Encode Lineation of Semi-Diplomatic Texts
¶ Rationale
We do not use the
<lg>
(line group) element,
<l>
(line) element, or
<p>
(paragraph) element in our semi-diplomatic transcriptions. Compositors sometimes
set verse as prose to save space, or prose as verse to fill up more page space. We
do not make any claims in the semi-diplomatic transcription about whether a semi-diplomatic
text is verse or prose.¶ Practice: General
Use the milestone
<lb>
element to demarcate the beginning of a compositorial line. When the compositorial
line begins with the speech prefix, put the
<lb>
element before the
<sp>
element. See Practice: Encode Speeches.
¶ Practice: End-of-Line Hyphens
If a compositor breaks a word across a line, type the hyphen and wrap it in the
<pc>
element. Add the
@force
and the value "weak"
.The reason we ask you to encode these is that our static search engine is programmed
to ignore tagged hyphens so that it can find words that are broken across lines.1
¶ Practice: Numbering
All LEMDO semi-diplomatic transcriptions are given witness line numbers (WLNs). Add
the
@type
attribute to the
<lb>
element that begins the compositorial line with the value of "wln"
. Add an
@n
attribute with a numerical. Numerical values must be consecutive whole numbers. Do
not use decimals.On the question of which compositorial lines are numbered, LEMDO follows Charles Hinman’s
practice for TLNs in The Norton Facsimile (Hinman xxiii-xxiv). The first countable WLN is the first compositorial line after the title. Usually, the first compositorial line after the title will be an introduction
such as ACTUS I or similar. It is important to remember that act and scene numbers
in these texts are inconsistent, so there may be times when the first compositorial
line after the title is not an act or scene number but rather the opening stage direction,
or the first speaker element. In these cases, you must still tag
<lb type="wln" n="1"/>
on the first compositorial line after the title. If the placement of the first WLN
is incorrect in your file, then all subsequent WLNs will need to be revised. Reassigning
WLNs is a process, so if you are unsure where the first compositorial line is on your
Old-Spelling text, check in with a project lead to get confirmation before proceeding.In summation:
lb type="wln" n="1"/
must appear on the first compositorial line after the title of the play, regardless
of what is on that compositorial line.Neither forme works nor vertical spaces are encoded using
<lb>
. Therefore, neither receives WLNs.¶ Special Case: Encode Lines in Marginal Stage Directions
If there are marginal stage directions in your source playbook, add an
<lb>
element at the beginning of each line regardless if they appear inline with lines
in the compositorial block. Do not put the
@type
or
@n
attributes on these
<lb>
elements. As marginal stage directions are not part of the compositorial block, they
are not included in the sequential numbering of compositorial lines.For detailed practice on encoding marginal stage directions, see
Special Case: Encode Marginal Stage Directions.
¶ Special Case: Interjections, Simultaneous Speech, and Floating Stage Directions
If you come across an interjection, simultaneous speech, or floating stage direction
that spans multiple lines and is to the right of a speech or other literary division
and is within the compositorial block (i.e., not in the margin), do not give the
<lb>
s in that floating block
@type
or
@n
attributes. They share a compositorial line with other text, which will have numbered
WLNs. To learn more about these cases, see plc-right-adjacent in Placement Valuesand Placement Value Examples.
¶ Examples
<sp>
<lb/>
<speaker>Ia.</speaker>
<ab>Awake, what ho, Brabantio, <lb/>Theeues, theeues, theeues: <lb/>Looke to your house, you Daughter, and your bags, <lb/>Theeues, theeues.</ab>
</sp>
<lb/>
<speaker>Ia.</speaker>
<ab>Awake, what ho, Brabantio, <lb/>Theeues, theeues, theeues: <lb/>Looke to your house, you Daughter, and your bags, <lb/>Theeues, theeues.</ab>
</sp>
<sp>
<lb/>
<speaker>Rod</speaker>
<ab>Here is her fathers house, Ile call aloud.</ab>
</sp>
<lb/>
<speaker>Rod</speaker>
<ab>Here is her fathers house, Ile call aloud.</ab>
</sp>
<!-- Example with WLN numbers added. Glyphs and hi elements removed for clarity.
