LEMDO: Chapter 10. Quotations

Chapter 10. Quotations

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

This chapter is designed for editors, encoders, and anthology leads. It provides important guidance on how to encode quotation marks depending on their purpose.

Rationale

Quotation marks, bold font, and italics in print are always an ambiguous form of typographical markup. They can be used to indicate quotations, terms, expressions, emphasis, foreign languages, and other features of text. LEMDO follows the principle of truthful encoding, so we always use the most precise tags to indicate these features. By precisely tagging these features, we remove some of the ambiguity of typographical markup that is common in print.

Learning Outcomes

By the time you have worked through every section of this chapter, you will:

Be able to identify parts of your text as quoted material, terms, expressions, glosses, passages in a foreign language, and emphasised text.

Know how to encode quotation marks inside quoted materials following truthful encoding practices.

Rendering Note

At rendering time, we will add quotation marks, italics, boldface¹, and/or square brackets to the output.

Do not type quotation marks in text nodes in XML files²; you will get an error message telling you to use one of the elements explained in this chapter.

Section	Description
Encode Quotations	Learn how to tag quotations and misquotations in modernized texts, critical paratexts, and annotations
Encode Block Quotations	Learn how to tag block quotations, including how to tag citations for block quotations
Encode Terms	Learn how to tag terms for which you offer a definition or gloss
Encode Disclaimers	Learn how to tag words and phrases that were used by previous generations of scholars, in later or earlier periods, or in different cultural contexts than the one you are descibing or speaking from and phrases that cannot be attributed to a particular person or group (e.g., proverbs)
Encode Glosses	Learn to tag phrases used to gloss another term
Encode Words as Words	Learn to tag words that you are discussing as words and so are not part of the grammatical sequence of the sentence
Encode Quotation Marks	Learn to encode ambiguous quotation marks (i.e., ambiguous in your source) and quotation marks inside of quotations
Encode Emphasis	Learn to emphasize text in critical paratexts and annotations
Encode Foreign Languages	Learn how to tag words and phrases that are in a language other than the main language of the text
Examples Containing Multiple Quotation-Like Elements	See examples of different elements used rather than the typographical features of quotation marks, italics, and bold font

Encode Quotations

LEMDO uses the


                                       <quote>

element to identify material that is quoted from an external source or from other files in the edition. We also use the


                                       <quote>

element to tag reported or quoted speech in the modernized text (but see also Encode Quotation Marks for a few edge cases in which we use the

<q>

element). 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.

Practice: Encode Quotations in Modernized Texts

Use the


                                          <quote>

element in modernized texts when one character quotes another character (e.g., reported speech). If the quotation spans two or more verse lines, 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 Practice: Encode Misquotations.

Examples: Quotations in Modernized Texts

In this example from AYL, the First Lord quotes Jaques:

<l>
<quote>Poor deer</quote>, quoth he, <quote>thou mak’st a testament</quote>
</l>

LEMDO rendering: Poor deer, quoth he, thou mak’st a testament.

In this example from AHDM, Foyes quotes Martia:

<sp>
 <speaker>Foyes</speaker>
 
 <quote>Single, indeed</quote>: that’s a pretty toy!
</sp>

LEMDO rendering: Single, indeed: that’s a pretty toy!

Practice: Encode Quotations in Critical Paratexts and Annotations

Use the


                                          <quote>

element in critical paratexts and annotations 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>

Examples: Quotes in Critical Paratexts and Annotations

This example from the general introduction to James Mardock’s edition of H5 quotes the modernized text:

<quote>Small time</quote>, says the play’s epilogue, <quote>but in that small most greatly lived / This star of England</quote> (<ptr type="localCit" target="doc:emdH5_FM#emdH5_FM_anc_6054 doc:emdH5_FM#emdH5_FM_anc_6057"/>).

LEMDO rendering: Small time, says the play’s epilogue, but in that small most greatly lived / This star of England (Epilogue Sp1).

This example from the annotations for AYL quotes the modernized text in one of its commentary notes:

<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.

This example from the annotations for 1 Honest Whore quotes an OED definition for a phrase (note that although this quotation could be encoded using the


                                             <gloss>

element, LEMDO uses the


                                             <quote>

element to give credit where it is due):

<note type="gloss">
 <term>To take wet</term> = <quote>to be injured by damp</quote> (<ref type="bibl" target="bibl:OEDT2">
 <title level="m">OED</title>
 <term>wet</term>, n.1.4</ref>).</note>

LEMDO rendering: To take wet = to be injured by damp (OED wet, n.1.4).

