LEMDO: Chapter 11. Quotations

Chapter 11. Quotations

This chapter of our documentation is still in beta. We welcome feedback, corrections, and questions while we finalize the page in our 2024–2025 work cycle.

¶ Introduction to Quotations, Terms, Expressions, Glosses, Emphasis, and Foreign Languages

¶ Rationale

You will want to identify certain parts of your text as quoted material, terms, expressions, glosses, and passages in foreign languages. You also want to add emphasis. In print markup, you would put these words and phrases in quotation marks or you would italicize them, depending on your style sheet. Quotation marks and italics are always an ambiguous form of typographical markup. In TEI, we tag the word/phrase/passage with the most precise tags devised for these purposes. This chapter also covers the somewhat vexing matter of quotation marks inside quoted material: we may be able to guess with a high degree of certainty why quotation marks appear inside material we are quoting but we often do not know why ; we need truthful encoding solutions for such situations.

¶ Elements

The elements we use to tag quotations, terms, expressions, glosses, and foreign words are:


                                                <quote>


                                                <term>


                                                <soCalled>


                                                <gloss>


                                                <mentioned>

<q>


                                                <foreign>

¶ Rendering Note

At rendering time, we will add quotation marks, italics, bold face (for emphasis), and/or square brackets to the output.

Do not type quotation marks in text nodes in XML files¹; you will get an error message telling you to use one of the elements explained here.

¶ Contents

Encode Quotations

Encode Block Quotations

Encode Terms

Encode Disclaimers

Encode Glosses

Encode Words as Words

Encode Quotation Marks

Encode Emphasis

Encode Foreign Languages

Examples Containing Multiple Quotation Elements

¶ 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 modern 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 modern 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 Modern 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 Iagoʼs 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 modern text in the editorʼs 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 Jaquesʼ 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 Modern 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).

¶ Encode Block Quotations

¶ Rationale

Use your own judgement about when a quotation is too long to be embedded in your own running prose and needs to be offset as a block inside the paragraph. Block quotations must be contained inside paragraphs. They cannot float between paragraphs. The rationale for this rule is that block quotations need to be introduced and (normally) discussed.

¶ Practice

The basic encoding pattern is as follows:

<cit>
<quote>Block quotation goes here.</quote>
<bibl>(Parenthetical citation goes here)</bibl>
</cit>

The entire block quotation and citation is wrapped in the


                                          <cit>

element.


                                          <cit>

contains two child elements:


                                          <quote>

for the quotation and


                                          <bibl>

for the citation. Omissions from the quotation may be indicated with the self-closing


                                          <gap>

Because the block quotation must always be inside a paragraph

<p>

element, the full encoding pattern for the block quotation is as follows:

Running prose. Introduction to the quotation: <cit>
<quote>Block quotation goes here.</quote>
<bibl>(Parenthetical citation goes here)</bibl>
</cit> Running prose continues.

The parenthetical citation is encoded like any other citation, with the


                                          <ref>

element wrapped around the entire citation (except for the parentheses). The


                                          <ref>

element has two attributes:


                                       @type

(for which the value is always bibl) and


                                       @target

. The


                                       @target

attribute begins with a prefix (normally bibl: ) followed by the xml:id of the bibliographic entity.

<bibl>(<ref type="bibl" target="bibl:BBBB1">Lastname 11-22</ref>)</bibl>

¶ Examples

<cit>
<quote>Shakespeare, who is accountable both to the eyes and to the ears, and to convince the very heart of an audience, shows that Desdemona was won by hearing Othello talk <gap reason="sampling"/> This was the charm, this was the philtre, the love powder that took the daughter of this noble Venetian i.e., Brabantio. This was sufficient to make the blackamoor white and reconcile all, though there had been a cloven foot into the bargain.</quote>
<bibl>(<ref type="bibl" target="bibl:RYME1">Rymer 89-90</ref>)</bibl>
</cit>

¶ Encode Terms

¶ Rationale

You will often deploy use terms of art, technical terms, and headwords from lexicons in your critical paratexts and apparatus, especially in cases where you immediately offer an explanation, definition, or gloss. You want to mark these as terms. Early modern words that are used sufficiently differently in the early modern period than they are now—and therefore need a gloss for modern readers—and should also be tagged as terms.

¶ Practice

Wrap the


                                          <term>

element around a single-word, multi-word, or symbolic designation that you regard as a technical term.

A gloss is not required after a


                                          <term>

element. If you do offer a synonym, explanation, or definition immediately after the term, wrap your clarifying word or phrase in the


                                          <gloss>

tag.

You will probably not need to use


                                          <term>

in the modern primary text (although LEMDO does not prohibit its use).

¶ Disambiguation

It can be challenging to differentiate between


                                          <term>


                                          <mentioned>

, and


                                          <quote>

. If the word is being glossed or explained in an annotation, or defined in a terminology list, tag it with


                                          <term>

. If the word is in the sentence only so you can comment on the fact of the word being used, tag it with


                                          <mentioned>

. If you are quoting a word from a source, use


                                          <quote>

to give credit where credit is due. If you want to talk about someoneʼs use of a word or talk about a word as a word, tag the word with


                                          <mentioned>

¶ Examples

¶ Uncommon Words

Sometimes you will want quotation marks to appear around an uncommon word but not around its gloss.

