Encode Quotations

Use <quote> to identify material that is quoted from an external source or from another part of your edition. We also use <quote> to tag reported or quoted speech in the modernized text (but see also <q> for a few edge cases). You will not need to use the <quote> element in your semi-diplomatic transcription because you will type the quotation marks (in those rare cases where the text includes typographical quotation marks) just as you would type any other punctuation mark.

Examples

Use <quote> in modernized texts when one character quotes another character (e.g., reported speech). If the quotation is more than one line long, you will need to link the <quote> elements together using the @next and @prev attributes. See instructions for using @next and @prev in Encode Split Elements. You do not need to tag songs with <quote> elements. Read more about how LEMDO treats songs in Encode Letters and Songs in Modernized Texts. Sometimes characters misquote famous quotations, for comic effect or otherwise. Read more about encoding misquotations in Misquotations.
Your encoding:
<note type="commentary">
<!-- ... -->

  <quote>Poor deer</quote>, quoth he, <quote>thou mak’st a testament</quote>
  <!-- ... -->
</note>
LEMDO rendering: Poor deer, quoth he, thou mak’st a testament
(from AYL)
Your encoding:
<note type="commentary">
<!-- ... -->
Non-suits my mediators. For <quote>Certes</quote>, says he, <quote>I have already chose my officer</quote>
  <!-- ... -->
</note>
LEMDO rendering: Non-suits my mediators. For Certes, says he, I have already chose my officer
(from Oth)
Your encoding:
<note type="commentary">
<!-- ... -->
Nothing but <quote>This is so</quote>
  <!-- ... -->
</note>
LEMDO rendering: Nothing but This is so
(from Oth)
Your encoding:
<note type="commentary">
<!-- ... -->
Stand ranks of people, and they cry <quote>A sail</quote>! <!-- ... --></note>
LEMDO rendering Stand ranks of people, and they cry A sail!
(from Oth)
Your encoding:
<note type="commentary">
<!-- ... -->

  <quote>Very well, go to</quote>! I cannot <quote>go to</quote>, man, nor ’tis not <quote>very well</quote>
  <!-- ... -->
</note>
LEMDO rendering: Very well, go to! I cannot go to, man, nor ’tis not very well
(from Oth) The speaker is Roderigo and he is quoting Iago’s advice.
Your encoding:
<note type="commentary">
<!-- ... -->
There is a man haunts the forest that abuses our young plants with carving <quote>Rosalind</quote> on their barks <!-- ... --></note>
LEMDO rendering: There is a man haunts the forest that abuses our young plants with carving Rosalind on their barks
Use <quote> in critical paratexts to identify material quoted from an external source (secondary sources, previous editions, early texts) or from another part of your edition. LEMDO prioritizes giving credit where credit is due, so all material quoted from an external source must be tagged with <quote> even if a more specific tag would suit it (e.g., <gloss> ).
Your encoding:
<note type="commentary">
<!-- ... -->
The wordplay on <quote>mortal</quote> accentuates the chop-logic of Touchstone’s sententious conclusion: <!-- ... --></note>
LEMDO rendering: The wordplay on mortal accentuates the chop-logic of Touchstone’s sententious conclusion:
A note on AYL by David Bevington containing a single-word quotation from the modernized text in the editor’s own edition.
<note type="commentary">
<!-- ... -->
A proverbial restatement of the familiar <foreign xml:lang="la">carpe diem</foreign> theme, <quote>Take time when time comes (while time serves)</quote> (Dent ##) <!-- ... --></note>
A note on AYL by David Bevington containing a quotation from Dent. It is also a gloss, but we privilege <quote> over <gloss> on the grounds that our work is to give credit where credit is due, rather than to parse the nature of the quotation via encoding.
<note type="commentary">
<!-- ... -->
F’s <quote>obseruance</quote> looks like a compositor’s erroneous repetition of the word in TLN 2503 <!-- ... --></note>
A note on AYL by David Bevington.
<note type="commentary">
<!-- ... -->

  <quote>A state of defense or of preparation for war</quote> (<title level="m">OED</title> brace, n.2 I.1.c) <!-- ... --></note>
A note on Oth by Jessica Slights.
<note type="commentary">
<!-- ... -->
Editors sometimes retain F’s assignment of this speech to Rosalind rather than Celia, and emend <quote>Frederick</quote> in <ptr/> to <quote>Ferdinand</quote>, the presumed name of Duke Senior, Rosalind’s father, but the easier assumption is that Celia is talking about her father <!-- ... --></note>
A note on AYL by David Bevington containing a single-word quotation from another edition.

