour les transcriptions d’imprimés ou manuscrits si l’anthologie n’utilise pas les valeurs spécifiques de haut-centre et bas- centre. Autorisé pour imprimés et manuscrits.
plc-centre-top Centre Top / Centre haut
At the top centre of the page. For print texts, the top is the forme work area. For manuscripts, use your judgement about what constitutes the top of the page. Note that running titles are assumed to be centre-top, so you do not need to add a place attribute and value. Allowed in print and manuscript texts.
En haut de la page et centré. Pour les imprimés, il s’agit du blanc de tête. Pour les manuscrits, à l’appréciation de l’éditeur. Notez que les titres courants sont centre-haut par défaut, il n’est pas nécessaire de leur assigner un attribut ou une valeur d’emplacement. Autorisé pour imprimés et manuscrits.
plc-centre-bottom Centre Bottom / Centre bas
At the bottom centre of the page. For print texts, the bottom is the forme work area. For manuscripts, use your judgement about what constitutes the bottom of the page. Note that signature numbers are assumed to be centre-bottom, so you do not need to add a place attribute and value. Allowed in print and manuscript texts.
Dans la marge inférieure de la page. Pour les textes imprimés, désigne le blanc de pied. Pour les manuscrits, à l’appréciation de l’éditeur. Notez que les signatures sont centre-bas par défaut, il n’est pas nécessaire d’ajouter un attribut et une valeur d’emplacement. Autorisé pour les imprimés et les manuscrits.
plc-bottom Bottom / Bas
A generic place value for anything at the bottom of the page. For print texts, the bottom is the forme work area. For manuscripts, use your judgement about what constitutes the bottom of the page. Use this value for transcriptions of print or manuscript texts if your anthology is not using the more granular values of centre-bottom, left-bottom, and right-bottom. Allowed in print and manuscript texts.
Valeur générique pour désigner l’emplacement de tout élément en bas de page. Pour les imprimés, le bas de la page désigne le blanc de pied. Pour les manuscrits, c’est à l’appréciation de l’éditeur. A utiliser pour les transcriptions d’imprimés ou manuscrits, si l’anthologie n’utilise pas les valeurs spécifiques de centre-bas, bas-gauche et bas-droite. Autorisé pour imprimés et manuscrits.
plc-top Top / Haut
A generic place value for anything at the top of the page. For print texts, the top is the forme work area. For manuscripts, use your judgement about what constitutes the top of the page. Use this value for transcriptions of print or manuscript texts if your anthology is not using the more granular values of centre-top, left-top, and right-top. Allowed in print and manuscript texts.
Valeur générique pour tout élément situé en haut de la page. Pour les textes imprimés, le haut de la page désigne le blanc de tête. Pour les manuscrits, c’est à l’appréciation de l’éditeur. A utiliser pour les transcriptions d’imprimés ou manuscrits si l’anthologie n’utilise pas les valeurs spécifiques de centre-haut, haut-gauche et haut-droite. Autorisé pour imprimés et manuscrits.
plc-inline Inline
A generic place value for anything on its own compositorial line but not aligned right, left, or centre.
plc-right-above Right Above (manuscript) / Droite dessus
Above and to the right of the text, floating (possibly added at a later stage). Allowed only in manuscript texts. Prohibited in print texts.
Au-dessus à droite du texte, flottant (possiblement un ajout ultérieur). Autorisé seulement dans les manuscrits, proscrit dans les textes imprimés.
plc-right-below Right Below (manuscript) / Droite dessous
Below and to the right of the text, floating (probably added at a later stage). Allowed only in manuscript texts. Prohibited in print texts.
Au-dessous et à droite du texte, flottant (possiblement un ajout ultérieur). Autorisé seulement dans les manuscrits, proscrit dans les textes imprimés.
plc-left-above Left Above (manuscript) / Gauche dessus
Above and to the left of the text, floating (possibly added at a later stage). Allowed only in manuscript texts. Prohibited in print texts.
Au-dessus à gauche du texte, flottant (possiblement un ajout ultérieur). Autorisé seulement dans les manuscrits, proscrit dans les textes imprimés.
plc-left-below Left Below (manuscript) / Gauche dessous
Below and to the left of the text, floating (probably added at a later stage). Allowed only in manuscript texts. Prohibited in print texts.
Au-dessous et à gauche du texte, flottant (possiblement un ajout ultérieur). Autorisé seulement dans les manuscrits, proscrit dans les textes imprimés.
plc-centre-above Centre Above (manuscript) / Centre dessus
Centered above the text, floating (probably added at a later stage). Allowed only in manuscript texts. Prohibited in print texts.
Centré et au-dessus du texte, flottant (possiblement un ajout ultérieur). Autorisé seulement dans les manuscrits, proscrit dans les textes imprimés.
plc-centre-below Centre Below (manuscript) / Centre dessous
Centered below the text, floating (probably added at a later stage). Allowed only in manuscript texts. Prohibited in print texts.
Centré en dessous du texte, flottant (possiblement un ajout ultérieur). Autorisé seulement dans les manuscrits, proscrit dans les textes imprimés.
plc-above Above (manuscript) / Dessus
A generic place value for anything above the text and floating (probably added at a later stage). Allowed only in manuscript texts. Prohibited in print texts.
Valeur générique pour tout élément placé au-dessus d’un élément textuel, flottant (possiblement un ajout ultérieur). Autorisé seulement dans les manuscrits, proscrit dans les textes imprimés.
plc-below Below (manuscript) / Dessous
A generic place value for anything below the text and floating (probably added at a later stage). Allowed only in manuscript texts. Prohibited in print texts.
Valeur générique pour tout élément placé sous un élément textuel, flottant (possiblement un ajout ultérieur). Autorisé seulement dans les manuscrits, proscrit dans les textes imprimés.
plc-opposite Opposite (manuscript) / En face
A generic place value for anything on the opposite [i.e., facing] page (possibly added at a later stage). Allowed only in manuscript texts. Prohibited in print texts.
Valeur générique pour tout élément placé sur la page opposée (en face) (possiblement un ajout ultérieur). Autorisé seulement dans les manuscrits, proscrit dans les textes imprimés.
plc-overleaf Overleaf (manuscript) / page d’après
A generic place value for anything on the other side of the leaf (possibly added at a later stage). Allowed only in manuscript texts. Prohibited in print texts.
Valeur générique pour tout élément placé de l’autre côté de la feuille (possiblement un ajout ultérieur). Autorisé seulement dans les manuscrits, proscrit dans les textes imprimés.
plc-inspace Inspace (manuscript) / Intercalé
In a predefined space, [i.e., left by an earlier scribe]. Allowed only in manuscript texts. Prohibited in print texts.
Intercalé dans un espace prédéfini (laissé par un scripteur précédent, par exemple). Autorisé seulement dans les manuscrits, proscrit dans les textes imprimés.
plc-overwritten Overwritten (manuscript) / Réécrit
A generic place value for any additional material written over deleted material. Allowed only in manuscript texts. Prohibited in print texts.
Valeur générique pour tout élément ajouté par-dessus un ou plusieurs éléments supprimés. Autorisé seulement dans les manuscrits, proscrit dans les textes imprimés.
plc-CHECK THIS VALUE NEEDS TO BE CHECKED AND REASSIGNED.
Used where there is no direct conversion from old values, so human intervention is required.
Utilisé lorsqu’il n’y a pas de conversion directe des anciennes valeurs possible, ce qui nécessite une intervention humaine.

Understanding LEMDO’s Placement Value

Choosing a placement value requires understanding what each part of the value means and how LEMDO refers to different parts of the page. The following images illustrate what our terminology means.
In this image of a page, the brown line shows the boundary of what we consider the textblock:

                           Digital drawing of a textblock
To the top and bottom of the textblock are the forme works areas (highlighted in purple). To either side of the textblock are the margins (highlighted in orange).

                           The same page with margins and forme works areas highlighted
In our placement taxonomy, we consider things in the top forme works area to be “top” while things in the bottom forme works area are described with values that have “bottom” in them.

                           A page with text in the top and bottom form works areas
We determine horizontal descriptors (left, right, centre) based on zones as shown in the following image:

                           The same page each of the three zones hightlighted
Anything in the left zone (highlighted blue) should have “left” in its @place value, anything in the centre zone (highlighted yellow) should have “centre” in its @place value, and anything in the right zone (highlighted red) should have “right” in its @place value.
While we do allow generic values based on zone only (e.g., plc-right), in most cases we can provide more specific values without extra work. The specific values for text in the right zone can be tagged with values as shown in the following image:

                           Examples of plc-right values as described in the table above
There are less values for text in the left and centre zones because there is less variation in the left and centre areas of early modern pages. You can, however, tag values as shown in this image:

                           Examples of plc-centre and plc-left values as described in the table above

Examples

The following images are annotated semi-diplomatic print pages to serve as examples of the above placement values.

                           An old book page with lines pointing to Top, Left Top, Centre Top, Right Top, Left, Left Inline, Left Margin, Right, Centre, Right Adjacent, Right Inline, Right Margin, Left Bottom, Centre Bottom, Right Bottom, and Bottom as defined above.
An example page for print place values, including Right Adjacent, from Q2 Hamlet.

                           An old book page with lines pointing to Top, Left Top, Centre Top, Right Top, Left, Left Margin, Right, Right Margin, Right Inline, Centre, Left Bottom, Centre Bottom, Right Bottom, and Bottom as defined above.
An example page for print place values, including Left Bottom, from Q2 The Honest Whore, Part 1.

                           An old book page with lines pointing to Top, Left Top, Centre Top, Right Top, Left, Left Margin, Left Inline, Right, Right Inline, Centre, Left Bottom, Centre Bottom, Right Bottom, and Bottom as defined above.
An example page for print place values from Q1 The Honest Whore, Part 1.

Typographical Glyphs Taxonomy

While LEMDO no longer encourages anthologies to tag glyphs and ligatures in their semi-diplomatic transcriptions, older LEMDO editions tagged glyphs using the values documented on this page. To learn about LEMDO’s current practices for encoding glyphs, see Encode Glyphs and Ligatures in Semi-Diplomatic Transcriptions.

Typographical Glyph Values

@xml:id Glyph name Mappings Note
g_UNKNOWN Unknown
standard: �
unicode: U+FFFD
This indicates something that needs investigation by an editor, and a better encoding solution. It is a temporary option.
g_caret Caret
modern: ^
standard: ^
unicode: U+2038
g_doubleHyphen Double Oblique Hyphen
modern: -
standard: ⸗
unicode: U+2E17
g_amacron Latin Small Letter a with Macron
modern: a[nm]
standard: ā
iml: {_a}
unicode: U+0101
The expansion of this glyph depends on its context; in most cases it involves the addition of a nasal, but each case must be handled manually. See also Latin Small Letter “a” with Tilde.
g_emacron Latin Small Letter e with Macron
modern: e[nm]
standard: ē
iml: {_e}
unicode: U+0113
The expansion of this glyph depends on its context; in most cases it involves the addition of a nasal, but each case must be handled manually. See also Latin Small Letter “e” with Tilde.
g_imacron Latin Small Letter i with Macron
modern: i[nm]
standard: ī
iml: {_i}
unicode: U+012B
The expansion of this glyph depends on its context; in most cases it involves the addition of a nasal, but each case must be handled manually. See also Latin Small Letter “i” with Tilde.
g_mmacron Latin Small Letter m with Macron
modern: m[nm]
standard: m̄
iml:
The expansion of this glyph depends on its context; in most cases it involves the addition of a nasal, but each case must be handled manually. See also Latin Small Letter “o” with Tilde.
g_nmacron Latin Small Letter n with Macron
modern: n[nm]
standard: n̄
iml:
The expansion of this glyph depends on its context; in most cases it involves the addition of a nasal, but each case must be handled manually. See also Latin Small Letter “o” with Tilde.
g_omacron Latin Small Letter o with Macron
modern: o[nm]
standard: ō
iml: {_o}
unicode: U+014D
The expansion of this glyph depends on its context; in most cases it involves the addition of a nasal, but each case must be handled manually. See also Latin Small Letter “o” with Tilde.
g_umacron Latin Small Letter u with Macron
modern: u[nm]
standard: ū
iml: {_u}
unicode: U+016B
The expansion of this glyph depends on its context; in most cases it involves the addition of a nasal, but each case must be handled manually. See also Latin Small Letter “u” with Tilde.
g_wmacron Latin Small Letter w with Macron
modern: w[nm]
standard: w̄
iml: {_w}
unicode: w U+0304
g_ymacron Latin Small Letter y with Macron
modern: y[nm]
standard: ȳ
iml: {_y}
unicode: U+0233
The expansion of this glyph depends on its context; in most cases it involves the addition of a nasal, but each case must be handled manually.
g_e Combining Latin Small Letter e
modern: e
standard: e
unicode: U+0364
Usually in combination with y, and the ye combination will need to be tagged with choice, abbr, and expan to expand the y into th.
g_u Combining Latin Small Letter u
modern: u
standard: u
unicode: U+0367
Usually in combination with y, and the yu combination will need to be tagged with choice, abbr, and expan to expand the y into th. The editor will need to determine if the word should be expanded to thou or you.
g_t Combining Latin Small Letter t
modern: t
standard: t
unicode: U+036D
Usually in combination with y, and the yt combination will need to be tagged with choice, abbr, and expan to expand the y into th.
g_atilde Latin Small Letter a with Tilde
modern: a[nm]
standard: ã
iml: {~a}
unicode: U+00E3
The expansion of this glyph depends on its context; in most cases it involves the addition of a nasal, but each case must be handled manually. See also Latin Small Letter a With Macron.
g_etilde Latin Small Letter e with Tilde
modern: e[nm]
standard: ẽ
iml: {~e}
unicode: U+1EBD
The expansion of this glyph depends on its context; in most cases it involves the addition of a nasal, but each case must be handled manually. See also Latin Small Letter e With Macron.
g_itilde Latin Small Letter i with Tilde
modern: i[nm]
standard: ĩ
iml: {~i}
unicode: U+0129
The expansion of this glyph depends on its context; in most cases it involves the addition of a nasal, but each case must be handled manually. See also Latin Small Letter i with Macron.
g_ocircumflex Latin Small Letter o with Circumflex
modern: o
standard: ô
unicode: U+00D4
g_otilde Latin Small Letter o with Tilde
modern: o[nm]
standard: õ
iml: {~o}
unicode: U+00F5
The expansion of this glyph depends on its context; in most cases it involves the addition of a nasal, but each case must be handled manually. See also Latin Small Letter o with Macron.
p_macron Latin small letter p with macron
modern: p̄
standard: p̄
unicode: U+0070U+0304
g_utilde Latin Small Letter u with Tilde
modern: u[nm]
standard: ũ
iml: {~u}
unicode: U+0169
The expansion of this glyph depends on its context; in most cases it involves the addition of a nasal, but each case must be handled manually. See also Latin Small Letter u with Macron.
g_ntilde Latin Small Letter n with Tilde
modern: ñ
standard: ñ
iml: {~n}
unicode: U+00F1
g_udiaeresis Latin Small Letter u with Diaeresis
modern: u
standard: ü
unicode: U+00FC
g_longS Latin Small Letter Long s
modern: s
standard: ſ
iml: {s}
unicode: U+017F
g_thorn Latin Capital Letter Thorn
modern: th
standard: þ
iml: {th}
unicode: U+00FE
g_wynn Latin Letter Wynn
modern: w
standard: ƿ
unicode: U+01BF
g_eth Latin Small Letter Eth
modern: th
standard: ð
unicode: U+00F0
g_vv Lowercase Double v for w
modern: w
standard: w
typeset: vv
iml: {vv}
iml: {w}
g_VV Uppercase Double V for W
modern: W
standard: W
typeset: VV
iml: {VV}
iml: {W}
g_rotunda Latin Small Letter r Rotunda
modern: r
standard: ꝛ
iml: {r}
unicode: U+A75A
g_zeroWidthSpace Zero Width Space
modern:
standard: ​​
iml: {#}
unicode: U+200B
g_cutp Latin Small Letter p with Stroke Through Descender
modern: ꝑ
standard: ꝑ
unicode: U+A751
g_cutP Latin Capital Letter P with Stroke Through Descender
modern: Ꝑ
standard: Ꝑ
unicode: U+A750
g_que Latin Small Letter et, meaning que
modern: ꝫ
standard: ꝫ
unicode: U+A76B
g_con Latin Small Letter Con
modern: con
standard: ꝯ
unicode: U+A76F
g_us Modifier Small Letter us Superscripted
modern: us
standard: ꝰ
unicode: U+A770
g_us_Eng Modifier Letter us in English MS Not Superscript
modern: us
standard: Ꝯ
unicode: U+A76E
g_ye Modifier y Small e Above
modern: ye
standard: ye
g_yt Modifier y Small t Above
modern: yt
standard: yt