<note type="commentary"> In love poetry, the term <term>blazon</term> describes verses that detail parts of a woman’s body. </note>

(A note on Oth by Jessica Slights containing a term without a gloss element.)

<note type="commentary">

My own; the duke uses the royal <term>we</term>

</note>

(A note on Oth by Jessica Slights containing a term.)

¶ Glossing a Term

You will use the


                                             <term>

and


                                             <gloss>

combination frequently when glossing terms. You will also use the


                                             <term>

and


                                             <quote>

combination frequently when citing from dictionaries (e.g., OED):

<note type="commentary">


<term>Arrivance</term> = <gloss>arrival</gloss>

</note>

(A note on Oth by Jessica Slights containing a term and its gloss.)

<note type="commentary">


<term>Leave</term> means <gloss>permission</gloss>

</note>

(A note on AYL by David Bevington containing a term and its gloss.)

<note type="commentary">

Since <term>execute</term> can also mean <gloss>put to death</gloss>, Iago implies a serious, even murderous, attack </note>

(A note on Oth by Jessica Slights containing a term well known to modern readers but needing a gloss to ensure that readers understand all the valences of the term.)

<note type="commentary">


<term>Anthropo</term>- = <gloss>human</gloss> + <term>phagy</term> = <gloss>the eating of; thus, man-eaters</gloss>

</note>

(A note on Oth by Jessica Slights containing two terms and their glosses.)

<note type="commentary">

The <title level="m">OED</title> quotes this passage as its first usage of <term>color</term> meaning <quote>kind</quote>

</note>

(A note on AYL by David Bevington containing a term and a gloss quoted from the OED.)

¶ Headwords in Annotations

In annotations, use


                                             <term>

for the headword to which you want to direct a reader.

Your encoding:

<note type="commentary">


<gloss>Unrestrained by prudence or decorum</gloss> (<title level="m">OED</title>
<term>liberal</term>, adj. 3.a) </note>

(A note on Oth by Jessica Slights.)

LEMDO rendering:

“Unrestrained by prudence or decorum” (OED liberal, adj. 3.a).

¶ Further Reading

Encode Words as Words

Encoders of terms in documentation will want to see Technical Glossary (GLOSS1).

¶ Encode Disclaimers

¶ Rationale

Occasionally, you will wantto indicate some distance between yourself and a word or phrase. The TEI definition of the


                                          <soCalled>

element suggests that it contains a word or phrase for which the author or narrator indicates a disclaiming of responsibility, for example by the use of scare quotes or italics. LEMDOʼs stance is that you should generally avoid using words and phrases from which we want to distance ourselves. In critical paratexts, if you have cause to distance yourself from a word, ask if you really want to use that word or phrase.

The use of


                                          <soCalled>

is justified if you want to flag words or phrases:

that were used by previous generations of scholars

that were used in later or earlier periods

that were or are used in different cultural contexts than the one we are describing or speaking from

that were or are used as epithets

that are used as forms of address, honorifics, and stereotypes. (Do not tag forms of address and honorifics in a primary text when one character is using the phrase to address another character. DO tag forms of address when you are tagging an editorial comment about the honorific.)

that cannot be attributed to any particular person or group (e.g., proverbs, sayings, common expressions).

¶ Practice

The


                                          <soCalled>

element is not permitted in primary texts. We as editors do not need to distance ourselves from words in the early modern text. If a character talks about a word as a word, tag it with


                                          <mentioned>

In critical paratexts and annotations, wrap the


                                          <soCalled>

element around words and phrases from which you want to mark distance. You will probably want to signal your distance from the word or phrase in your prose as well as with the


                                          <soCalled>

tag.

¶ Rendering Note

LEMDO will add quotation marks around any text encoded with


                                          <soCalled>

¶ Examples

¶ Outmoded Terminology

<note type="commentary">

Often called a <soCalled>bad quarto</soCalled>, the 1603 text of Hamlet offers important clues about early performance. </note>

¶ Ahistorical Usages

<note type="commentary">

Although the nickname <soCalled>weeping willow</soCalled> did not appear in print until the eighteenth century </note>

<note type="commentary">

Been weighed down by heavy thoughts, with a play on <soCalled>pressing to death</soCalled>, a form of torture and execution by which the prisoner is crushed beneath weights </note>

A note on Oth by Jessica Slights.

¶ Words or Phrases from Other Cultural Contexts

<note type="commentary">

A blonde or <soCalled>fair</soCalled> complexion was considered handsome by the English </note>

A note on AYL by David Bevington.

<note type="commentary">

The body is consistently figured as a <term>vessel</term> in biblical texts, and the notion of woman as the <soCalled>weaker vessel</soCalled> was a commonplace in the period </note>

A note on Oth by Jessica Slights.

¶ Epithets

We hear that <quote>the noble Mortimer</quote>
 has been taken by the Welshman, Glendower, and that the young Harry Percy, or <soCalled>Hotspur</soCalled>, whilst victorious against the Scots, is refusing to give up his prisoners to the king, probably at his uncle Worcester’s suggestion.