Requests for Clarification

If a character asks another character about a word or phrase they just said, tag it with <quote> . In the first example, we are not even sure that ducdame is a word, so tagging it with <term> would be dishonest.
<note type="commentary">
<!-- ... -->
What’s that <quote>ducdame</quote>? <!-- ... --></note>
AYL 2.5. Amiens is quoting a word from Jaques’ song.
<note type="commentary">
<!-- ... -->
I do not know what <quote>poetical</quote> is <!-- ... --></note>
AYL 3.3. Audrey is quoting the word Touchstone has just used.
<note type="commentary">
<!-- ... -->
Come, more; another stanzo. Call you ’em <quote>stanzos</quote>? <!-- ... --></note>
AYL 2.5 Jaques is quoting the word Amiens just used.

Letters and Poems

Do not use the <quote> element when a speaker reads a letter or poem. Instead, use the @type attribute on <p> (for a prose letter) or <lg> (for a poem or verse letter) and the appropriate value. Read about how LEMDO treats letters and songs in Encode Letters and Songs in Modernized Texts.

Rhetorical Play

Do not use the <quote> element when a character is repeating a word in the service of rhetorical play where the rhetorical device is a device of repetition across dialogue (e.g., epizeuxis, stichomythia, gradatio, etc.). Rhetorical play is not quotation.

Foreign Quotations

Quotations in foreign languages (i.e., languages other than the main language of the text, which is assumed to be English unless you specify otherwise) are treated as quotations first. See Encode Foreign Languages more more information.

Misquotations

If a character misquotes a phrase or passage attributed by the narrator or author to some agency external to the text, it should still be tagged with <quote> .
<note type="commentary">
<!-- ... -->
I may justly say with the hook-nosed fellow of Rome, <quote>there cousin, I came, saw, and overcame</quote>
  <!-- ... -->
</note>
(from 2H4).
<note type="commentary">
<!-- ... -->
Caesar’s thrasonical brag of <quote>I came, saw, and overcame</quote>
  <!-- ... -->
</note>
(From AYL).

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

Project manager, 2025-present; research assistant, 2021-present. Mahayla Galliford (she/her) graduated with a BA (Hons with distinction) from the University of Victoria in 2024. Mahayla’s undergraduate research explored early modern stage directions and civic water pageantry. Mahayla continues her studies through UVic’s English MA program and her SSHRC-funded thesis project focuses on editing and encoding girls’ manuscripts, specifically Lady Rachel Fane’s dramatic entertainments, in collaboration with LEMDO.

Martin Holmes

Martin Holmes has worked as a developer in the UVic’s Humanities Computing and Media Centre for over two decades, and has been involved with dozens of Digital Humanities projects. He has served on the TEI Technical Council and as Managing Editor of the Journal of the TEI. He took over from Joey Takeda as lead developer on LEMDO in 2020. He is a collaborator on the SSHRC Partnership Grant led by Janelle Jenstad.

Navarra Houldin

Training and Documentation Lead 2025–present. LEMDO project manager 2022–2025. Textual remediator 2021–present. Navarra Houldin (they/them) completed their BA with a major in history and minor in Spanish at the University of Victoria in 2022. Their primary research was on gender and sexuality in early modern Europe and Latin America. They are continuing their education through an MA program in Gender and Social Justice Studies at the University of Alberta where they will specialize in Digital Humanities.

Nicole Vatcher

Technical Documentation Writer, 2020–2022. Nicole Vatcher completed her BA (Hons.) in English at the University of Victoria in 2021. Her primary research focus was women’s writing in the modernist period.

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.

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 Quotations
Type of text Documentation
Publisher University of Victoria on the Linked Early Modern Drama Online Platform
Series Linked Early Modern Drama Online
Source
TEI Customization created by Martin Holmes, Joey Takeda, and Janelle Jenstad; documentation written by members of the LEMDO Team
Editorial declaration n/a
Edition Released with Linked Early Modern Drama Online 1.0
Encoding description Encoded in TEI P5 according to the LEMDO Customization and Encoding Guidelines
Document status prgGenerated
Funder(s) Social Sciences and Humanities Research Council of Canada
License/availability
This file is licensed under a CC BY-NC_ND 4.0 license, which means that it is freely downloadable without permission under the following conditions: (1) credit must be given to the author and LEMDO in any subsequent use of the files and/or data; (2) the content cannot be adapted or repurposed (except in quotations for the purposes of academic review and citation); and (3) commercial uses are not permitted without the knowledge and consent of the editor and LEMDO. This license allows for pedagogical use of the documentation in the classroom.