Typographical Ligatures Taxonomy

While LEMDO no longer encourages anthologies to tag glyphs and ligatures in their semi-diplomatic transcriptions, some semi-diplomatic files (mostly inherited from other projects) tagged ligatures using the values documented on this page. To learn about LEMDO’s current practices for encoding ligatures, see Encode Glyphs and Ligatures in Semi-Diplomatic Transcriptions.

Typographical Ligature Values

@xml:id Glyph name Mappings
lig_AE Latin Capital Letter/Ligature AE
modern: ae
standard: AE
precomposed: Æ
iml: {AE}
unicode: U+00C6
lig_ae Latin Small Letter/Ligature ae
modern: ae
standard: ae
precomposed: æ
iml: {ae}
unicode: U+00E6
lig_as Latin Small Ligature as
modern: as
standard: as
iml: {as}
lig_ct Latin Small Ligature ct
modern: ct
standard: ct
iml: {ct}
lig_ee Latin Small Ligature ee
modern: ee
standard: EE
iml: {ee}
lig_es Latin Small Ligature es
modern: es
standard: es
lig_ess Latin Small Ligature e Long s Short s
modern: ess
standard: eſs
iml: {e{s}s}
lig_fa Latin Small Ligature fa
modern: fa
standard: fa
iml: {fa}
lig_fe Latin Small Ligature fe
modern: fe
standard: fe
iml: {f}
lig_ff Latin Small Ligature ff
modern: ff
standard: ff
precomposed: ff
iml: {ff}
unicode: U+FB00
lig_ffa Latin Small Ligature ffa
modern: ffa
iml: {ffa}
lig_ffe Latin Small Ligature ffe
modern: ffe
iml: {ffe}
lig_ffi Latin Small Ligature ffi
modern: ffi
standard: ffi
precomposed: ffi
iml: {ffi}
unicode: U+FB03
lig_ffl Latin Small Ligature ffl
modern: ffl
standard: ffl
precomposed: ffl
iml: {ffl}
unicode: U+FB04
lig_ffr Latin Small Ligature ffr
modern: ffr
iml: {ffr}
lig_fi Latin Small Ligature fi
modern: fi
standard: fi
precomposed: fi
iml: {fi}
unicode: U+FB01
lig_fl Latin Small Ligature fl
modern: fl
standard: fl
precomposed: fl
iml: {fl}
unicode: U+FB02
lig_fo Latin Small Ligature fo
modern: fo
standard: fo
iml: {fo}
lig_fr Latin Small Ligature fr
modern: fr
standard: fr
iml: {fr}
lig_ft Latin Small Ligature ft
modern: ft
standard: ft
iml: {ft}
lig_fu Latin Small Ligature fu
modern: fu
iml: {ffu}
lig_IJ Latin Capital Ligature IJ
modern: IJ
standard: IJ
precomposed: IJ
iml: {IJ}
unicode: U+0132
lig_ij Latin Small Ligature ij
modern: ij
standard: ij
precomposed: ij
iml: {ij}
unicode: U+0133
lig_is Latin Small Ligature is
modern: is
standard: is
iml: {is}
lig_ll Latin Small Ligature ll
modern: ll
standard: ll
iml: {ll}
lig_oe Latin Small Letter/Ligature oe
modern: oe
standard: OE
precomposed: œ
iml: {oe}
unicode: U+1053
lig_oo Latin Small Letter/Ligature oo
modern: oo
standard: oo
iml: {oo}
lig_os Latin Small Ligature os
modern: os
standard: os
iml: {os}
lig_Qu Latin Ligature Capital Q Small u
modern: Qu
standard: Qu
lig_Que Latin Ligature Capital Q Small u Small e
modern: Que
standard: Que
lig_Qui Latin Ligature Capital Q Small u Small i
modern: Qui
standard: Qui
lig_longS_a Latin Small Ligature Long s a
modern: sa
standard: ſa
iml: {{s}a}
lig_longS_b Latin Small Ligature Long s b
modern: sb
standard: ſb
iml: {{s}b}
lig_longS_c Latin Small Ligature Long s c
modern: sc
standard: sc
iml: {{s}c}
lig_longS_e Latin Small Ligature Long s e
modern: se
standard: ſe
iml: {s{e}}
lig_longS_g Latin Small Ligature Long s g
modern: sg
standard: ſg
iml: {{s}g}
lig_longS_h Latin Small Ligature Long s h
modern: sh
standard: ſh
iml: {{s}h}
lig_longS_i Latin Small Ligature Long s i
modern: si
standard: ſi
iml: {{s}i}
lig_sk Latin Small Ligature sk
modern: sk
standard: sk
iml: {sk}
lig_sl Latin Small Ligature sl
modern: sl
standard: sl
iml: {sl}
unicode: U+FB06
lig_longS_k Latin Small Ligature Long s k
modern: sk
standard: ſk
iml: {sk}
lig_longS_l Latin Small Ligature Long s l
modern: sl
standard: ſl
iml: {{s}l}
lig_longS_m Latin Small Ligature Long s m
modern: sm
standard: ſm
iml: {{s}m}
lig_longS_n Latin Small Ligature Long s n
modern: sn
standard: ſn
iml: {{s}n}
lig_longS_o Latin Small Ligature Long s o
modern: so
standard: ſo
iml: {{s}o}
lig_sp Latin Small Ligature sp
modern: sp
standard: sp
iml: {sp}
lig_longS_p Latin Small Ligature Long s p
modern: sp
standard: ſp
iml: {{s}p}
lig_longS_q Latin Small Ligature Long s q
modern: sq
standard: ſq
iml: {{s}q}
lig_longS_longS Latin Small Ligature Long s Long s
modern: ss
standard: ſſ
iml: {{s}{s}}
lig_longS_longS_a Latin Small Ligature Long s Long s a
modern: ssa
standard: ſſa
iml: {{s}{s}a}
lig_longS_longS_e Latin Small Ligature Long s Long s e
modern: sse
standard: ſſe
iml: {{s}{s}e}
lig_longS_longS_i Latin Small Ligature Long s Long s i
modern: ssi
standard: ſſi
iml: {{s}{s}i}
lig_longS_longS_l Latin Small Ligature Long s Long s l
modern: ssl
standard: ſſl
iml: {{s}{s}l}
lig_longS_longS_o Latin Small Ligature Long s Long s o
modern: sso
standard: ſſo
iml: {{s}{s}o}
lig_st Latin Small Ligature st
modern: st
standard: st
precomposed: st
iml: {st}
unicode: U+FB06
lig_longS_t Latin Small Ligature Long s t
modern: st
standard: ſt
precomposed: ſt
iml: {{s}t}
unicode: U+FB05
lig_ss Latin Small Ligature Long s Short s
modern: ss
standard: ſs
iml: {{s}s}
lig_longS_u Latin Small Ligature Long s u
modern: su
standard: ſu
iml: {{s}u}
lig_longS_w Latin Small Ligature Long s w
modern: sw
standard: ſw
iml: {{s}w}
lig_sz Latin Small Letter Sharp s (Eszett)
modern: ss
standard: ss
iml: {&szlig}
unicode: U+00DF
lig_us Latin Small Ligature us
modern: us
standard: us
iml: {us}
lig_Wt Latin Ligature Wt
modern: with
standard: Wt
iml: {Wt}
lig_wt Latin Ligature wt
modern: with
standard: wt
iml: {wt}