<note type="commentary">

Echoes of this scornful attack on conventional ideals of service echo throughout the play as Iago himself is designated repeatedly (and ironically) by the epithet <soCalled>honest</soCalled>

</note>

A note on Oth by Jessica Slights.

<note type="commentary">

Othello’s use of the <soCalled>sweet</soCalled>

</note>

A note on Oth by Jessica Slights.

<note type="commentary">

Neill proposes a pun on the epithet <soCalled>dull Moor</soCalled>. </note>

A note on Oth by Jessica Slights.

¶ Forms of Address, Honorifics, and Stereotpyes

In annotations and critical paratexts, tag honorifics with


                                             <soCalled>

when you are talking about the honorifics. Do not tag honorifics in the semi-diplomatic transcription or modern text of your play.

<note type="commentary">

An honorific form of address, like <soCalled>your honor</soCalled> or <soCalled>your grace</soCalled>

</note>

A note on AYL by David Bevington.

<note type="commentary">


<soCalled>Coz</soCalled> can also mean almost any family relationship or acquaintance </note>

A note on AYL by David Bevington.

¶ Common Phrases or Names

<note type="commentary">

See Pliny’s discussion in Natural History of the collection of secretions from the <soCalled>balm tree</soCalled>

</note>

A note on Oth by Jessica Slights. Common names of plants cannot be attributed to any one person.

<note type="commentary">

See Pliny’s discussion in Natural History of the collection of secretions from the<quote>Baulme tree</quote>

</note>

A note on Oth by Jessica Slights quoting the specific spelling in an early modern translation of Pliny.

<note type="commentary">

The idea of <soCalled>groaning with conception</soCalled> figures Othello’s belief that Desdemona has been unfaithful </note>

A note on Oth by Jessica Slights.

<note type="commentary">

This phrase echoes the proverbial <soCalled>to line one’s pockets</soCalled> and thus implies (improper) financial gain </note>

Proverbs cannot be attributed to any one particular person or group; such is the nature of a proverb. If you quote the proverb from a source like Dent, wrap the quoted proverb in the


                                             <quote>

element—i.e., if you find yourself quoting something you find while in Dent, as opposed to going to Dent to look up a proverbial saying. A note on Oth by Jessica Slights.

¶ Encode Glosses

Identifies a phrase or word used to provide a gloss or definition for some other word or phrase.

You will use the


                                       <gloss>

element mainly in your critical paratexts and the annotation file keyed to your modern text. Generally, you will tag only your own in-line glosses with the


                                       <gloss>

element. If a gloss has an external source (a dictionary, another editor), use the


                                       <quote>

element. Dictionaries provide glosses and explanations. However, we use the


                                       <quote>

element to give credit to the dictionary. Quotations from the dictionary are almost always glosses on the headword in the dictionary, but from LEMDOʼs perspective, they are quotations first and foremost. The need to give credit where credit is due with the


                                       <quote>

element takes precedence over describing the content of the quotation as a gloss.

¶ Rendering Note

When rendered, text tagged with the


                                          <gloss>

element will be wrapped in quotation marks. The opening quotation mark will appear in place of the opening


                                          <gloss>

tag and the closing quotation mark will appear in place of the closing </gloss> tag. If you do not wish for quotation marks to appear in the final output of your text, do not use the


                                          <gloss>

element.

¶ Examples

¶ Glossing Terms or Phrases

<note type="commentary">

Various adjectival meanings are also possible: <gloss>disposed to rebel against God</gloss>; <gloss>keenly desirous of the suffering or misfortune of others</gloss>; or, as an extension of the image of <term>medicinal gum</term> derived from trees, <gloss>evil in nature and effects; of plants, etc.: poisonous</gloss>

</note>

A note on Oth by Jessica Slights containing a term and glosses.

<note type="commentary">

Oliver means <gloss>in whose presence you are</gloss>, but Orlando, in his reply in the next line, sardonically employs a literal meaning </note>

A note on AYL by David Bevington, with in-line glosses to help the reader.

<note type="commentary">

Iago continues his attack on traditional models of service a few lines later when he uses the phrase <quote>Do themselves homage</quote> to mean <gloss>serve themselves</gloss>

</note>

A note on Oth by Jessica Slights, with in-line glosses to help the reader.

<note type="commentary">


<gloss>I make this request neither to gratify my lust, nor so that I may fulfill with erotic intensity the raw passions aroused in the performance of consummating my marriage, but rather to generously support Desdemona’s wishes</gloss>

</note>

A long gloss by Jessica Slights on a difficult passage in Oth.

¶ Quoting from a Dictionary

If you are quoting a gloss from a dictionary, use


                                             <quote>

rather than


                                             <gloss>

(because the principle of giving credit where credit is due takes precedence over identifying the content of the quotation):

<note type="commentary">

Technically, both the Shakespearean passage here and the Kyd demonstrate the characteristic feature of <term>sorites</term>, in which <quote>the predicate of each proposition is the subject of the next</quote> (<title level="m">OED</title> 1) </note>

A note on AYL by David Bevington.

¶ Self-Glossing

The


                                             <gloss>

element will be rare in the modern text, but there are cases where a character provides glosses on their own words in a speech while speaking it.