Practice: Encode Quotation Marks around Requests for Clarification

If a character asks another character about a word or phrase they just said, tag the word with


                                          <quote>

. In the first example, we are not even sure that ducdame is a word, so tagging it with


                                          <term>

would be dishonest.

Examples: Quotation Marks around Requests for Clarification

In this example from AYL, Amiens quotes a word from Jaques’ song:

<sp>
<speaker>Amiens</speaker>
What’s that <quote>ducdame</quote>?
</sp>

LEMDO rendering: What’s that ducdame?

In this example from AYL, Audrey quotes the word that Touchstone has just used:

<sp>
<speaker>Audrey</speaker>
I do not know what <quote>poetical</quote> is. 
</sp>

LEMDO rendering: I do not know what poetical is.

In this example from AYL, Jaques quotes the word that Amiens has just used:

<sp>
<speaker>Jaques</speaker>
Call you ’em <quote>stanzos</quote>?
</sp>

LEMDO rendering: Call you ’em stanzos?

Practice: Encode 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.

Practice: Encode 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.

Practice: Encode 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>

Examples: Misquotations

In this example from 2H4, Falstaff misquotes Caesar:

<sp>
 <speaker>Falstaff</speaker>
  I may justly say with the hook-nosed fellow of Rome, <quote>there cousin, I came, saw, and overcame.</quote>
 
</sp>

LEMDO rendering: I may justly say with the hook-nosed fellow of Rome, there cousin, I came, saw, and overcame.

In this example from AYL, Rosalind misquotes the same quotation:

<sp>
 <speaker>Rosalind</speaker>
 There was never anything so sudden but the fight of two rams and Caesar’s thrasonical brag of <quote>I came, saw, and overcame.</quote>
 
</sp>

LEMDO rendering: There was never anything so sudden but the fight of two rams and Caesar’s thrasonical brag of I came, saw, overcame.

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>

element.

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

Introduction

LEMDO uses the


                                          <term>

element to tag terms of art, technical terms, and dictionary headwords. You are likely to use these types of terms in your critical paratexts and annotations. Where you use terms, especially in cases where you immediately offer an explanation, definition, or gloss, you will tag them with the


                                          <term>

element as explained in this documentation.

In addition to terms of art, technical terms, and dictionary headwords, words that are used sufficiently differently in the early modern period than they are now—and therefore need a gloss for modern readers—should also be tagged as terms.

Practice

Wrap the


                                          <term>

element around the word or phrase.

A gloss is not required after a


                                          <term>

element, though you will often choose to include one. 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: Terms, Mentioned Words, and Quotes

It can be challenging to know when to use


                                          <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 someone’s use of a word or talk about a word as a word, tag the word with


                                          <mentioned>

. Note that words and phrases tagged with


                                          <mentioned>


                                          <term>

will be italicized in the HTML output. Words and phrases tagged with


                                          <quote>

will be wrapped in double curly quotation marks in the HTML output.

Examples

Uncommon Words

Sometimes you will want to treat an uncommon word as a term even if you are not providing a formal gloss.

In this example from the Othello annotations, editor Jessica Slights explains the term blazon without using a


                                             <gloss>

element:

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

In this example from the Othello annotations, Slights glosses our proper and adds a note on the speaker’s use of a particular word. I.e., Slights comments on a word as a word:

<note type="gloss">My own; the duke uses the royal <term>we</term>
</note>

Glossing a Term

You will often use the


                                             <term>

and


                                             <gloss>

elements together when glossing terms. You will also use the


                                             <term>

and


                                             <quote>

elements together frequently when citing from dictionaries (e.g., OED). In this example from David Bevington’s annotations on As You Like It, leave is glossed:

<note type="gloss">
<term>Leave</term> means <gloss>permission</gloss>
</note>

In this example from Slight’s annotations on Othello, the well-known term execute is given a gloss to ensure that modern readers understand all the valences of the term:

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

In this example from Othello, two terms are glossed:

<note type="gloss">
 <term>Anthropo</term>- = <gloss>human</gloss> + <term>phagy</term> = <gloss>the eating of</gloss>; thus, <term>anthropophagi</term> are <gloss>cannibals</gloss>. See <ref type="bibl" target="bibl:OEDT2">
 <title level="m">OED</title>
 <term>anthropophagi</term>, n. pl.</ref>. </note>

Note that you do not have to spell out that you are citing from the 2nd or 3rd edition of the OED. The


                                             <ref>

element points to bibl:OEDT2, which is the 2nd edition of the OED. To point to the 3rd edition, use the value bibl:OEDT3. The pop-up reference generated by LEMDO includes information about the edition.