DRE Play IDs

Every play in the LEMDO repository has an abbreviated ID. These IDs are used across the site in a variety of places:
As the title of a edition directory (e.g., /Ham).
In the xml:id of a file within a play’s edition (e.g., emdHam_GenIntro.xml)
In citations (e.g., Ham 10.70–72)
LEMDO normally uses the IDs created for the Bibliography of Editions of Early English Drama (BEEED), except for a few legacy editions. IDs for mayoral pageant books match those of the Map of Early Modern London (e.g., The Triumphs of Truth is TRIU1).
Title ID Author Year
The Castle of Perseverance CPer Anonymous 1400
The Pride of Life PLif Anonymous 1400
The Play of the Sacrament (The Croxton Play of the Sacrament) PSac Anonymous 1460
Occupation and Idleness Ocpn Anonymous 1460
Mankind Man Anonymous 1465
Wisdom, Who is Christ Wisd Anonymous 1465
Robin Hood and the Sheriff (Robin Hood and the Knight) RHSh Anonymous 1475
The Killing of the Children DKC Anonymous 1485
The Prodigal Son (Pater, Filius et Uxor) PrdS Anonymous 1490
Youth Yth Anonymous 1490
The Nature of the Four Elements N4E Anonymous 1490
1 and 2 Nature (Nature) Nat Henry Medwall 1496
Fulgens and Lucres FLuc Henry Medwall 1497
Hick Scorner Hick Anonymous 1514
Mundus et Infans (The World and the Child) Mund Anonymous 1515
The Summoning of Everyman EMan Anonymous 1519
John the Evangelist JnEv Anonymous 1520
The Conversion of St Paul (The Digby Conversion of St Paul) ConP Anonymous 1520
Mary Magdalen (The Digby Mary Magdalen) DMM Anonymous 1520
John John the Husband JnJn John Heywood 1520
The Pardoner and the Friar PaFr John Heywood 1520
Magnificence Magn John Skelton 1520
Andria (The Woman from Andros) Ter Terence; Anonymous (trans.) 1520
The Four Ps (The Four PP) 4PP John Heywood 1525
1 Gentleness and Nobility (Gentleness and Nobility, Part One) 1GN John Heywood 1527
2 Gentleness and Nobility (Gentleness and Nobility, Part Two) 2GN John Heywood 1527
Calisto and Melebea CalM John Rastell 1527
Godly Queen Hester (Godly Queen Esther) QGH Anonymous 1529
The Play of Love PLov John Heywood 1529
The Play of the Weather Wthr John Heywood 1533
Good Order (Old Christmas) GOrd John Skelton? 1533
A Dialogue between Julius II, Genius, and St Peter JGSP Desiderius Erasmus; Anonymous (trans.) 1534
A Disobedience, Temperancend Humility DTH Anonymous 1535
Funus (The Funeral) Fns Desiderius Erasmus; Anonymous (trans.) 1535
A Pilgrimage of Pure Devotion PPDv Desiderius Erasmus; Anonymous (trans.) 1536
Thersites (Thersytes) Thrs Nicholas Udall? 1537
A Pretty Complaint of Peace PCmP Anonymous 1538
The Three Laws 3Law John Bale 1538
God’s Promises (The Chief Promises of God) GodP John Bale 1538
John Baptist’s Preaching in the Wilderness JBpP John Bale 1538
The Temptation of Our Lord TmpL John Bale 1538
King John (King Johan) KJhn John Bale 1538
The Four Cardinal Virtues 4CV Anonymous 1540
A Governor (Ecclesia) Gvnr Ravisius Textor; Robert Radcliffe (trans.) 1540
A Dialogue on Fortune (Poor Man and Fortune) DFor Ravisius Textor; Robert Radcliffe (trans.) 1540
A Dialogue on Death (Death and the Goer by the Way) DDth Ravisius Textor; Robert Radcliffe (trans.) 1540
Acolastus Acol Willem de Volder; John Palsgrave (trans.) 1540
A Dialogue on Wit (Witty and Witless) DWit John Heywood 1543
Wit and Science WtSc John Redford 1544
The Epicure Epcr Desiderius Erasmus; Philip Gerrard (trans.) 1545
The Parts of Man (The Estate of Christ’s Church) PtMn John Heywood 1547
A Dialogue between the Angel of the Lord and the Shepherds (Gabriel and the Shepherds) DASh Thomas Becon 1547
The Seven Deadly Sins SDSn Anonymous 1548
A Goodly Dialogue between Knowledge and Simplicity DKSm Anonymous 1548
A Goodly Disputation between a Christian Shoemaker and a Popish Parson CSPP Hans Sachs; Anthony Skoloker (trans.) 1548
John Bon and Mast’ Parson JBMP Luke Sheperd 1548
The Indictment against Mother Mass IAMM William Punt 1548
The Examination of the Mass ExM William Turner 1548
The Unjust Usurped Supremacy of the Bishop of Rome UnUs Bernardino Ochino; John Ponet (trans.) 1549
Polyphemus (The Gospeller) Pphm Desiderius Erasmus; Edmond Becke (trans.) 1549
Things and Names ThNm Desiderius Erasmus; Edmond Becke (trans.) 1549
Play of the Resurrection PRes Anonymous 1550
Nice Wanton NWan Anonymous 1550
Mary Magdalene (The Life and Repentance of Mary Magdalen) LRMM Lewis Wager 1550
The Disobedient Child DisC Thomas Ingelend 1550
Show of the Nine Worthies SNW Richard Kaye? 1551
Lusty Juventus LusJ Richard Wever? 1551
The Satire of the Three Estates S3E David Lindsay 1552
Ralph Roister Doister RRD Nicholas Udall 1552
Jacob and Esau JacE Nicholas Udall? 1553
Gammer Gurton’s Needle GGN William Stevenson 1553
Respublica Resp Anonymous 1554
Wealth and Health WthH Anonymous 1554
Jack Juggler JJug Anonymous 1555
Iphigenia Iphg Euripides; Jane Lumley (trans.) 1555
Impatient Poverty ImpP Anonymous 1556
A Merry Dialogue declaring the Properties of Shrewd Shrews and Honest Wives SSHW Desiderius Erasmus; Anonymous (trans.) 1557
A Dialogue on Idleness Idle John Fisher 1558
A Dialogue on Maidens DMdn John Fisher 1558
A Dialogue concerning Wisdom and Will DWW John Fisher 1558
Troas Trs Seneca; Jasper Heywood (trans.) 1558
Robin Hood and the Friar RHFr Anonymous 1560
Robin Hood and the Potter RHPt Anonymous 1560
Oedipus Oedp Seneca; Alexander Neville (trans.) 1560
Thyestes Thys Seneca; Jasper Heywood (trans.) 1560
Tom Tyler and His Wife TTHW Anonymous 1561
The Pedlar’s Prophecy PedP Anonymous 1561
Patient and Meek Grissel PMGr John Phillip 1561
Hercules furens HFur Seneca; Jasper Heywood (trans.) 1561
Gorboduc (Ferrex and Porrex) Gorb Thomas Newton; Thomas Sackville 1562
The Virtuous and Godly Susanna Susa Thomas Garter 1563
July and Julian JJul Anonymous 1564
Masque at Hinchinbrook MHin Anonymous 1564
A Dialogue between the Cap and the Head DCpH Pandolfo Collenuccio; Anonymous (trans.) 1564
Robin Conscience RobC Anonymous 1565
The Temptation of Man in Paradise TMPa Anonymous 1565
Albion Knight AlbK Anonymous 1565
Darius Dar Anonymous 1565
Damon and Pythias (Damon and Pithias) DamP Richard Edwards 1565
The Banquet of Dainties BanD Anonymous 1566
Inns (Diversoria) Inns E. H. (trans.); Desiderius Erasmus 1566
Supposes Supp Ludovico Ariosto; George Gascoigne (trans.) 1566
Jocasta Joc Ludovico Dolce; Francis Kinwelmersh (trans.); Christopher Yelverton (trans.); George Gascoigne (trans.) 1566
Octavia Oct Pseudo-Seneca; Thomas Nuce (trans.) 1566
Appius and Virginia App R. B.; Anonymous 1566
Palamon and Arcite (The Knight’s Tale) PArc Richard Edwards 1566
Agamemnon Agmn Seneca; John Studley (trans.) 1566
Medea Meda Seneca; John Studley (trans.) 1566
Hercules Oetaeus HOet Seneca; John Studley (trans.) 1566
The Cruel Debtor CDbt William Wager 1566
A Conjuration Conj Desiderius Erasmus; Thomas Johnson (trans.) 1567
The Bugbears BugB John Jeffere? 1567
Horestes Hor John Pickering 1567
Hippolytus Hipp Seneca; John Studley (trans.) 1567
The Trial of Treasure TTr William Wager 1567
The Marriage of Wit and Science MWSc Anonymous 1568
Gismund of Salerne (Tancred and Gismund) Gism Christopher Hatton; Henry Noel; Roderick Stafford; Robert Wilmot 1568
The Young Man and the Evil Disposed Woman YMEW Desiderius Erasmus; Nicholas Leigh (trans.) 1568
A Modest Mean to Marriage (Pamphilus and Maria) MMMa Desiderius Erasmus; Nicholas Leigh (trans.) 1568
Free Will (Free-Will) FrW Francesco Negri de Bassano; Henry Cheke (trans.) 1568
Like Will to Like LWL Ulpian Fulwell 1568
Enough is as Good as a Feast EGF William Wager 1568
Cambyses (Cambises) Cmb Thomas Preston 1569
The Longer Thou Livest the More Fool Thou Art LLiv William Wager 1569
Common Conditions ComC Anonymous 1570
A Spanish Gentleman and an English Gentlewoman SGEG Anonymous 1570
Love Feigned and Unfeigned LFU Anonymous 1571
The Masque for Lord Montague MLMn George Gascoigne 1572
The Conflict of Conscience CoC Nathaniel Woodes 1572
New Custom NewC Anonymous 1573
The Marriage Between Wit and Wisdom MBWW Francis Merbury 1575
The Glass of Government GGov George Gascoigne 1575
A Interlude of Minds IntM Hendrik Niclaes; Christopher Vittels (trans.) 1575
Abraham’s Sacrifice ASac Theodore de Beze; Arthur Golding (trans.) 1575
The Tide Tarrieth No Man TTNM George Wapull 1576
A Dialogue between Wisdom and Folly DWF John Kay 1576
Misogonus Miso Anthony Rudd?; Laurence Johnson? 1577
1 Promos and Cassandra (Promos and Cassandra, Part One) 1PC George Whetstone 1577
2 Promos and Cassandra (Promos and Cassandra, Part Two) 2PC George Whetstone 1577
A Dialogue between Two Shepherds DShp Philip Sidney 1577
All for Money AFM Thomas Lupton 1577
Clyomon and Clamydes CnC Anonymous 1578
The Lady of May LMay Philip Sidney 1578
The Entertainment at Norwich ENor Thomas Churchyard 1578
Mercury and Virtue Merc Thomas Salter 1579
Wit and Will WitW Nicholas Breton 1580
The Soldier and the Scholar SolS Nicholas Breton 1580
A Dialogue between Anger and Patience DAnP Nicholas Breton 1580
The Three Ladies of London 3LL Robert Wilson 1581
Thebais Theb Seneca; Thomas Newton (trans.) 1581
Antigone Antg Sophocles; Thomas Watson (trans.) 1581
The Rare Triumphs of Love and Fortune LFor Anonymous 1582
Fedele and Fortunio (The Two Italian Gentlemen) FedF Anthony Munday 1583
Campaspe Camp John Lyly 1583
The Devil and Dives DDiv Thomas Lupton 1583
A Pedlar’s Tale PedT Anonymous 1584
The Arraignment of Paris APar George Peele 1584
Philomathes’ Dream PhD John Harrison 1584
Sappho and Phao SaP John Lyly 1584
Galatea (Gallathea) Gal John Lyly 1584
Philotus Ptus Alexander Montgomerie 1585
The Famous Victories of Henry V (The Famous Victories of Henry the Fifth) FV Anonymous 1586
Philomathes’ Second Dream Ph2D John Harrison 1586
1 Tamburlaine (Tamburlaine the Great, Part One) 1Tam Christopher Marlowe 1587
2 Tamburlaine (Tamburlaine the Great, Part Two) 2Tam Christopher Marlowe 1587
Alphonsus, King of Aragon AKA Robert Greene 1587
Andria (The Woman from Andros) And Terence; Maurice Kyffin (trans.) 1587
The Spanish Tragedy SpT Thomas Kyd 1587
The Wars of Cyrus WCyr Anonymous 1588
Doctor Faustus DFau Christopher Marlowe 1588
Dido, Queen of Carthage DQC Christopher Marlowe; Thomas Nashe 1588
The Battle of Alcazar BAlc George Peele 1588
Endymion End John Lyly 1588
The Woman in the Moon WMn John Lyly 1588
The Three Lords and Three Ladies of London 3L3LL Robert Wilson 1588
The Misfortunes of Arthur MArt Thomas Hughes; Nicholas Trotte; Francis Flower; Christopher Yelverton; Francis Bacon; John Lancaster 1588
Soliman and Perseda SolP Thomas Kyd 1588
The Wounds of Civil War WCW Thomas Lodge 1588
King Leir Leir Anonymous 1589
The True Tragedy of Richard III (The True Tragedy of Richard the Third) TTR3 Anonymous 1589
The Jew of Malta JewM Christopher Marlowe 1589
The Troublesome Reign of King John TRKJ George Peele 1589
Mother Bombie MBom John Lyly 1589
Midas Mid John Lyly 1589
Friar Bacon and Friar Bungay FBFB Robert Greene 1589
A Looking Glass for London and England LGLE Thomas Lodge; Robert Greene 1589
Rowland’s Godson RowG Anonymous 1590
Fair Em FEm Anonymous 1590
Jack Straw JStr Anonymous 1590
Arden of Faversham Ardn Anonymous; William Shakespeare 1590
John a Kent and John a Cumber JKJC Anthony Munday 1590
David and Bethsabe (David and Bathsheba) DavB George Peele 1590
Love’s Metamorphosis LMet John Lyly 1590
Antonius Anto Robert Garnier; Mary Herbert (trans.) 1590
The Scottish History of James IV (James the Fourth) J4 Robert Greene 1590
Mucedorus Mucd Anonymous 1591
Locrine Loc Anonymous 1591
George-a-Greene GaG Anonymous 1591
John of Bordeaux JBor Anonymous 1591
Edward I (Edward the First) E1 George Peele 1591
Descensus Astraeae DecA George Peele 1591
Orlando Furioso Orl Robert Greene 1591
Selimus Sel Robert Greene 1591
Amyntas Amyn Torquato Tasso; Abraham Fraunce (trans.) 1591
2 Henry VI (The First Part of the Contention) (Henry the Sixth, Part Two) 2H6 William Shakespeare 1591
3 Henry VI (Richard, Duke of York) (Henry the Sixth, Part Three) 3H6 William Shakespeare 1591
A Knack to Know a Knave KnKn Anonymous 1592
Edward II (Edward the Second) E2 Christopher Marlowe 1592
Jig of Averted Adultery (Francis and Richard) AvAd George Attwell? 1592
The Old Wife’s Tale (The Old Wives Tale) OWT George Peele 1592
Menaechmi (The Menaechmuses) Mena Plautus; William Warner (trans.) 1592
The Cobbler’s Prophecy CobP Robert Wilson 1592
Summer’s Last Will and Testament SLW Thomas Nashe 1592
1 Henry VI (Henry the Sixth, Part One) 1H6 Thomas Nashe; William Shakespeare; Christopher Marlowe 1592