<sp>


 <speaker>Touchstone</speaker>
 He, sir, that must marry this woman. Therefore, you clown, abandon—which is in the vulgar <gloss>leave</gloss>—the society—which in the boorish is <gloss>company</gloss>—of this female—which in the common is <gloss>woman</gloss>; which together is: abandon the society of this female, or, clown, thou perishest; or, to thy better understanding, diest;
 
</sp>

This passage contains in-line glossing.

¶ Encode Words as Words

¶ Rationale

The TEIʼs definition of


                                          <mentioned>

—marks words or phrases mentioned, not used—is too vague for our purposes.

LEMDO uses


                                          <mentioned>

to flag words that we are discussing as words. The word is not part of the grammatical sequence of the sentence. Regardless of its part of speech in any context, it functions in your sentence as an object (a word that you want to discuss for some reason). This is how we would tag a word that we are discussing or that a character mentions.

¶ Practice

If you are quoting from a play, an edition, or a speech, use


                                          <quote>

not


                                          <mentioned>

. If you are trying to decide whether to use


                                          <mentioned>


                                          <term>

, keep in mind that


                                          <term>

is for terms of art, technical terms, headwords in definitions, and words that you are using only so that you can then provide a gloss on the word.

¶ Examples

<lg>


 <l>Was this fair paper, this most goodly book,</l>
 <l>Made to write <mentioned>whore</mentioned> upon? What committed?</l>
 
</lg>

A note on Oth by Jessica Slights. Othello is not quoting anyone here, but is speaking of having to write a word upon Desdemona.

<lg>


 <l>But never taint my love. I cannot say <mentioned>whore</mentioned>
 </l>
 
</lg>

A note on Oth by Jessica Slights. Desdemona treats whore here as a word.

But that they <mentioned>compliment</mentioned> is like th’encounter of two dog-apes

(from AYL).

Will I <mentioned>Rosalinda</mentioned> write,

(from AYL).

<note type="commentary">

Contraction of <mentioned>God’s blood</mentioned>, a common oath </note>

A note on Oth by Jessica Slights.

<note type="commentary">

with a pun on <mentioned>whore</mentioned>

</note>

A note on Oth by Jessica Slights, with in-line glosses to help the reader. Here, Jessica is simply mentioning the word whore.

<note type="commentary">

In performance, of course, any distinction between <mentioned>I</mentioned> and <mentioned>ay</mentioned> necessarily goes unheard by the audience </note>

<note type="commentary">

The observation that the common elision of <mentioned>that</mentioned> was <mentioned>yt</mentioned>, which could be confused for <mentioned>yt</mentioned>, a common spelling of <mentioned>it</mentioned>, makes possible the emendation without providing a compelling reason for its adoption </note>

<note type="commentary">

Celia substitutes the name of the god of Love for <mentioned>God</mentioned> in the familiar phrase, <mentioned>God have mercy</mentioned> or <mentioned>Godamercy</mentioned>

</note>

A note on AYL by David Bevington containing three


                                          <mentioned>

elements.

¶ Notes

If you are quoting from a play, an edition, or a speech, use


                                          <quote>

, not


                                          <mentioned>

<note type="commentary">


<quote>Finger</quote> can also be phallically suggestive </note>

If the editor is talking about a word not directly quoted from the text being annotated:

<note type="commentary">


<mentioned>Finger</mentioned> can </note>

¶ Encode Quotation Marks

The TEI definition of

<q>

says that it contains material which is distinguished from the surrounding text using quotation marks or a similar method, for any one of a variety of reasons.

LEMDO uses

<q>

as the default element for ambiguous cases and cases that do not fit in any of the other categories that allow us to demarcate words and phrases from surrounding text (


                                       <quote>


                                       <term>


                                       <gloss>

, or


                                       <mentioned>

). Tagging the material with

<q>

must be a last resort after considering all other elements LEMDO uses to tag quotations. At rendering time, we will wrap in quotation marks any material tagged with

<q>

We foresee six uses for the

<q>

element. If you encounter other passages that defy encoding with


                                       <quote>


                                       <term>


                                       <soCalled>


                                       <gloss>

, or


                                       <mentioned>

, please write to lemdotech@uvic.ca for advice.

The six uses are:

Quotations within quotations.

Imagined speech.

Prompts.

Quoting with variation.

Parts of words or letters.

Remediated texts where LEMDO has inherited quotation marks from a file first published in a legacy anthology; we mention this use case here mainly so that new editors do not follow the examples in remediated texts.

¶ Examples

¶ Quotations Within Quotations

For quotations within quotations, use the

<q>

element for the internal quotation.

Follow this pattern:

<note type="commentary">


<quote>Quotation <q>quotation within quotation</q> quotation</quote>

</note>

While the TEI does allow for


                                             <quote>

to be a child element of


                                             <quote>

, LEMDO has decided to disallow


                                             <quote>

as a child of


                                             <quote>

elements. Our rationale is that we do not know the reason for the quotation marks in the material we are quoting. Use the

<q>

element to indicate that the quoted material has material inside it that is wrapped in quotation marks for an unknown reason (even if you can work out the reason).