-->
<lb/>
<label>The true Chronicle Hiſtorie of King
<lb/>Leir and his three daughters.</label>
<label type="heading">
<lb type="wln" n="1"/>ACTVS I.</label> <lb type="wln" n="2"/> <stage type="entrance" place="plc-centre">Enter King Leir and Nobles.</stage>
<lb type="wln" n="1"/>ACTVS I.</label> <lb type="wln" n="2"/> <stage type="entrance" place="plc-centre">Enter King Leir and Nobles.</stage>
¶ Rendering Note
At rendering time, LEMDO breaks lines according to the placement of the
<lb>
elements in your encoding. On very narrow screens, long compositorial lines may wrap
dynamically but there will always be a break wherever you have captured an
<lb>
.Notes
1.There is no such thing as a strong hyphen in our dataverse. The
@force
has only the one value: "weak"
.↑Prosopography
Janelle Jenstad
Janelle Jenstad is a Professor of English at the University of
Victoria, Director of The Map
of Early Modern London, and Director of Linked Early Modern Drama
Online. With Jennifer Roberts-Smith and Mark Kaethler, she
co-edited Shakespeare’s Language in Digital Media: Old
Words, New Tools (Routledge). She has edited John Stow’s
A Survey of London (1598 text) for MoEML
and is currently editing The Merchant of Venice
(with Stephen Wittek) and Heywood’s 2 If You Know Not
Me You Know Nobody for DRE. Her articles have appeared in
Digital Humanities Quarterly, Elizabethan Theatre, Early Modern
Literary Studies, Shakespeare
Bulletin, Renaissance and
Reformation, and The Journal of Medieval
and Early Modern Studies. She contributed chapters to Approaches to Teaching Othello (MLA); Teaching Early Modern Literature from the Archives
(MLA); Institutional Culture in Early Modern
England (Brill); Shakespeare, Language, and
the Stage (Arden); Performing Maternity in
Early Modern England (Ashgate); New
Directions in the Geohumanities (Routledge); Early Modern Studies and the Digital Turn (Iter);
Placing Names: Enriching and Integrating
Gazetteers (Indiana); Making Things and
Drawing Boundaries (Minnesota); Rethinking
Shakespeare Source Study: Audiences, Authors, and Digital
Technologies (Routledge); and Civic
Performance: Pageantry and Entertainments in Early Modern
London (Routledge). For more details, see janellejenstad.com.
Joey Takeda
Joey Takeda is LEMDO’s Consulting Programmer and Designer, a role he
assumed in 2020 after three years as the Lead Developer on
LEMDO.
Mahayla Galliford
Research assistant, remediator, encoder, 2021–present. Mahayla Galliford is a fourth-year
student in the English Honours and Humanities Scholars programs at the University
of Victoria. She researches early modern drama and her Jamie Cassels Undergraduate
Research Award project focused on approaches to encoding early modern stage directions.
Martin Holmes
Martin Holmes has worked as a developer in the
UVicʼs 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
Project manager 2022–present. Textual remediator 2021–present. Navarra Houldin (they/them)
completed their BA in History and Spanish at the University of Victoria in 2022. During
their degree, they worked as a teaching assistant with the University of Victoriaʼs
Department of Hispanic and Italian Studies. Their primary research was on gender and
sexuality in early modern Europe and Latin America.
Rylyn Christensen
Rylyn Christensen is an English major at the University of Victoria.
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.
Bibliography
Hinman, Charlton and
Peter W.M. Blayney, eds. The Norton Facsimile: The First Folio of
Shakespeare: Based on Folios in the Folger
Shakespeare Library Collection. 2nd ed.
New York: W.W.
Norton, 1996. WSB ao884.
Orgography
LEMDO Team (LEMD1)
The LEMDO Team is based at the University of Victoria and normally comprises the project
director, the lead developer, project manager, junior developers(s), remediators,
encoders, and remediating editors.
Metadata
Authority title | Encode Lineation of Semi-Diplomatic Texts |
Type of text | Documentation |
Short title | |
Publisher | University of Victoria on the Linked Early Modern Drama Online Platform |
Series | Linked Early Modern Drama Online |
Source |
TEI Customization created by Martin Holmes, Joey Takeda, and Janelle Jenstad; documentation written by members of the LEMDO Team
|
Editorial declaration | n/a |
Edition | Released with Linked Early Modern Drama Online 1.0 |
Encoding description | Encoded in TEI P5 according to the LEMDO Customization and Encoding Guidelines |
Document status | prgGenerated |
Funder(s) | Social Sciences and Humanities Research Council of Canada |
License/availability | This file is licensed under a CC BY-NC_ND 4.0 license, which means that it is freely downloadable without permission under the following conditions: (1) credit must be given to the author and LEMDO in any subsequent use of the files and/or data; (2) the content cannot be adapted or repurposed (except in quotations for the purposes of academic review and citation); and (3) commercial uses are not permitted without the knowledge and consent of the editor and LEMDO. This license allows for pedagogical use of the documentation in the classroom. |