The Taming of the Shrew Shr William Shakespeare 1592
Titus Andronicus Tit William Shakespeare; George Peele 1592
The Massacre at Paris MaP Christopher Marlowe 1593
Cleopatra Cleo Samuel Daniel 1593
The Comedy of Errors Err William Shakespeare 1593
Richard III (Richard the Third) R3 William Shakespeare 1593
Edward III (Edward the Third) E3 William Shakespeare? 1593
The Taming of a Shrew AShr Anonymous 1594
A Knack to Know an Honest Man KKHM Anonymous 1594
Gesta Grayorum GesG Anonymous 1594
Cornelia Corn Robert Garnier; Thomas Kyd (trans.) 1594
The Two Gentlemen of Verona TGV William Shakespeare 1594
Jig of an Amorous Cobbler AmCb Anonymous 1595
Jig of Rustic Wooing JRW Anonymous 1595
The Blackman JBm Anonymous 1595
Of Love and Self-Love OLSL Francis Bacon 1595
The Masque of Proteus MPro Francis Davison; Thomas Campion 1595
Two Lamentable Tragedies TLT Robert Yarington 1595
Singing Simpkin SngS Will Kempe? 1595
Romeo and Juliet Rom William Shakespeare 1595
Richard II (Richard the Second) R2 William Shakespeare 1595
A Midsummer Night’s Dream MND William Shakespeare 1595
Mustapha Must Fulke Greville 1596
The Blind Beggar of Alexandria BBA George Chapman 1596
Captain Thomas Stukely Stuk Thomas Heywood 1596
Love’s Labour’s Lost LLL William Shakespeare 1596
King John Jn William Shakespeare 1596
The Merchant of Venice MV William Shakespeare 1596
Edmund Ironside Edm Anonymous 1597
A Warning for Fair Women WFW Anonymous 1597
The Case is Altered Case Ben Jonson 1597
A Humorous Day’s Mirth AHDM George Chapman 1597
1 Henry IV (Henry the Fourth, Part One) 1H4 William Shakespeare 1597
The Merry Wives of Windsor MWW William Shakespeare 1597
2 Henry IV (Henry the Fourth, Part Two) 2H4 William Shakespeare 1597
2 Robin Hood (The Death of Robert, Earl of Huntingdon) 2RH Anthony Munday; Henry Chettle 1598
1 Robin Hood (The Downfall of Robert, Earl of Huntingdon) 1RH Anthony Munday; Henry Chettle? 1598
Every Man in His Humour EMI Ben Jonson 1598
The Spanish Bawd SpBd Ferdinand de Rojas; James Mabbe (trans.) 1598
The Two Angry Women of Abingdon 2AWA Henry Porter 1598
The Virtuous Octavia VOct Samuel Brandon 1598
Eunuch Eun Terence; Richard Bernard (trans.) 1598
Adelphos (The Brothers) Adel Terence; Richard Bernard (trans.) 1598
Heautontimorumenon (The Self-Tormentor) Heau Terence; Richard Bernard (trans.) 1598
Hecyra Hecy Terence; Richard Bernard (trans.) 1598
Phormio Phor Terence; Richard Bernard (trans.) 1598
Englishmen for My Money (A Woman Will Have Her Will) EFMM William Haughton 1598
Much Ado About Nothing Ado William Shakespeare 1598
The Pilgrimage to Parnassus PPar Anonymous 1599
Look About You LAY Anonymous 1599
A Larum for London ALLn Anonymous 1599
The Weakest Goeth to the Wall Weak Anonymous 1599
The Trial of Chivalry TrCh Anonymous 1599
Sir John Oldcastle SJO Anthony Munday; Michael Drayton; Robert Wilson; Richard Hathway 1599
Every Man Out of His Humour EMO Ben Jonson 1599
Antonio and Mellida (Antonio and Mellida, Part 1 AntM John Marston 1599
Thenot and Piers ThnP Mary Herbert 1599
The Shoemaker’s Holiday (The Gentle Craft) Shoe Thomas Dekker 1599
Old Fortunatus OFor Thomas Dekker 1599
1 Edward IV (Edward the Fourth, Part One) 1H4 Thomas Heywood 1599
2 Edward IV (Edward the Fourth, Part Two) 2H4 Thomas Heywood 1599
Henry V (Henry the Fifth) H5 William Shakespeare 1599
Julius Caesar JC William Shakespeare 1599
1 The Return from Parnassus (The Return from Parnassus, Part One) 1RP Anonymous 1600
The Wisdom of Doctor Dodypoll WDD Anonymous 1600
The Maid’s Metamorphosis MMet Anonymous 1600
Club Law Club Anonymous 1600
1 Hieronimo (Hieronimo, Part One) 1Hrn Anonymous 1600
Oedipus (Yale MS Eliz 294) YOed Aristotle Knowsley 1600
Cynthia’s Revels CynR Ben Jonson 1600
Alaham Alhm Fulke Greville 1600
Patient Grissil PatG Henry Chettle; Thomas Dekker; William Haughton 1600
The Blind Beggar of Bethnal Green BBBG John Day 1600
Jack Drum’s Entertainment JDrm John Marston 1600
Antonio’s Revenge (Antonio and Mellida, Part Two) AntR John Marston 1600
Lust’s Dominion (The Spanish Moor’s Tragedy) LDom Thomas Dekker; William Haughton; John Day; Christopher Marlowe? 1600
The Devil and His Dame (Grim, the Collier of Croydon) Grim William Haughton 1600
As You Like It AYL William Shakespeare 1600
Hamlet Ham William Shakespeare 1600
The Contention between Liberality and Prodigality CLP Anonymous 1601
Thomas, Lord Cromwell TLC Anonymous 1601
Sir Thomas More STM Anthony Munday 1601
Poetaster Poet Ben Jonson 1601
Jig of Michael and Frances JMF Francis Mitchell 1601
The Faithful Shepherd (Il pastor fido) IPF Giambattista Guarini; Tailboys Dymoke (trans.) 1601
What You Will WYW John Marston 1601
Satiromastix Stmx Thomas Dekker 1601
Blurt, Master Constable BMC Thomas Dekker 1601
How a Man May Choose a Good Wife from a Bad HMMC Thomas Heywood 1601
Change is No Robbery (The Cucqueans and Cuckolds Errants) CNR William Percy 1601
Muhammad and His Heaven MHH William Percy 1601
Twelfth Night TN William Shakespeare 1601
2 The Return from Parnassus (The Return from Parnassus, Part Two) 2RP Anonymous 1602
Wily Beguiled WBeg Anonymous; Samuel Rowley? 1602
The Fair Maid of the Exchange FMEx Anonymous; Thomas Heywood? 1602
Sir Giles Goosecap SGG George Chapman 1602
The Gentleman Usher GenU George Chapman 1602
Histriomastix Hstx John Marston 1602
A Dialogue between Three Philosophers D3Ph Nicholas Breton 1602
A Merry Dialogue betwixt the Taker and Mistaker DTkM Nicholas Breton 1602
’Tis Merry when Gossips Meet TMGM Samuel Rowlands 1602
Sir Thomas Wyatt STW Thomas Dekker; John Webster; Thomas Heywood?; Henry Chettle? 1602
The Four Prentices of London FPL Thomas Heywood 1602
The Entertainment at Cecil House ECec William Davenant 1602
A Forest Tragedy in Vacunium FTVc William Percy 1602
The Aphrodysial Aphr William Percy 1602
Troilus and Cressida Tro William Shakespeare 1602
Narcissus Narc Anonymous 1603
The Merry Devil of Edmonton MDEd Anonymous 1603
The History of Popish Purgatory HPP Anonymous; Robert Owen? 1603
Sejanus His Fall (Sejanus’ Fall) Sej Ben Jonson 1603
Juditha (Judith) Judt Cornelius Schonaeus; Henry Evans (trans.) 1603
Antipo Antp Francis Verney 1603
Hoffman (The Tragedy of Hoffman) Hoff Henry Chettle 1603
The Malcontent Malc John Marston 1603
A Woman Killed with Kindness WKK Thomas Heywood 1603
Darius Dars William Alexander 1603
The Fairy Chase FrCh William Percy 1603
Measure for Measure MM William Shakespeare 1603
The Fair Maid of Bristol FMBr Anonymous 1604
The Wit of a Woman WWom Anonymous 1604
The London Prodigal LPro Anonymous 1604
Bussy D’Ambois BDA George Chapman 1604
May Day MayD George Chapman 1604
All Fools AF George Chapman 1604
Law-Tricks (Law Tricks) LawT John Day 1604
The Dutch Courtesan DutC John Marston 1604
I Pray You, Be Not Angry IPBN Nicholas Breton 1604
Grimello’s Fortunes GFor Nicholas Breton 1604
An Old Man’s Lesson and a Young Man’s Love OML Nicholas Breton 1604
The Vision of the Twelve Goddesses VTG Samuel Daniel 1604
Philotas Phlo Samuel Daniel 1604
When You See Me, You Know Me WYSM Samuel Rowley 1604
Westward Ho! WHo Thomas Dekker; John Webster 1604
The Magnificent Entertainment MagE Thomas Dekker; Middleton, Thomas; Jonson, Ben; Ruytinck, Simon; Cool, Jacob; Thorius, Raphael 1604
1 The Honest Whore (The Honest Whore, Part One) 1HW Thomas Dekker; Thomas Middleton 1604
1 If You Know Not Me, You Know Nobody (If You Know Not Me, You Know Nobody, Part One) 1IYK Thomas Heywood 1604
2 If You Know Not Me, You Know Nobody (If You Know Not Me, You Know Nobody, Part Two) 2IYK Thomas Heywood 1604
The Phoenix Phnx Thomas Middleton 1604
Michaelmas Term MsTm Thomas Middleton 1604
Croesus Croe William Alexander 1604
Othello (The Moor of Venice) Oth William Shakespeare 1604
Caesar and Pompey CPom Anonymous 1605
Nobody and Somebody Nbdy Anonymous 1605
Claudius Tiberius Nero CTN Anonymous 1605
The Triumphs of Reunited Britannia TRBr Anthony Munday 1605
The Masque of Blackness MBla Ben Jonson 1605
Eastward Ho! EHo Ben Jonson; George Chapman; John Marston 1605
The Tragedy of Mariam (Mariam, Queen of Jewry) TMar Elizabeth Cary 1605
The Widow’s Tears WidT George Chapman 1605
Monsieur D’Olive MonD George Chapman 1605
The Fawn (Parasitaster) Fwn John Marston 1605
The Wonder of Women (Sophonisba) WonW John Marston 1605
Arcadia Reformed ArcR Samuel Daniel 1605
2 The Honest Whore (The Honest Whore, Part Two) 2HW Thomas Dekker 1605
Northward Ho! NHo Thomas Dekker; John Webster 1605
A Trick to Catch the Old One TCOO Thomas Middleton 1605
A Mad World, My Masters MWMM Thomas Middleton 1605
A Yorkshire Tragedy YorT Thomas Middleton 1605
All’s Well That Ends Well AWW William Shakespeare 1605
King Lear Lr William Shakespeare 1605
The Birth of Hercules BirH Anonymous 1606
The Devil’s Charter DevC Barnabe Barnes 1606
Hymenaei Hymn Ben Jonson 1606
The Barriers (Truth versus Opinion) Brrs Ben Jonson 1606
Volpone (The Fox) Volp Ben Jonson 1606
A Dialogue of Fish-Eating DFsh Desiderius Erasmus; William Burton (trans.) 1606
Naufragium (The Shipwreck) Nauf Desiderius Erasmus; William Burton (trans.) 1606
A Dialogue between a Good Woman and a Shrew DGWS Desiderius Erasmus; William Burton (trans.) 1606
Dialogue between a Harlot and a Godly Young Man DHar Desiderius Erasmus; William Burton (trans.) 1606
A Dialogue of a Woman in Child-Bed DWCB Desiderius Erasmus; William Burton (trans.) 1606
A Dialogue of a Popish Pilgrimage DPP Desiderius Erasmus; William Burton (trans.) 1606
A Dialogue of a Popish Funeral DPF Desiderius Erasmus; William Burton (trans.) 1606
The Fleer Flr Edward Sharpham 1606
The Woman-Hater WomH Francis Beaumont; John Fletcher 1606
The Wars of Caesar and Pompey WCP George Chapman 1606
The Miseries of Enforced Marriage MEM George Wilkins 1606
The Isle of Gulls Gull John Day 1606
The Whore of Babylon WoB Thomas Dekker 1606
The Royal King and the Loyal Subject RKLS Thomas Heywood 1606
The Puritan (The Puritan Widow) Pur Thomas Middleton 1606
The Revenger’s Tragedy RevT Thomas Middleton 1606
Lingua Ling Thomas Tomkis 1606
The Entertainment at Theobalds ETbd Thomas Wilson; Ben Jonson; John Gordon 1606
Macbeth Mac William Shakespeare 1606
Antony and Cleopatra Ant William Shakespeare 1606
The Great Cham GChm Anonymous 1607
The Royal Entertainment at Theobalds RETh Ben Jonson 1607
Cupid’s Whirligig CupW Edward Sharpham 1607
The Knight of the Burning Pestle KBP Francis Beaumont 1607
Cupid’s Revenge CupR Francis Beaumont; John Fletcher 1607
The Travels of the Three English Brothers TTEB George Wilkins; John Day; William Rowley 1607
The Dumb Knight DmKn Gervase Markham; Lewis Machin 1607
Humour Out of Breath HumB John Day 1607
Masque at Ashby MAsh John Marston 1607
The Turk Turk John Mason 1607
Every Woman in Her Humour EWI Lewis Machin 1607
The Family of Love FamL Lording Barry 1607
Lord Hayes’ Masque LHM Thomas Campion 1607
The Rape of Lucrece RLuc Thomas Heywood 1607
Your Five Gallants YFG Thomas Middleton 1607
The Alexandraean Tragedy Alex William Alexander 1607
The Tragedy of Julius Caesar TJC William Alexander 1607
Pericles, Prince of Tyre Per William Shakespeare; George Wilkins 1607
Timon of Athens Tim William Shakespeare; Thomas Middleton 1607
Time’s Complaint TimC Anonymous 1608
The Seven Days of the Week SDW Anonymous 1608
The Christmas Prince ChPr Anonymous 1608
The Masque of Beauty MBea Ben Jonson 1608
The Hue and Cry after Cupid HCC Ben Jonson 1608
Byron’s Conspiracy (The Conspiracy of Charles, Duke of Byron) (Biron’s Conspiracy) ByrC George Chapman 1608
Byron’s Tragedy (The Tragedy of Charles, Duke of Byron) (Biron’s Tragedy) ByrT George Chapman 1608
The Faithful Shepherdess FShp John Fletcher 1608
Periander Peri John Sansbury? 1608
Ram Alley RamA Lording Barry 1608
The Two Maids of Mortlake Mlake Robert Armin 1608
Coriolanus Cor William Shakespeare 1608
Camp Bell CB Anthony Munday 1609
The Masque of Queens MQns Ben Jonson 1609
Entertainment at Britain’s Burse EBB Ben Jonson 1609
Philaster Phil Francis Beaumont; John Fletcher 1609
The Coxcomb Coxc Francis Beaumont; John Fletcher 1609
A Woman is a Weathercock WomW Nathan Field 1609
London’s Love to Prince Henry LLPH Anthony Munday 1610
Prince Henry’s Barriers PHB Ben Jonson 1610
Epicene (The Silent Woman) (Epicoene) Epic Ben Jonson 1610
The Alchemist Alch Ben Jonson 1610
The Atheist’s Tragedy AthT Cyril Tourneur 1610
A Looking Glass for Married Folks LGMF Desiderius Erasmus; Robert Snawsel (trans.) 1610
The Revenge of Bussy D’Ambois RBDA George Chapman 1610