You can nest

<q>

within

<q>

(i.e.,

<q>

can be a child of

<q>

) as many times as necessary, to encode quotations within quotations within quotations. At rendering time, we will alternate double and single quotation marks, beginning with double. Quotations within quotations are most likely to occur in critical paratexts and apparatus, where you are quoting other sources. Generally, you will not use

<q>

for any other purpose in your critical paratexts and apparatus.

<note type="commentary">

Some editors agree with Capell in punctuating this passage as follows, in order to clarify the meaning: <quote>Send to his brother: <q>Fetch that gallant hither</q>
</quote> (Capell) </note>

A note on AYL by David Bevington.

¶ Imagined Speech

Sometimes, one character will project what someone might have said (but didnʼt say) or tell a character what not to say.

O most gentle Jupiter, what tedious homily of love have you wearied your parishioners withal, and never cried <q>Have patience, good people!</q>

(from AYL) Rosalind is criticizing Celia (reimagined as Jupiter) for not asking her listeners to have patience. Itʼs imagined speech rather than quoted speech.

A man that had a wife with such a wit, he might say, <q>Wit, whither wilt?</q>

(from AYL) Another example of imagined speech as opposed to quoted speech.

¶ Prompts

Sometimes, one character will feed a word or line to another character.

<note type="commentary">

Cry <q>Holla</q> to thy tongue </note>

(from AYL).

but say with me, <q>I love Aliena</q>

(from AYL).

Say <q>a day</q> without the <q>ever</q>

(from AYL).

¶ Quoting with Variation for Non-Rhetorical Purpose

It is common in witty dialogue for one character to quote another, using the same word(s) with a different meaning (antanaclasis) or using the same root in a different grammatical case (adnominatio). Normally, we do not tag such repetitions. But in some cases, when a character uses phrasing that foregrounds the act of quoting (with or without incremental variation), we add the

<q>

tag to indicate the self-conscious nature of the repetition.

<note type="commentary">

For my part, he keeps me rustically at home, or, to speak more properly, stays me here at home unkept; for call you that <q>keeping</q> for a gentleman of my birth that differs not from the stalling of an ox? </note>

From AYL. The word keeping plays on unkept but is not a direction quotation.

<note type="commentary">


<quote>MISTRESS PAGE: He would never have boarded me in this fury. MISTRESS FORD: <q>Boarding</q>, call you it? I’ll be sure to keep him above deck.</quote>

</note>

A note on Oth by Jessica Slights. The phrase call you it requires us to use the

<q>

element around boarding.

¶ Parts of Words or Characters

<note type="commentary">

Note that here and throughout è indicates that the final <q>ed</q> must be pronounced in order for a line of verse to maintain its regular metrical pattern </note>

A note on Oth by Jessica Slights.

<note type="commentary">

A misreading seems likely given the ease with which both <q>t</q>/<q>c</q> and <q>m</q>/<q>n</q> might be mistaken for each other </note>

A note on Oth by Jessica Slights.

<note type="commentary">

as the letter <q>i</q> was often substituted for the letter <q>j</q> before spelling became regularized, either word might have started with the uppercase <q>I</q>

</note>

A note on Oth by Jessica Slights.

¶ Encode Emphasis

Use the


                                       <emph>

element to stress or emphasize a word in a critical paratext or in documentation. Our current rendering for anything tagged with


                                       <emph>

is boldface. We ask that you use this element judiciously and not without good reason.

We foresee 6 cases where you will want to use the


                                       <emph>

element.

In a textual essay to show the difference between two readings that you wish to discuss at more length than one would normally do in a collation entry.

In a quotation where you want to emphasize a particular word you have just discussed or will immediately discuss.

To mark metrical stress in a quotation included in a critical paratext, in a discussion about verse or rhetorical devices.

To reproduce your source accurately when you are quoting material (including titles in BIBL1.xml) that has added emphasis (whether it is italicized or boldfaced in the source).

In running text, where you want to add your own emphasis for rhetorical purposes.

In a documentation file (including editorial guidelines), to guide the userʼs gaze to particularly important material.

¶ Showing Difference

It is not an authoritative text but it does contain a fortuitous reading that is adopted by most editors: Falstaff’s line, <quote>convey my <emph>trustful</emph> queen</quote> is changed to <quote>convey my <emph>tristful</emph> queen</quote>.

¶ Adding Emphasis to Quoted Material

In this long example, we see the editor emphasizing the words myself and himself and then going on to offer an analysis with in-line glosses.

It is worth noting the similarities between Hal’s language in the <soCalled>I know you all</soCalled> speech and King Henry’s at the beginning of the very next scene. Henry says: <quote>I will from henceforth rather be <emph>myself</emph>, / Mighty and to be feared</quote> (<ptr type="localCit" target="doc:emd1H4_M#emd1H4_M_anc_3195"/>). Hal, comparing himself to the sun breaking through the clouds, says: <quote>That, when he please again to be <emph>himself</emph>, / Being wanted he may be more wondered at</quote> (<ptr type="localCit" target="doc:emd1H4_M#emd1H4_M_anc_3197"/>), and later in 3.2 he promises his father, <quote>I shall hereafter, my thrice-gracious lord, / Be more <emph>myself</emph>
</quote> (TLN 1911-1912). Who is the self that Hal proposes to be? When King Henry talks about being <quote>myself</quote>, he seems to mean <gloss>myself-as-king</gloss>, as opposed to his natural disposition or <gloss>condition</gloss>.

¶ Adding Metrical Stress

In Adrian Noble’s 1984 production, Exeter (Brian Blessed) insisted on the English pronunciation in order to irk the French. The dauphin’s reaction, an indignantly precise French pronunciation (<quote>For the—Doe-<emph>fan</emph>—, I stand here for him</quote>) raised a laugh.

¶ Quoting Emphasized Material

In this example, LEMDO replicates the emphasis already in the title of an article:

<title level="a">The Pronouns of Propriety and Passion: <emph>you</emph> and <emph>thou</emph> in Shakespeare’s Italian Comedies</title>

¶ Adding Your Own Emphasis

Use


                                          <emph>

sparingly, or it will lose its impact. Be careful not to resort to


                                          <emph>

in cases where you need to use


                                          <term>


                                          <mentioned>

But it <emph>is</emph> possible to see him as having already made those choices.

¶ Guiding User in Documentation

The authorʼs name—when known—is <emph>always</emph> included in the text node of the parenthetical citation, even if it has already been mentioned within the sentence.

¶ Encode Foreign Languages

¶ Use Cases and General Principle

In TEI, foreign means “not the main language of the text”. For many LEMDO editions, the main language is English. The language of the text is assumed to be English; you mark any other languages in the text with the


                                          <foreign>

element.

There are five general scenarios in which you will need to tag foreign languages in a LEMDO edition:

A speech written in English will have an interpolated foreign word or phrase.

A speech will be written entirely in another language.

A character speaks entirely in another language.

An entire scene is written in another language.

A play is written mostly or entirely in another language.

In every case, we use the


                                       @xml:lang

attribute to identify the language. We put that attribute on the lowest element in the hierarchy that entirely captures the foreign language passage. If the passage or word is already entirely wrapped in another element, put the


                                       @xml:lang

on that element. If not, wrap the word(s) or phrase in the


                                          <foreign>

element and add the


                                       @xml:id

attribute to the


                                          <foreign>

element.

For more information, see Foreign Words in Quotations.

¶ Interpolated Foreign Words and Phrases

This scenario is the most common. Wrap the word or phrase in the


                                          <foreign>

element, add the


                                       @xml:lang

attribute, and give the appropriate value for the language. Standard IANA values for common languages are given in a table below.

In the first example we give, Holofernes’ speech contains two words in Latin. The words are not wholly contained in another element, so we wrap the


                                          <foreign>

element around the Latin words:

<sp>
 <speaker>Holofernes</speaker>
 
 <foreign xml:lang="la">Quis, quis</foreign> thou consonant?
</sp>

All the better; we shall be the more marketable.—<foreign xml:lang="fr">Bonjour</foreign>, Monsieur Le Beau. What’s the news?

<foreign xml:lang="fr">Sans</foreign> witch-craft could not

¶ A Speech Entirely in Another Language

If an entire speech is in a foreign language, put the


                                       @xml:lang

attribute on the


                                          <sp>

element. In the following example, Holofernes’ speech is entirely in Latin:

<sp xml:lang="la">
<speaker>Nathaniel</speaker>
Videsne quis venit?
</sp>

¶ Character Speaking in a Foreign Language

In cases where one character speaks persistently in another language (e.g., Lady Percy speaking in Welsh in 1 Henry IV) but the other characters in the scene speak in English, you will have to add the


                                       @xml:lang

attribute to each of the speeches in a foreign language. All of Lady Percy’s speeches will have to bear the


                                       @xml:lang

attribute. This scenario is therefore encoded exactly the same way as the previous use case (A Speech Entirely in a Foreign Language).

¶ Scene in a Non-English Language

There are few scenes that are entirely in a non-English language. You will have to decide if it makes more sense to think of the scene as English with interpolations in other languages, or as another language with interpolations in English.

A classic case is the language lesson scene in Henry V 3.4. The scene is almost entirely in French, with an English stage direction and some English terms for body parts. One choice would be to set the language as French at the level of the scene division and then mark the stage direction as English, thus:

<div type="scene" n="4" xml:lang="fr">
 <stage type="entrance" xml:lang="en">Enter Catherine and Alice, an old gentlewoman.</stage>
 <sp who="#emdH5_FM_Catherine">
 <speaker>Catherine</speaker>
 Alice, tu as été en Angleterre, et tu bien parles le langage.
 </sp>
</div>

In this particular instance, the editor would have to think carefully how to tag Catherine’s and Alice’s attempts at English. Is fingres English? That is an editorial decision.

¶ Play in a Non-English Language

LEMDO does support editions of plays in non-English languages, as well as supporting materials or documents in other languages. For example, there are a number of English plays written partly or wholly in Latin. If your text or document is predominantly Latin, specify the main language at the highest level in the document hierarchy, the


                                          <text>

element that contains the text in its entirety. Any non-Latin languages in the text are then tagged as foreign. You want your tagging to mark deviations from the main language, so think carefully about the main language of your text.