The Woman’s Prize (The Tamer Tamed) WomP John Fletcher 1610
The Scornful Lady SLdy John Fletcher; Francis Beaumont 1610
Masque of Fairies MFrs John Sylvester 1610
Amends for Ladies AmL Nathan Field 1610
Chester’s Triumph ChsT Robert Amory 1610
Tethys’ Festival Teth Samuel Daniel 1610
The Bloody Banquet BBan Thomas Dekker; Thomas Middleton 1610
1 The Fair Maid of the West (The Fair Maid of the West, Part One) 1FMW Thomas Heywood 1610
The Insatiate Countess InsC William Barkstead; Lewis Machin; John Marston 1610
Cymbeline Cym William Shakespeare 1610
Alice and Alexis (Stella and Alexis) AlAl Anonymous 1611
The Valiant Welshman (Caradoc the Great) ValW Anonymous; R. A. 1611
Chruso-Thriambos ChTh Anthony Munday 1611
Oberon (The Masque of Oberon) MOb Ben Jonson 1611
Love Freed from Ignorance and Folly LFIF Ben Jonson 1611
Catiline’s Conspiracy (Catiline His Conspiracy) Cat Ben Jonson 1611
A King and No King KNK Francis Beaumont; John Fletcher 1611
The Maid’s Tragedy MT Francis Beaumont; John Fletcher 1611
The City Gallant (Greene’s Tu Quoque) CGal John Cooke 1611
A Christian Turned Turk CTTu Robert Daborne 1611
Thomas of Woodstock TW Samuel Rowley 1611
If It Be Not Good, The Good Devil Is In It (If This Be Not A Good Play, the Devil is in It) IBNG Thomas Dekker 1611
The Roaring Girl (Moll Cutpurse) Roar Thomas Dekker; Thomas Middleton 1611
The Golden Age GldA Thomas Heywood 1611
The Silver Age SlvA Thomas Heywood 1611
The Brazen Age BrzA Thomas Heywood 1611
No Wit, No Help Like a Woman’s NWNH Thomas Middleton 1611
The Second Maiden’s Tragedy 2MT Thomas Middleton 1611
The Winter’s Tale WT William Shakespeare 1611
The Tempest Tmp William Shakespeare 1611
A Dialogue between Gown, Hood, and Cap DGHC Anonymous 1612
Love Restored LovR Ben Jonson 1612
Chabot, Admiral of France Chbt George Chapman; James Shirley 1612
The Captain Cptn John Fletcher; Francis Beaumont 1612
Henry VIII (All is True) (Henry the Eighth) H8 John Fletcher; William Shakespeare 1612
The White Devil WDev John Webster 1612
Troia-Nova Triumphans TNT Thomas Dekker 1612
Cardenio (Double Falsehood) Cdno William Shakespeare; John Fletcher 1612
Tom o’ Lincoln (Tom a Lincoln) ToL Anonymous 1613
A Challenge at Tilt CTil Ben Jonson 1613
The Irish Masque Irsh Ben Jonson 1613
The Masque of the Inner Temple and Gray’s Inn MITG Francis Beaumont 1613
The Middle Temple and Lincoln’s Inn Masque MTLI George Chapman 1613
The Two Noble Kinsmen TNK John Fletcher; William Shakespeare 1613
Cynthia’s Revenge (Menander’s Ecstasy) MenE John Stephens 1613
The Duchess of Malfi DMal John Webster 1613
Four Plays, or Moral Representations, in One FPI1 Nathan Field; John Fletcher 1613
The Honest Man’s Fortune HMF Nathan Field; John Fletcher; Philip Massinger; Robert Daborne 1613
The Hog Hath Lost His Pearl Hog Robert Tailor 1613
The Masque of Lords MLrd Thomas Campion 1613
The Entertainment at Caversham ECav Thomas Campion 1613
The Somerset Masque MSom Thomas Campion 1613
1 The Iron Age (The Iron Age, Part One) 1IrA Thomas Heywood 1613
2 The Iron Age (The Iron Age, Part Two) 2IrA Thomas Heywood 1613
A Chaste Maid in Cheapside CMC Thomas Middleton 1613
Civic Entertainment at Islington (The New River Entertainment) CEI Thomas Middleton 1613
The Triumphs of Truth TTru Thomas Middleton; Anthony Munday? 1613
Wit at Several Weapons WSW Thomas Middleton; William Rowley 1613
The Hector of Germany (The Palsgrave) Hect William Smith? 1613
The Masque of Flowers MFlw Anonymous 1614
A Merry Dialogue between A Band, Cuff, and Ruff BCR Anonymous 1614
Work for Cutlers WCut Anonymous 1614
Boot and Spur Boot Anonymous 1614
The Honest Lawyer HLaw Anonymous; S. S. 1614
Himatia-Poleos (The Triumphs of Old Drapery) HimP Anthony Munday 1614
The Tilting (Eros and Anteros) Tilt Ben Jonson 1614
Bartholomew Fair Bart Ben Jonson 1614
Valentinian Val John Fletcher 1614
Bonduca Bon John Fletcher 1614
Wit Without Money WWM John Fletcher 1614
Hymen’s Triumph HymT Samuel Daniel 1614
Masque of Ulysses and Circe (The Masque of the Inner Temple) MUC Anonymous 1615
The Cold Year ColY Anonymous 1615
Metropolis Coronata (The Triumphs of Ancient Drapery) MetC Anthony Munday 1615
Mercury Vindicated from the Alchemists at Court MVin Ben Jonson 1615
Monsieur Thomas (Father’s Own Son) MTho John Fletcher 1615
The Night-Walkers (The Night-Walker) (The Little Thief) NW John Fletcher; James Shirley 1615
Love’s Cure LCur John Fletcher; Philip Massinger? 1615
Sicelides (The Sicilians) Sic Phineas Fletcher 1615
The Widow Wid Thomas Middleton 1615
Albumazar Albz Thomas Tomkis 1615
Thorney Abbey ThAb William Rowley? 1615
Work for Jupiter WJup Anonymous 1616
Occasion, Truth, and Knights (Barriers Entertainment) OTK Anonymous 1616
Chrysanaleia (The Golden Fishing) CTGF Anthony Munday 1616
The Golden Age Restored GAR Ben Jonson 1616
The Devil is an Ass DevA Ben Jonson 1616
Love’s Pilgrimage LPil John Fletcher 1616
The Mad Lover MadL John Fletcher 1616
Beggars’ Bush BegB John Fletcher; Philip Massinger 1616
The Poor Man’s Comfort PMC Robert Daborne 1616
The Witch Wch Thomas Middleton 1616
Civitatis Amor CivA Thomas Middleton 1616
A Fair Quarrel FQ Thomas Middleton; William Rowley 1616
Dialogue between Alexander the Great and Diogenes DAGD William Goddard 1616
Pathomachia Path Ambrose Fisher? 1617
The Play of Poor (The Comedy of Poor) Poor Anonymous 1617
The Genius of the River Ouse (Royal Entertainment at York) Ouse Anonymous 1617
Royal Entertainment at Hoghton Tower (Two Gods) REHT Anonymous 1617
Christmas His Masque (Christmas’s Masque) CHM Ben Jonson 1617
The Vision of Delight VoD Ben Jonson 1617
The Masque of Lethe MLth Ben Jonson 1617
Christening Entertainment at Blackfriars ChBF Ben Jonson 1617
Hans Beer-Pot (See Me and See Me Not) HBP Daubridgcourt Belchier 1617
The Chances Chan John Fletcher 1617
Rollo (The Bloody Brother) Rol John Fletcher; Philip Massinger 1617
Thierry and Theodoret TT John Fletcher; Philip Massinger; Anonymous 1617
Love’s Victory LVic Mary Wroth 1617
The Court and Country CoCo Nicholas Breton 1617
The Queen of Corinth QCor Philip Massinger; Nathan Field; John Fletcher 1617
A Dialogue betwixt Nature and Time DNT Robert Anton 1617
Cupid’s Banishment CupB Robert White 1617
Masque at Brougham Castle MBC Thomas Dekker 1617
The Raging Turk RTrk Thomas Goffe 1617
The Triumphs of Honour and Industry THI Thomas Middleton 1617
Royal Entertainment at Linlithgow (A Lion) REL William Drummond 1617
Swetname, The Woman-Hater, Arraigned by Women Swet Anonymous 1618
Masque of Mountebanks and Knights (The Masque of Gray’s Inn) MMK Anonymous 1618
Charlemagne (The Distracted Emperor) Chrl Anonymous 1618
Sidero-Thriambos SdTh Anthony Munday 1618
The Marriage of the Arts MarA Barten Holyday 1618
Pleasure Reconciled to Virtue PRV Ben Jonson 1618
For the Honour of Wales (The Goats’ Masque) HWal Ben Jonson 1618
The Loyal Subject LSub John Fletcher 1618
The Elder Brother EldB John Fletcher; Philip Massinger 1618
The Devil’s Law-Case (When Women Go to Law) DLC John Webster 1618
The Knight of Malta KMal Nathan Field; John Fletcher; Philip Massinger 1618
Masque of Virtues and Hospitality MVH Thomas Pestell? 1618
A Shoemaker, a Gentleman ShGn William Rowley 1618
A Christmas Mess CMss Anonymous 1619
Two Wise Men and All the Rest Fools TWM Anonymous 1619
Nero (Piso’s Conspiracy) Nero Anonymous 1619
The Lovesick King LovK Anthony Brewer 1619
Masque of the Twelve Months (The Prince’s Christmas Masque) M12M George Chapman? 1619
Herod and Antipater HA Gervase Markham; William Sampson 1619
The Two Merry Milkmaids TMM J. C.; Anonymous 1619
Fuimus Troes (The True Trojans) FuTr Jasper Fisher 1619
Demetrius and Enanthe (The Humorous Lieutenant) DemE John Fletcher 1619
Sir John van Oldenbarnevelt SJVO John Fletcher; Philip Massinger 1619
The Pope’s Advice to His Sons (A Conference held at Angelo Castle) PAHS John Taylor; Anonymous 1619
The Custom of the Country CuCo Philip Massinger; John Fletcher 1619
The Fatal Dowry FDow Philip Massinger; Nathan Field 1619
Medea Mede Seneca; Anonymous (trans.) 1619
The Courageous Turk (Amurath) CTrk Thomas Goffe 1619
The Careless Shepherdess CShp Thomas Goffe 1619
The Masque of Heroes MHer Thomas Middleton 1619
The Triumphs of Love and Antiquity TLA Thomas Middleton 1619
All’s Lost by Lust ALBL William Rowley 1619
The Old Law (A New Way to Please You) OldL William Rowley; Thomas Middleton 1619
The Costly Whore CosW Anonymous 1620
Guy, Earl of Warwick Guy Anonymous 1620
The Faithful Friends FF Anonymous 1620
News from the New World Discovered in the Moon NNW Ben Jonson 1620
Women Pleased WP John Fletcher 1620
The Little French Lawyer LFL John Fletcher; Philip Massinger 1620
The False One FO John Fletcher; Philip Massinger 1620
The Running Masque RunM John Maynard? 1620
Tes Irenes Trophaea (The Triumphs of Peace) TPea John Squire 1620
The Laws of Candy LCan Philip Massinger; John Ford; John Fletcher? 1620
The Sophister (Fallacy) Sphr Richard Zouche 1620
The Virgin Martyr VirM Thomas Dekker; Philip Massinger 1620
Orestes Ores Thomas Goffe 1620
The Heir Heir Thomas May 1620
The Cock (The Entertainment at Sir William Cokayne’s House) Cock Thomas Middleton 1620
The Mayor of Queenborough (Hengist, King of Kent) Heng Thomas Middleton 1620
The Archer (The Entertainment at Bunhill on the Shooting Day) Arch Thomas Middleton 1620
The Water Nymph (The Entertainment at the Conduit Head) WatN Thomas Middleton 1620
A Mourner (The Year’s Funeral) Mour Thomas Middleton 1620
The Servant of Comus (The Entertainment at Sir Francis Jones’s Welcome) SCom Thomas Middleton 1620
The Triumph of Temperance (Levity and Temperance) TTem Thomas Middleton 1620
The World Tossed at Tennis WTT Thomas Middleton; William Rowley 1620
Fool’s Fortune FoFo Anonymous 1621
The Two Noble Ladies and the Converted Conjuror TNL Anonymous 1621
Pan’s Anniversary PanA Ben Jonson 1621
The Gypsies Metamorphosed GypM Ben Jonson 1621
The Essex House Masque MEH George Chapman? 1621
The Island Princess IP John Fletcher 1621
The Wild-Goose Chase WGC John Fletcher 1621
The Pilgrim Pil John Fletcher 1621
The Witch of Edmonton WEd John Ford; Thomas Dekker; William Rowley 1621
The Duke of Milan DMil Philip Massinger 1621
Masque of Goddesses MGds Thomas Carew? 1621
Match Me in London MML Thomas Dekker 1621
The Four Seasons (The Entertainment at Sir Francis Jones’s at Easter) FSFJ Thomas Middleton 1621
Flora’s Welcome FloW Thomas Middleton 1621
Flora and Her Servants FloS Thomas Middleton 1621
Women, Beware Women WBW Thomas Middleton 1621
More Dissemblers Besides Women MDBW Thomas Middleton 1621
The Sun in Aries SunA Thomas Middleton; Anthony Munday 1621
The Thracian Wonder ThrW William Rowley 1621
The Entertainment for the General Training (Pallas) EGTP Thomas Middleton 1621
The Fatal Marriage (A Second Lucretia) FMar Anonymous 1622
The Masque of Augurs MAug Ben Jonson 1622
The Martyred Soldier MarS Henry Shirley 1622
The Double Marriage DMar John Fletcher; Philip Massinger 1622
The Prophetess Prop John Fletcher; Philip Massinger 1622
The Spanish Curate SpCu John Fletcher; Philip Massinger 1622
Osman the Great Turk (The Noble Servant) Osm Lodowick Carlell 1622
The Sea Voyage SV Philip Massinger; John Fletcher 1622
The Wonder of a Kingdom WonK Thomas Dekker 1622
The Noble Spanish Soldier NSS Thomas Dekker 1622
Honour Hon Thomas Middleton 1622
The Triumphs of Honour and Virtue THV Thomas Middleton 1622
The Nice Valour NVal Thomas Middleton; John Fletcher? 1622
Anything for a Quiet Life AQL Thomas Middleton; John Webster 1622
The Changeling Chng Thomas Middleton; William Rowley 1622
A Match at Midnight MatM W. R.; Anonymous 1622
The Birth of Merlin (The Child Hath Found His Father) BMer William Rowley 1622
Time Vindicated to Himself and to His Honours TVin Ben Jonson 1623
Alopichos (The Fox) Alop James Cobbes 1623
The Bondman (The Noble Bondman) Bdmn Philip Massinger 1623
A Very Woman (The Prince of Tarent) VerW Philip Massinger; John Fletcher 1623
The Lovers’ Progress (The Wandering Lovers) LovP Philip Massinger; John Fletcher 1623
A Knot of Fools Knot Thomas Brewer 1623
The Welsh Ambassador WAm Thomas Dekker 1623
The Spanish Gypsy SGyp Thomas Dekker; John Ford; Thomas Middleton; William Rowley 1623
The Wise Woman of Hoxton (The Wise Woman of Hogsdon) WWH Thomas Heywood 1623
Fortune by Land and Sea FLS Thomas Heywood; William Rowley 1623
The Triumphs of Integrity IntT Thomas Middleton; Anthony Munday 1623
The Fairy Knight FK Thomas Randolph? 1623
The Maid of the Mill (The Maid in the Mill) MMil William Rowley; John Fletcher 1623