If you want to look at an example, see Kevin Chovanec’s semi-diplomatic transcription of the octavo Fortunatus play in German (lemdo/data/texts/OFG/main/emdOFG_O.xml in our repository).

¶ IANA Values for Specific Languages

Add the attribute


                                       @xml:lang

and the appropriate IANA (Internet Assigned Numbers Authority) value. Languages commonly seen in early modern plays are listed here. If you need a value for another language, see the list at IANA. You will need to write to lemdotech@uvic.ca to have new language values added to our schema:

Language	Value
Dutch	nl
English	en²
French, Early Modern and Modern	fr
French, Old	fro
German	de
Greek, Ancient (to 1453)	grc
Greek, Modern (1453–present)	el
Irish	ga
Italian	it
Latin	la
Old English	ang
Portuguese	pt
Romany	rom
Spanish	es
Welsh	cy

¶ Foreign Words in Apparatus and Paratexts

Similar principles apply to the encoding of non-English words in apparatus documents (collations and annotations) and critical paratexts. Put the


                                       @xml:lang

on the element that is high enough in the hierarchy to capture the entire foreign language passage in its entirety:

<p>

if an entire paragraph is in a language other than the main language of your document


                                                <quote>

if the entire quotation is mostly or entirely in a foreign language

<l>

if an entire line of verse is mostly or entirely in a foreign language

on a


                                                <foreign>

element that you have added to the text if there is no other logical element on which to hang the


                                             @xml:lang

attribute.

¶ Examples

We will add additional examples to this section on an ongoing basis.

Rosalind continues her spoofing of Le Beau by referring to a common opening legal phrase, <quote xml:lang="la">Noverint universi per praesentes</quote>, <quote>Let everyone know by the present document</quote> (Hattaway)

A note on AYL by David Bevington containing two quotations, one in a foreign language and one in English.

Cf. modern French <foreign xml:lang="fr">mepriser</foreign>

¶ Foreign Words in Quotations

See the longer encoding description about tagging non-English languages, where you will find a list of values for foreign languages that frequently appear in early modern texts.

Tag foreign words within English quotations with the


                                             <foreign>

element.

If the entire quotation is in a foreign language, add the


                                          @xml:lang

attribute to the


                                             <quote>

element. You do not need to add the


                                             <foreign>

element as well. See the allowed values for


                                          @xml:lang

¶ Examples Containing Multiple Quotation Elements

¶ Rationale

This section contains examples that show multiple quotation elements used in combination. These examples may help you understand the nuanced differences between some of these elements and clarify in which instances you should choose one over the other.

¶ Examples

<note type="commentary">

In his reply, Orlando sardonically takes Oliver’s <quote>what make you</quote> in the literal sense: <gloss>I can’t <mentioned>make</mentioned> anything, thanks to you</gloss>

</note>

A note on AYL by David Bevington.

<note type="commentary">

The <title level="m">OED</title> quotes this passage as its first usage of <term>color</term> meaning <gloss>kind</gloss>. The lack of an earlier instance in the <title level="m">OED</title> may help explain why Le Beau is puzzled by the word in <ptr/>. Note a similar use of <quote>color</quote> at <ptr/>, <quote>boys and women are for the most part cattle of this color</quote>

</note>

A note on AYL by David Bevington, containing


                                          <term>


                                          <gloss>

and


                                          <quote>

elements.

<note type="commentary">


<soCalled>Housewife</soCalled>, spelled <quote>houswife</quote> in the Folio, is often spelled <q>huswife</q>, or <q>hussif</q>, blending into the sense <soCalled>hussy</soCalled>

</note>

A note on AYL by David Bevington, containing


                                          <soCalled>


                                          <quote>

, and

<q>

elements.

<note type="commentary">

Neill favors <mentioned>assigned</mentioned> both for its <quote>military resonances</quote> and its echo of Iago’s obsession with <soCalled>signs</soCalled>, but, especially given that <mentioned>affined</mentioned> appears again, textually uncontested, later in the play </note>

A note on Oth by Jessica Slights, containing


                                          <mentioned>


                                          <quote>

, and


                                          <soCalled>

elements.

<note type="commentary">

By associating the mayhem that Emilia reports with a personified moon goddess (Luna) who has wandered out of her orbit, Othello evokes a longstanding link between the moon and <term>lunacy</term> (from Latin <foreign xml:lang="la">luna</foreign> = <gloss>moon</gloss>) </note>

A note on Oth by Jessica Slights, containing


                                          <term>


                                          <foreign>

, and


                                          <gloss>

elements.

<note type="commentary">

There is an echo here of the legal definition of marriage as a contract to share <soCalled>bed and board</soCalled>. In the medieval York Manual, for instance, a wife’s wedding vows read: <quote>Here I take you [name] to my wedded husband, to hold and to have <q>at bed and at board</q>, for fairer for [fouler], for better for worse, in sickness and in health</quote>

</note>

A note on Oth by Jessica Slights, containing


                                          <soCalled>


                                          <quote>

, and

<q>

elements.