The Stonyhurst Pageants SHP Anonymous 1624
Lord Gray’s Masque LGM Anonymous 1624
The Packman’s Pater Noster PmPN Anonymous; James Sempill (trans.) 1624
Neptune’s Triumph for the Return of Albion NepT Ben Jonson 1624
The Masque of Owls MOwl Ben Jonson 1624
The Romanus Tragedy of Rmns James Cobbes 1624
A Wife for a Month WFAM John Fletcher 1624
Rule a Wife and Have a Wife RWHW John Fletcher 1624
The Sun’s Darling SunD John Ford; Thomas Dekker 1624
Fidelia and Glausamond (Tancred and Ghismonda) FidG John Newdigate 1624
Monuments of Honour MonH John Webster 1624
Nebuchadnezzar’s Fiery Furnace NebF Joshua Sylvester? 1624
The Renegado (The Gentleman of Venice) Ren Philip Massinger 1624
The Parliament of Love ParL Philip Massinger 1624
The City Nightcap CitN Robert Davenport 1624
The Duchess of Suffolk DSuf Thomas Drue 1624
The English Traveller ETrv Thomas Heywood 1624
The Captives (The Lost Recovered) Cptv Thomas Heywood 1624
A Game at Chess GCh Thomas Middleton 1624
A Cure for a Cuckold (A Wedding) CFAC William Rowley; John Webster; Thomas Heywood 1624
A New Wonder (A Woman Never Vexed) WNV William Rowley; Thomas Heywood? 1624
Wine, Beer, and Ale WBA Anonymous 1625
The Fortunate Isles and Their Union FITU Ben Jonson 1625
Love Tricks (The School of Compliment) LovT James Shirley 1625
The Theatre of Apollo TAp John Beaumont 1625
The Telltale (The Tell-Tale) Tell Anonymous 1626
The Staple of News Stap Ben Jonson 1626
The Duke of Lerma (The Great Favourite) Lerm Henry Shirley 1626
The Knave in Grain, New Vamped KnaG J. D.; Anonymous 1626
The Valiant Scot VSct J. W.; Anonymous 1626
The Maid’s Revenge MRev James Shirley 1626
The Wedding (Hymenaeus) SWed James Shirley 1626
The Parliament of Bees Bees John Day 1626
The Noble Gentleman NGen John Fletcher 1626
The Fair Maid of the Inn FMI John Webster; Philip Massinger; John Ford; John Fletcher 1626
Appius and Virginia AppV John Webster; Thomas Heywood 1626
A New Way to Pay Old Debts NWP Philip Massinger 1626
The Unnatural Combat UnCo Philip Massinger 1626
The Roman Actor RAct Philip Massinger 1626
A New Trick to Cheat the Devil NTCD Robert Davenport 1626
Dick of Devonshire DDev Thomas Heywood 1626
Cleopatra, Queen of Egypt CQE Thomas May 1626
The Triumphs of Health and Prosperity THP Thomas Middleton 1626
Aristippus (The Jovial Philosopher) Aris Thomas Randolph 1626
Albovine, King of the Lombards Albv William Davenant 1626
Musophilus (Wise Men Have Fools About Them) Muso Anonymous 1627
The Queen (The Excellency of Her Sex) QEHS John Ford 1627
The Great Duke (The Great Duke of Florence) GDuk Philip Massinger 1627
The May Masque (May Day Show at Apethorpe Hall) MMay Rachel Fane 1627
The Andrian Woman AndW Terence; Thomas Newman (trans.) 1627
The Eunuch Eunu Terence; Thomas Newman (trans.) 1627
Antigone the Theban Princess ATP Thomas May 1627
Salting: A Meal (Thomas Randolph’s Salting) TRSM Thomas Randolph 1627
The Pedlar (The Conceited Pedlar) Ped Thomas Randolph 1627
Hey for Honesty, Down with Knavery HeyH Thomas Randolph 1627
Amynta Amya Torquato Tasso; Henry Reynolds (trans.) 1627
The Cruel Brother CBro William Davenport 1627
Apollo Shroving ApSh William Hawkins 1627
The Witty Fair One WFO James Shirley 1628
The Lover’s Melancholy LMel John Ford 1628
Pastoral Entertainment (Shepherds and Shepherdesses) PasE Rachel Fane 1628
Temperance and Mirth (Lady Temperance) TemM Rachel Fane 1628
King John and Matilda (John and Matilda) KJM Robert Davenport 1628
Lodovic Sforza, Duke of Milan Sfor Robert Gomersall 1628
Britannia’s Honour BriH Thomas Dekker 1628
Julia Agrippina, Empress of Rome Agrp Thomas May 1628
The Vow-Breaker (The Fair Maid of Clifton) VowB William Sampson 1628
The New Inn (The Light Heart) NInn Ben Jonson 1629
A Contention for Honour and Riches CHR James Shirley 1629
The Faithful Servant (The Grateful Servant) FSer James Shirley 1629
The Broken Heart BHea John Ford 1629
The Deserving Favourite DesF Lodowick Carlell 1629
The Picture Pict Philip Massinger 1629
The Northern Lass NorL Richard Brome 1629
Andria (The Woman of Andros) Andr Terence; Joseph Webbe (trans.) 1629
Eunuchus (The Eunuch) Euns Terence; Joseph Webbe (trans.) 1629
London’s Tempe (The Field of Happiness) LonT Thomas Dekker 1629
A Maidenhead Well Lost MWL Thomas Heywood 1629
The Drinking Academy (The Cheaters’ Holiday) DrAc Thomas Randolph 1629
The Just Italian JIta William Davenant 1629
The Jews’ Tragedy JewT William Heminges 1629
Alphonsus, Emperor of Germany AEG Anonymous 1630
The Anti-Bishop (Hierarchomachia) AntB Anonymous 1630
The Inconstant Lady IncL Arthur Wilson 1630
Il pastor fido (The Faithful Shepherd) SIPF Giambattista Guarini; Jonathan Sidnam (trans.) 1630
The Soldered Citizen (The Soddered Citizen) SCit John Clavell 1630
The Twice-Changed Friar TCF John Newdigate 1630
Masque at Whitton MWht John Suckling 1630
Icaromenippus Icar Lucian; Francis Hickes (trans.) 1630
Menippus Meni Lucian; Francis Hickes (trans.) 1630
The Dream (The Cock) Drm Lucian; Francis Hickes (trans.) 1630
The Infernal Ferry (The Tyrant) InfF Lucian; Francis Hickes (trans.) 1630
Charon (The Surveyors) Chrn Lucian; Francis Hickes (trans.) 1630
Timon (The Man-Hater) Tmn Lucian; Francis Hickes (trans.) 1630
Lucian’s Feast (The Lapiths) LucF Lucian; Francis Hickes (trans.) 1630
The Maid of Honour MaiH Philip Massinger 1630
The Wishing Chair (Country House Masque of Seasons and Shepherdesses) WChr Rachel Fane 1630
2 The Fair Maid of the West (The Fair Maid of the West, Part Two) 2FMW Thomas Heywood 1630
The Old Couple OldC Thomas May 1630
The Muses’ Looking-Glass MLG Thomas Randolph 1630
Amyntas (The Impossible Dowry) Amnt Thomas Randolph 1630
The Switzer (The Swisser) Swr Arthur Wilson 1631
Love’s Triumph Through Callipolis Calli Ben Jonson 1631
Chloridia Chlo Ben Jonson 1631
Filli di Sciro (Phyllis of Scyros) PhSc Guidobaldo della Rovere Bonarelli; Jonathan Sidnam (trans.) 1631
The Traitor Trai James Shirley 1631
The Humorous Courtier (The Duke) HumC James Shirley 1631
Love’s Cruelty LCru James Shirley 1631
’Tis Pity She’s a Whore Pity John Ford 1631
The Emperor of the East EmpE Philip Massinger 1631
Believe as You List BYL Philip Massinger 1631
Rhodon and Iris Rho Ralph Knevet 1631
Holland’s Leaguer HLgr Shackerley Marmion 1631
Janus Jan Thomas Heywood 1631
London’s Jus Honorarium LJH Thomas Heywood 1631
The Corporal Corp Arthur Wilson 1632
The Obstinate Lady ObL Aston Cokayne 1632
Albion’s Triumph AlbT Aurelian Townshed 1632
Tempe Restored TemR Aurelian Townshed 1632
The Magnetic Lady MagL Ben Jonson 1632
The Changes (Love in a Maze) Chgs James Shirley 1632
Hyde Park HydP James Shirley 1632
The Ball Ball James Shirley 1632
Masque of Soldiers MSol John Clavell 1632
Love’s Sacrifice LSac John Ford 1632
The Emperor’s Favourite (Nero) EmpF John Newdigate 1632
Love Crowns the End LCE John Tatham 1632
The Rival Friends RivF Peter Hausted 1632
The City Madam CitM Philip Massinger 1632
The Novella Nov Richard Brome 1632
A Fine Companion FCom Shackerley Marmion 1632
The Sad One SadO Sir John Suckling 1632
The Country Girl CGrl T. B.; Anonymous 1632
London’s Fountain of Arts and Sciences (Londini artium et scientiarum scaturigo) LFA Thomas Heywood 1632
Money is an Ass (Wealth Outwitted) MAss Thomas Jordan 1632
The Jealous Lovers JLo Thomas Randolph 1632
Necromantes (The Two Supposed Heads) Necr William Percy 1632
The New Moon NMn Anonymous 1633
Trappolin Supposed a Prince Trap Aston Cokayne 1633
A Tale of a Tub TTub Ben Jonson 1633
Royal Entertainment at Welbeck Abbey Welb Ben Jonson 1633
The Amazon Amaz Edward Herbert 1633
The Bird in a Cage (The Beauties) Bird James Shirley 1633
The Young Admiral YAdm James Shirley 1633
The Gamester Gams James Shirley 1633
Royal Entry of King Charles I into Edinburgh C1Ed John Adamson; Thomas Crawford?; William Drummond 1633
Perkin Warbeck Perk John Ford 1633
The Shepherds’ Holiday ShHo Joseph Rutter 1633
The Guardian Guar Philip Massinger 1633
The Weeding of Covent Garden Weed Richard Brome 1633
The City Wit CWit Richard Brome 1633
London’s Markets (Londini emporia) LonM Thomas Heywood 1633
Hospitality and Delight HosD Thomas Heywood 1633
The Cunning Lovers CunL Thomas Heywood; Richard Brome 1633
Tottenham Court TotC Thomas Nabbes 1633
The Rebellion Reb Thomas Rawlins 1633
The Shepherds’ Paradise ShPa Walter Montagu 1633
The Launching of the Mary (The Seaman’s Honest Wife) LMa Walter Mountfort 1633
The Fatal Contract (The Eunuch) FCon William Heminges 1633
Love’s Riddle LRid Abraham Cowley 1634
Love’s Welcome at Bolsover EBol Ben Jonson 1634
The Triumph of Peace TrPc James Shirley 1634
The Triumph of Beauty TrBy James Shirley 1634
The Example Ex James Shirley 1634
The Opportunity Opp James Shirley 1634
The Seven Champions of Christendom SCC John Kirke 1634
Arcades (The Arcadians) Arcd John Milton 1634
Comus (A Masque at Ludlow Castle) Cmus John Milton 1634
The Humorous Magistrate HMag John Newdigate 1634
The Triumphs of Fame and Honour TrFH John Taylor 1634
The Queen’s Exchange (The Royal Exchange) QEx Richard Brome 1634
A Dialogue between Policy and Piety DPoP Robert Davenport 1634
Coelum Britannicum (The British Heaven) CoeB Thomas Carew 1634
A Challenge for Beauty CFB Thomas Heywood 1634
Love’s Mistress (The Queen’s Masque) (Cupid and Psyche) LMis Thomas Heywood 1634
The Witches of Lancashire (The Late Lancashire Witches) WLan Thomas Heywood; Richard Brome 1634
Covent Garden CovG Thomas Nabbes 1634
Entertainment at Chirk Castle Chrk Thomas Salisbury? 1634
The Christmas Antimasque CCM William Cavendish 1634
The Wits Wits William Davenant 1634
Love and Honour (The Courage of Love) LaH William Davenant 1634
The Duke of Florence (Tragedy of Prince Alexander and Lorenzo) DFlo Anonymous 1635
Love’s Changelings’ Change LoCC Anonymous 1635
The Partial Law PrtL Anonymous 1635
Pastoral Court Masque (The Antimasques) Anti Aurelian Townshed 1635
Naiagaion (The Shipwreck) HNai Desiderius Erasmus; Thomas Heywood (trans.) 1635
Procus et puella (The Suitor and the Girl) HPro Desiderius Erasmus; Thomas Heywood (trans.) 1635
Freewill (Free Will) FrWi Francis Bristowe (trans.); Francesco Negri de Bassano 1635
The Christmas Ordinary ChOr Henry Birkhead? 1635
The Lady Mother LaMo Henry Glapthorne 1635
The Conspiracy (Pallantus and Eudora) Cspy Henry Killigrew 1635
The Strange Discovery SDis J. Gough; Anonymous 1635
The Coronation Coro James Shirley 1635
The Arcadia Arca James Shirley 1635
The Lady of Pleasure LaPl James Shirley 1635
Adrasta (The Woman’s Spleen and Love’s Conquest) Adra John Jones 1635
The Converted Robber (Stonehenge) ConR John Speed 1635
Misanthropos (The Man-Hater) HMis Lucian; Thomas Heywood (trans.) 1635
Jupiter and Ganymede HJGa Lucian; Thomas Heywood (trans.) 1635
Jupiter and Juno HJJu Lucian; Thomas Heywood (trans.) 1635
Jupiter and Cupid HJCu Lucian; Thomas Heywood (trans.) 1635
Vulcan and Apollo HVAp Lucian; Thomas Heywood (trans.) 1635
Mercury and Apollo HMAp Lucian; Thomas Heywood (trans.) 1635
Mercury and Maia HMMa Lucian; Thomas Heywood (trans.) 1635
Vulcan and Jupiter HVJu Lucian; Thomas Heywood (trans.) 1635
Neptune and Mercury HNMe Lucian; Thomas Heywood (trans.) 1635
Diogenes and Mausolus HDMa Lucian; Thomas Heywood (trans.) 1635
Crates and Diogenes HCDi Lucian; Thomas Heywood (trans.) 1635
Charon, Menippus, Mercury HCMM Lucian; Thomas Heywood (trans.) 1635
The Nirusrsites, Menippus HNTM Lucian; Thomas Heywood (trans.) 1635
Deorum iudicium (The Judgement of the Gods) HJGo Lucian; Thomas Heywood (trans.) 1635
Messalina, the Roman Empress Mess Nathaniel Richards 1635
The Dialogue betwixt Earth and Age HDEA Ravisius Textor; Thomas Heywood (trans.) 1635
The Sparagus Garden Spar Richard Brome 1635
The Queen and Concubine QCon Richard Brome 1635
The Antiquary Antq Shackerley Marmion 1635
Jupiter and Io HJIo Thomas Heywood 1635
Apollo and Daphne HADa Thomas Heywood 1635
Amphrisa (The Foresaken Shepherdess) HAmp Thomas Heywood 1635
London’s Harbour of Health (Londini sinus salutis) LnHH Thomas Heywood 1635
The Prisoners Prsn Thomas Killigrew 1635
Hannibal and Scipio Hann Thomas Nabbes 1635
The Ordinary (The City Cozener) Ord William Cartwright 1635
Wit’s Triumvirate (The Philosopher) WTrv William Cavendish 1635
Templum amoris (The Temple of Love) TemL William Davenant 1635
News of Plymouth (News from Plymouth) NewP William Davenant 1635
The Platonic Lovers Plat William Davenant 1635
Floral Play (Norwich) NFlo William Strode 1635
The Wasp Wasp Anonymous 1636