<note type="commentary">


 <mentioned>Gasparo</mentioned> is the Italian equivalent of English <gloss>Jasper</gloss>. The <soCalled>Italian</soCalled>
 <quote>Trebazzi</quote> in Q1 and Q2 perhaps represents <foreign xml:lang="it">tre-bacci</foreign>, which could then be intended to mean <gloss>three kisses</gloss>
 
</note>

A note on 1HW by Joost Dalder, containing


                                          <mentioned>


                                          <gloss>


                                          <soCalled>

, and


                                          <quote>

elements.

<note type="commentary">

Proverbial (Dent I88): <quote>You (etc.) are ipse (he, the man)</quote>. The phrase was in vogue in the 1580s and 1590s. <quote>Touchstone claims that the Latin pronoun <foreign xml:lang="la">ipse</foreign> means <q>he</q>, and that William cannot be <foreign xml:lang="la">ipse</foreign>, i.e. the <q>he</q> who will marry Audrey, because he himself (<foreign xml:lang="la">ipse</foreign>) is that <q>he</q>. In Lily’s Grammar the section on pronominal construction declares: <q xml:lang="la">IPSE, ex pronominibus solum trium personarum significationem repraesentat: ut: Ipse vidi. Ipse videris. Ipse dixit</q> (281) (<q>
<foreign xml:lang="la">Ipse</foreign> is the only one of the pronouns which may stand for the signifying of three persons: as, I myself see. You yourself will see. He himself said</q>). Touchstone is not the only <q>he</q>, because <foreign xml:lang="la">ipse</foreign> can apply to all three grammatical (and actual) persons</quote> (Dusinberre) </note>

A note on AYL by David Bevington, containing


                                          <quote>


                                          <foreign>

, and

<q>

elements.

<note type="commentary">


 <quote>Service</quote> suggests the status both of being a servant (<title level="m">OED</title>
 <term>Service</term> 1 1a) and of being a <soCalled>servant</soCalled> in love with one’s <soCalled>mistress</soCalled>
 
</note>

A note on AYL by David Bevington, containing


                                          <quote>


                                          <term>

, and


                                          <soCalled>

elements.

<note type="commentary">

The Quarto reading, <quote>lenitie</quote> (<gloss>mercy, gentleness</gloss>), suggests that a u/n compositorial error is highly likely, but a nonce-use of <term>levity</term>—in the broadest, non-pejorative sense of <gloss>lightness</gloss>—makes sense as an opposite quality to heavy cruelty </note>

A note containing


                                          <quote>


                                          <gloss>

, and


                                          <term>

elements.

Notes

1.The exception is semi-diplomatic texts, where you may type quotation marks as they appear in your control text and tag them with the


                                    <pc>

element.↑

2.We have a few texts that are entirely in languages other than English. In such texts, the


                                 @xml:lang

attribute goes on the


                                    <text>

element and instances of English are marked as


                                    <foreign>

.↑

Prosopography

Isabella Seales

Isabella Seales is a fourth year undergraduate completing her Bachelor of Arts in English at the University of Victoria. She has a special interest in Renaissance and Metaphysical Literature. She is assisting Dr. Jenstad with the MoEML Mayoral Shows anthology as part of the Undergraduate Student Research Award program.

Janelle Jenstad

Janelle Jenstad is a Professor of English at the University of Victoria, Director of The Map of Early Modern London, and Director of Linked Early Modern Drama Online. With Jennifer Roberts-Smith and Mark Kaethler, she co-edited Shakespeare’s Language in Digital Media: Old Words, New Tools (Routledge). She has edited John Stow’s A Survey of London (1598 text) for MoEML and is currently editing The Merchant of Venice (with Stephen Wittek) and Heywood’s 2 If You Know Not Me You Know Nobody for DRE. Her articles have appeared in Digital Humanities Quarterly, Elizabethan Theatre, Early Modern Literary Studies, Shakespeare Bulletin, Renaissance and Reformation, and The Journal of Medieval and Early Modern Studies. She contributed chapters to Approaches to Teaching Othello (MLA); Teaching Early Modern Literature from the Archives (MLA); Institutional Culture in Early Modern England (Brill); Shakespeare, Language, and the Stage (Arden); Performing Maternity in Early Modern England (Ashgate); New Directions in the Geohumanities (Routledge); Early Modern Studies and the Digital Turn (Iter); Placing Names: Enriching and Integrating Gazetteers (Indiana); Making Things and Drawing Boundaries (Minnesota); Rethinking Shakespeare Source Study: Audiences, Authors, and Digital Technologies (Routledge); and Civic Performance: Pageantry and Entertainments in Early Modern London (Routledge). For more details, see janellejenstad.com.

Joey Takeda

Joey Takeda is LEMDO’s Consulting Programmer and Designer, a role he assumed in 2020 after three years as the Lead Developer on LEMDO.

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.

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 womenʼs 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.

Bibliography

PLACEHOLDER BIBLIOGRAPHY ITEM. Placeholder bibliography item. The purpose of this item is to allow encoders to link to a bibliography item when they do not have access to BIBL1 or cannot add a new entry. When linking to this item, please include a comment explaining the details of the item the link should really point to.

Rymer, Thomas. A Short View of Tragedy. London, 1693. ESTC R17017. Wing R2429.

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Authority title	Chapter 11. Quotations
Type of text	Documentation
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Publisher	Linked Early Modern Drama
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