A Fiddler and a Poet FidP Anonymous 1636
The Faithless Relict (The Cyprian Conqueror) CypC Anonymous 1636
Royal Entertainment at Richmond Palace RERm Anonymous 1636
Masque of Mariners MMar Aurelian Townshed 1636
Corona Minervae (The Crown of Minerva) CorM Francis Kynaston? 1636
The Hospital of Lovers (Love’s Hospital) HosL George Wilde 1636
The Hollander (Love’s Trial) Holl Henry Glapthorne 1636
Entertainment for the Elector Palatine EEPa Henry Glapthorne 1636
The Duke’s Mistress DukM James Shirley 1636
The City Match CMat Jasper Mayne 1636
The Fancies (The Fancies, Chaste and Noble) FCN John Ford 1636
1 Arviragus and Philicia (Arviragus and Philicia, Part One) 1Arv Lodowick Carlell 1636
2 Arviragus and Philicia (Arviragus and Philicia, Part Two) 2Arv Lodowick Carlell 1636
The Bashful Lover BLov Philip Massinger 1636
The New Academy (The New Exchange) NewA Richard Brome 1636
Dialogue betwixt a Citizen and a Poor Countryman and His Wife DCPC Thomas Brewer? 1636
Royal Entertainment at Enstone (The Presentment of Bushell’s Rock) Enst Thomas Bushell?; Thomas Jordan 1636
Play of a Jealous Lover PJLo Thomas Carew 1636
Masque of Ladies (The Masque at Hunsdon) MHun Thomas Heywood 1636
Claracilla Clar Thomas Killigrew 1636
The Princess (Love at First Sight) PLFS Thomas Killigrew 1636
Masque of Moors MMrs Thomas Moore 1636
Microcosmus Mmus Thomas Nabbes 1636
The Royal Slave RSla William Cartwright 1636
The Cutpurse (A Scene of a Cutpurse) Cutp William Cavendish 1636
The Triumphs of the Prince D’Amour TPLo William Davenant 1636
Love in Its Ecstasy (The Large Prerogative) LEcs William Peaps 1636
Passions Calmed (The Floating Island) PasC William Strode 1636
Mortimer’s Fall (Mortimer His Fall) MHF Ben Jonson 1637
The Sad Shepherd (A Tale of Robin Hood) SadS Ben Jonson 1637
Grobiana’s Nuptials Grob Charles May 1637
The Ladies’ Privilege (The Lady’s Privilege) LPrv Henry Glapthorne 1637
The Royal Master RoyM James Shirley 1637
Aglaura Agla John Suckling 1637
The Discreet Lover (The Fool Would Be a Favourite) DisL Lodowick Carlell 1637
The English Moor (The Mock Marriage) EngM Richard Brome 1637
London’s Mirror (Londini speculum) LonS Thomas Heywood 1637
The Ward Ward Thomas Neale 1637
The Lost Lady LstL William Berkeley 1637
The Lady Errant LErr William Cartwright 1637
The Pattern of Piety PatP Gyles Oldisworth 1638
Wit in a Constable WCon Henry Glapthorne 1638
Argalus and Parthenia ArgP Henry Glapthorne 1638
The Constant Maid (Love Will Find Out the Way) ConM James Shirley 1638
The Doubtful Heir (Rosania, or Love’s Victory) DbtH James Shirley 1638
The Amorous War AWar Jasper Mayne 1638
The Lady’s Trial LadT John Ford 1638
The Goblins Gob John Suckling 1638
1 The Passionate Lovers (The Passionate Lovers, Part One) 1PL Lodowick Carlell 1638
2 The Passionate Lovers (The Passionate Lovers, Part Two) 2PL Lodowick Carlell 1638
1 The Cid (The Valiant Cid) (The Cid, Part One) 1Cid Pierre Corneille; Joseph Rutter (trans.) 1638
2 The Cid (The Cid, Part Two) 2Cid Pierre Corneille; Joseph Rutter (trans.) 1638
The Antipodes Apds Richard Brome 1638
The Damoiselle (The New Ordinary) Damo Richard Brome 1638
The Combat of Love and Friendship CoLF Robert Mead 1638
The Wizard Wiz Simon Baylie 1638
Porta Pietatis (The Port of Piety) PoPi Thomas Heywood 1638
Spring’s Glory SGlo Thomas Nabbes 1638
Time and the Almanac-Makers TAM Thomas Nabbes 1638
The Bride Brid Thomas Nabbes 1638
The Siege (Love’s Convert) Sieg William Cartwright 1638
The Unfortunate Lovers UnfL William Davenant 1638
Britannia Triumphans (Britain Triumphing) BriT William Davenant 1638
Luminalia (The Festival of Light) Lum William Davenant 1638
Albertus Wallenstein AlbW Henry Glapthorne 1639
1 Saint Patrick for Ireland (Saint Patrick for Ireland, Part One) 1SPI James Shirley 1639
The Gentleman of Venice GVen James Shirley 1639
The Politician Poln James Shirley 1639
Brennoralt (The Discontented Colonel) Bren John Suckling 1639
The Noble Stranger NStr Lewis Sharpe 1639
Imperiale Impe Ralph Freeman 1639
A Mad Couple Well Matched MadC Richard Brome 1639
The Lovesick Court LovC Richard Brome 1639
London’s Peaceable Estate (Londini status pacatus) LnPE Thomas Heywood 1639
The Unfortunate Mother UnfM Thomas Nabbes 1639
The Phoenix in Her Flames PFla William Lower 1639
The Ghost (The Woman Wears the Breeches) WoWB Anonymous 1640
A Masque at Bretbie MBrt Aston Cokayne 1640
Landgartha Land Henry Burnell 1640
Revenge for Honour (The Parricide) RHon Henry Glapthorne 1640
Christ’s Passion SChP Hugo Grotius; George Sandys (trans.) 1640
The Imposture (The Impostor) Impr James Shirley 1640
Masquerade du Ciel (A Celestial Masque) MdC John Sadler 1640
Raguaillo D’Oceano RagD Mildmay Fane 1640
The Court Beggar CBeg Richard Brome 1640
The Swaggering Damsel Swag Robert Chamberlaine 1640
Sicily and Naples (The Fatal Union) SicN Samuel Harding 1640
The Country Captain (Captain Underwit) CCap William Cavendish; James Shirley 1640
Salmacida Spoila Salm William Davenant 1640
The Queen of Aragon (Cleodora) QAr William Habington 1640
The Twins Twns William Rider 1640
Canterbury’s Change of Diet (Canterbury His Change of Diet) CHCD Anonymous 1641
The Virgin Widow VWid Francis Quarles 1641
The Brothers (The Politic Father) Bros James Shirley 1641
The Cardinal Card James Shirley 1641
The Sophy Sphy John Denham 1641
Candy Restored (Candia Restaurata) CanR Mildmay Fane 1641
Mercurius Britannicus (The English Intelligencer) MerB Richard Braithwait 1641
A Jovial Crew (The Merry Beggars) JCrw Richard Brome 1641
The Walks of Islington and Hoxton (Tricks of Youth) WIH Thomas Jordan 1641
A Masque at Knowsley MKnw Thomas Salisbury 1641
The Variety Vari William Cavendish 1641
The Guardian (The Cutter of Coleman Street) GCCS Abraham Cowley 1642
Andromana (The Merchant’s Wife) Anda J. S.; Anonymous 1642
The Sisters Sist James Shirley 1642
The Court Secret CSec James Shirley 1642
The Change FChn Mildmay Fane 1642
Time’s Trick upon the Cards TTUC Mildmay Fane 1642
The Queen of Corsica QCrs Francis Jaques 1642
A Discourse Concerning Evil Counsellers DCEC Anonymous 1643
Time’s Triumph (Sight and Search, Juno in Arcadia) TimT Anonymous; Mildmay Fane? 1643
Virtue’s Triumph VirT Mildmay Fane 1644
The Concealed Fancies ConF Elizabeth Brackley; Jane Cavendish 1645
A Pastoral CBP Elizabeth Brackley; Jane Cavendish 1645
Cola’s Fury (Lirenda’s Misery) CFur Henry Burkhead 1645
Don Phoebo’s Triumph DPTr Mildmay Fane 1645
News Out of the West (The Character of a Mountebank) NOWe Anonymous 1647
The Scottish Politic Presbyter Slain SPPS Anonymous 1647
Il pastor fido (The Faithful Shepherd) FIPF Giambattista Guarini; Richard Fanshawe (trans.) 1647
The Levellers Levelled LevL Marchmont Nedham 1647
Gripsius and Hegio (The Passionate Lovers) Grip Robert Baron 1647
Deorum Dona DeDo Robert Baron 1647
1 The Committee-Man Curried (The Committee-Man Curried, Part One) 1CMC Samuel Sheppard 1647
2 Committee-Man Curried (The Committee-Man Curried, Part Two) 2CMC Samuel Sheppard 1647
1 Crafty Cromwell (Oliver Ordering Our New State, Part One) 1CC Anonymous 1648
2 Crafty Cromwell (Oliver Ordering Our New State, Part Two) 2CC Anonymous 1648
The Devil and the Parliament DevP Anonymous 1648
Ding-Dong (Sir Pitiful Parliament on His Deathbed) DDng Anonymous 1648
The Kentish Fair (Parliament Sold to Their Best Worth) KenF Anonymous 1648
Mistress Parliament Brought to Bed MPBB Anonymous 1648
Mistress Parliament Presented in Her Bed MPPB Anonymous 1648
Mistress Parliament’s Gossipping (Mistress Parliament, Her Gossiping) MPHG Anonymous 1648
Mistriss Parliament’s Invitation of Mistress London MPIL Anonymous 1648
Medea SMed Seneca; Edward Sherburne (trans.) 1648
A Bartholomew Fairing BFai Anonymous 1649
The Charles the First Famous Tragedy of C1 Anonymous 1649
The Disease of the House (The State Mountebank Administering to a Sick Parliament) DisH Anonymous 1649
Electra WEle Anonymous; Wase (trans.) 1649
A New Bull-Baiting NBB Anonymous 1649
1 Newmarket Fair (Newmarket Fair, Part One) 1NF Anonymous 1649
2 Newmarket Fair (Newmarket Fair, Part Two) 2NF Anonymous 1649
Women Will Have Their Will (Give Christmas His Due) WoWW Anonymous 1649
The Rebellion of Naples (The Tragedy of Massenello) RNap T. B.; Anonymous 1649
The White Ethiopian WEth Anonymous 1650
The Dutch Lady DutL Anonymous 1650
The Distracted State DisS John Tatham 1650
De Pugna Animi DPAn Mildmay Fane 1650
Marcus Tullius Cicero MTC Anonymous 1651
The Prince of Prigs’ Revels Prig J. S.; Anonymous 1651
Astraea (Love’s True Mirror) ALTM Leonard Willan 1651
The Devil Turned Ranter (The Jovial Crew) DTR Samuel Sheppard 1651
Hyppolytus PHyp Seneca; Edmund Prestwich (trans.) 1651
The Bastard Bast Anonymous 1652
The Just General JusG Cosmo Manuche 1652
The Loyal Lovers LoyL Cosmo Manuche 1652
Sophompaneas (Joseph) Sphm Hugo Grotius; Francis Goldsmith (trans.) 1652
The Scots Figaries (A Knot of Knaves) SFig John Tatham 1652
Cupid and Death CupD James Shirley 1653
Actaeon and Diana ActD Robert Cox 1653
Rural Sports (The Birth of the Nymph Oenone) RurS Robert Cox 1653
John Swabber JnSw Robert Cox 1653
Simpleton the Smith SimS Robert Cox 1653
The True Tragicomedy of Robert Carr and Francis Howard RCFH Anonymous 1654
1 The Nuptials of Peleus and Thetis (The Great Royal Ball) (The Nuptials of Peleus and Thetis, Part One) 1NPT James Howell (trans.) 1654
2 Nuptials of Peleus and Thetis (The Great Royal Ball) (The Nuptials of Peleus and Thetis, Part Two) 2NPT James Howell (trans.) 1654
Ariadne (Ariadne Deserted by Theseus) ADT Richard Flecknoe 1654
Love’s Dominion LovD Richard Flecknoe 1654
The Extravagant Shepherd ExSh T. R. (trans.); Anonymous (trans.); Thomas Corneille 1654
Cupid’s Coronation CupC Thomas Jordan 1654
The Gossips’ Brawl (The Women Wear the Breeches) GosB Anonymous 1655
The Clouds Clds Aristophanes; Thomas Stanley (trans.) 1655
Polyeuctes (The Martyr) Poly Pierre Corneille; William Lower (trans.) 1655
Mirza Mrza Robert Baron 1655
The Hectors (The False Challenge) Hecs Anonymous 1656
London’s Triumph for Robert Tichborne LTRT J. B.; Anonymous 1656
Horatius Hora Pierre Corneille; William Lower (trans.) 1656
Venus and Adonis VenA Samuel Holland 1656
1 The Siege of Rhodes (The Siege of Rhodes, Part One) 1SR William Davenant 1656
The First Day’s Entertainment at Rutland House FDRH William Davenant 1656
The False Favourite Disgraced (The Reward of Loyalty) FFD George Gerbier D’Ouvilley 1657
London’s Triumphs for Richard Chiverton LTRC John Tatham 1657
Fancy’s Festivals FanF Thomas Jordan 1657
The Unhappy Fair Irene UFI Gilbert Swinhoe 1658
Honoria and Mammon HMam James Shirley 1658
The Contention of Ajax and Ulysses CnAU James Shirley 1658
London’s Triumph for John Ireton (Industry and Honour) LTJI John Tatham 1658
Orgula (The Fatal Error) Orgu Leonard Willan 1658
Love and War LWar Thomas Meriton 1658
The Wandering Lover WanL Thomas Meriton 1658
Love’s Victory CLVc William Chamberlaine 1658
The Cruelty of the Spaniards in Peru Peru William Davenant 1658
1 Sir Francis Drake (Sir Francis Drake, Part One) 1SFD William Davenant 1658
The Enchanted Lovers EntL William Lower 1658
The London Chanticleers LCha Anonymous 1659
Lady Alimony (The Alimony Lady) LAli Anonymous 1659
Alfred (Right Re-Enthroned) ARRE Anonymous 1659
Plutus (The World’s Idol) Plut Aristophanes; H. H. B. (trans.); Anonymous (trans.) 1659
London’s Triumph for Thomas Allen LTTA John Tatham 1659
The Belly Wager (Self-Interest) SIBW Nicolo Secchi; William Reymes (trans.) 1659
The Noble Ingratitude NIng Philippe Quinault; William Lower (trans.) 1659
The Amorous Fantasm AmFa Philippe Quinault; William Lower (trans.) 1659
The Marriage of Oceanus and Britannia MOBr Richard Flecknoe 1659
Cromwell’s Conspiracy CrmC Anonymous 1660
The Banished Shepherdess BShp Cosmo Manuche 1660
The Escapes of Jupiter EJup Thomas Heywood 1627
Comedy of Timon CTim Anonymous 1602
The Captive Lady CLad Anonymous 1618-1625
Heteroclitanomalonomia Het Anonymous 1613
Comical Show about a Barber-Surgeon (Preist the Barber, Sweetball his Man) PRSM Anonymous 1611
Induction to The Hungry Courtier InHC Thomas Randolph 1630
The Parson’s Wedding ParW Thomas Killigrew 1641
Royal Entertainment at Cowdray RECw Anonymous 1591
Royal Entertainment at Elvetham REEl Nicholas Breton 1591
Royal Entertainment at Mitcham REMh Anonymous 1598
Royal Entertainment at Bisham Abbey REBA Anonymous 1592
Royal Entertainment at Chiswick RECh John Lyly 1602
The Convent of Pleasure CnPl Margaret Cavendish 1665

Renditions Taxonomy

LEMDO’s rendition taxonomy allows us to easily capture the composition and mise-en-page of early modern books when we encode semi-diplomatic transcriptions.
Only use these values in semi-diplomatic transcriptions (i.e., in files with ldtPrimaryText and letSemiDiplomatic in their <catRef> elements).

Rendition Values

The following table shows the renditions that LEMDO has created for use in semi-diplomatic transcriptions. Encoders can use them to capture key features of their copytext without needing knowledge of Cascading Style Sheets (CSS).
@xml:id @sameAs CSS code
rnd_blackletter font-family:inherit;
rnd_block simple:block display:block;
rnd_bold simple:bold font-weight: bold;
rnd_braced
rnd_bulleted list-style-type: disc;
rnd_centre simple:centre text-align: center; display:block;
rnd_dropcap simple:dropcap font-size:300%; font-family: roman; border:0.7pt solid; font-weight: bold; vertical-align:top; height: 1em; line-height:0.7em; float: left; text-align: center; width: 0.7em; margin-right: 0.05em; padding-right:0.74em;
rnd_indent text-indent: 2em;
rnd_inline display:inline;
rnd_inline-block display:inline-block;
rnd_italic simple:italic font-style: italic;
rnd_justify simple:justify text-align: justify;
rnd_large font-size: 130%;
rnd_left simple:left text-align: left;
rnd_letterspace letter-spacing: 0.5em;
rnd_ligature
rnd_medium font-size: 100%;
rnd_monospace font-family: monospace;
rnd_normal font-style: normal;
rnd_normalstyle font-family: var(--body-font);
rnd_numbered list-style-type: decimal;
rnd_right simple:right text-align: right;
rnd_rightAdjacent text-align: right; display: inline-block;
rnd_roman
rnd_rules simple:rules border: 1pt solid black; padding: 2pt; border-collapse: collapse;border-spacing: 0;
rnd_simple list-style-type: none;
rnd_small font-size: 90%;
rnd_smallcaps simple:smallcaps font-variant: small-caps;
rnd_strikethrough simple:strikethrough text-decoration: line-through;
rnd_subscript simple:subscript vertical-align: bottom; font-size: smaller;
rnd_superscript simple:superscript vertical-align: super; font-size: smaller;
rnd_underline simple:underline text-decoration: underline;
rnd_uppercase text-transform: uppercase;
rnd_x-large font-size: 165%;
rnd_x-small font-size: 75%;
rnd_xx-large font-size: 200%;
rnd_xx-small font-size: 50%;

Prosopography

Brett Greatley-Hirsch

Brett Greatley-Hirsch is Professor of Renaissance Literature and Textual Studies at the University of Leeds. He is a coordinating editor of Digital Renaissance Editions, co-editor of the Routledge journal Shakespeare, and a Trustee of the British Shakespeare Association. He is the author (with Hugh Craig) of Style, Computers, and Early Modern Drama: Beyond Authorship (Cambridge, 2017), which brings together his interests in early modern drama, computational stylistics, and literary history. His current projects include editions of Hyde Park for the Oxford Shirley (with Mark Houlahan) and Fair Em for DRE, a history of the editing and publishing of Renaissance drama from the eighteenth century to the present day, and several computational studies of early modern dramatic authorship and genre. For more details, see notwithoutmustard.net.

Illya

Illya has a BA in English and Sociocultural Anthropology and an MA in English. Prior to joining the HCMC, he was a PhD candidate in English and Book History at the University of Toronto and worked on Records of Early English Drama and on the Modernist Archives Publishing Project. His work at the HCMC focuses on creating web-based applications for research projects led by members of the faculty of Humanities at the University of Victoria. This involves creating schemas for new and existing datasets, writing XSLT and build files to transform datasets into structured TEI and HTML formats, implementing staticSearch, and ensuring that new projects are Endings Principles compliant.

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 Beatrice 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.

Kate LeBere

Project Manager, 2020–2021. Assistant Project Manager, 2019–2020. Textual Remediator and Encoder, 2019–2021. Kate LeBere completed her BA (Hons.) in History and English at the University of Victoria in 2020. During her degree she published papers in The Corvette (2018), The Albatross (2019), and PLVS VLTRA (2020) and presented at the English Undergraduate Conference (2019), Qualicum History Conference (2020), and the Digital Humanities Summer Institute’s Project Management in the Humanities Conference (2021). While her primary research focus was sixteenth and seventeenth century England, she completed her honours thesis on Soviet ballet during the Russian Cultural Revolution. She is currently a student at the University of British Columbia’s iSchool, working on her masters in library and information science.

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.

Samuel Seaberg

Samuel Seaberg, a University of Victoria English undergrad, enjoys riding his bike. During the summer of 2025, he began working with LEMDO as a recipient of the Valerie Kuehne Undergraduate Research Award (VKURA). Unfortunately, due to his summer being spent primarily in working to establish an edition of Thomas Heywood’s If You Know Not Me, You Know Nobody, Part 2 and consequently working out how to represent multi-text works in a digital space, his bike has suffered severely of sheltered seclusion from the sun. Note: Samuel now works for LEMDO as the Assistant Project Manager, much to his bike’s chagrin.

Scott Matthews

Thomas Heywood

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.

Queen’s Men Editions (QME1)

The Queen’s Men Editions anthology is led by Helen Ostovich, General Editor; Peter Cockett, General Editor (Performance); Andrew Griffin, General Editor (Text; until 2026); and Janelle Jenstad, General Editor (Text; 2026–)

Metadata