Headwords in Annotations

In annotations, use


                                             <term>

for the headword to which you want to direct a reader in a dictionary. In this example from James Mardock’s annotations on Henry V, the reader is directed to the headword prince in the 2nd edition of the OED:

<note type="gloss"> Monarchs (<ref type="bibl" target="bibl:OEDT2">
<title level="m">OED</title>
<term>prince</term>, n.I.1.a</ref>). </note>

Encode Disclaimers

Rationale

Occasionally, you will want to put 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.

LEMDO’s 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 need 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 historical periods before or after the work you are editing

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.

Rendering Note

LEMDO will add quotation marks around any text encoded with


                                          <soCalled>

Examples

The examples given here come from (or are inspired by) editions prepared by David Bevington, Jessica Slights, and James Mardock.

Outmoded Terminology

<note type="commentary">Often called a <soCalled>bad quarto</soCalled>, the 1603 text of <title level="m">Hamlet</title> 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>

Words or Phrases from Other Cultural Contexts

In this example, the editor (Jessica Slights) wants to put distance between her edition and both the biblical and the early modern contexts that objectify women:

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

Epithets

In this example, the editor (James Mardock) wants to indicate that Hotspur is a nickname:

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>

<note type="commentary">Othello’s use of the <soCalled>sweet</soCalled>



</note>

<note type="commentary">Neill proposes a pun on the epithet <soCalled>dull Moor</soCalled>.</note>

Forms of Address, Honorifics, and Stereotpyes

In annotations and critical paratexts, tag honorifics with


                                             <soCalled>

when you are foregrounding the nature of the word or phrase. 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>

<note type="commentary">
<soCalled>Coz</soCalled> can also mean almost any family relationship or acquaintance

</note>

Common Phrases or Names

Use


                                             <soCalled>

for the common names of plants. Common names of plants cannot be attributed to any one person.

<note type="commentary">See Pliny’s discussion in <title level="m">Natural History</title> of the collection of secretions from the <soCalled>balm tree</soCalled>.</note>

Compare this note, which quotes from an early modern translation of Pliny and preserves the spelling in the source:

<note type="commentary">See Pliny’s discussion in <title level="m">Natural History</title> of the collection of secretions from the<quote>Baulme tree</quote>.</note>

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

<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. However, you can quote the particular form of a proverb from a source like Dent’s Proverbial Language or Shakespeare’s Proverbial Language. In such a case, wrap the quoted proverb in the


                                             <quote>

element and cite Dent parenthetically.

Encode Glosses

Rationale

You will use the


                                          <gloss>

element mainly in your critical paratexts and the annotation file keyed to your modernized 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), wrap the quoted gloss in the


                                          <quote>

element and provide a parenthetical citation to give credit to the dictionary. Quotations from the dictionary are almost always glosses on the headword in the dictionary, but from LEMDO’s 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.

Examples

The examples given here come from (or are inspired by) editions prepared by David Bevington, Jessica Slights, James Mardock, Joost Daalder, Tom Bishop, and Janelle Jenstad.

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>

The general tendency is to view the two parts of <title level="m">The Honest Whore</title> (either together or as separate plays) as belonging to the genre of <term>city comedy</term>. In a loose kind of way, the term works well enough as indicating something like <gloss>a comedy portraying life in the city of London</gloss>.

<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>

<note type="annotation">
<note type="label">glorious</note>
<note type="gloss">Both <gloss>eager for glory</gloss> and <gloss>possessing glory</gloss>.</note>
</note>

<note type="textual">F’s reading (<quote>state</quote>) keeps the sense of <gloss>situation, lot</gloss>, with the added sense of <gloss>governance</gloss>, the theme of the Bishop’s argument.</note>

<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>

<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>

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> (<ref type="bibl" target="bibl:OEDT2">
<title level="m">OED</title> 1</ref>).</note>

<note type="lexical">
<term>Snaffle</term> is a transitive verb meaning <quote>to put a bit on a horse</quote>. See <ref type="bibl" target="bibl:OEDT3">OED v.1.1</ref>.</note>

Self-Glossing

The


                                             <gloss>

element will be rare in the modernized 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>

Encode Words as Words

Rationale

The TEI’s 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 the


                                          <quote>

element not the


                                          <mentioned>

element. 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

The examples given here are taken from (or inspired by) editions and critical paratexts prepared by Jessica Slights, David Bevington, Erin Kelly, .

In this example, a character in a play (Othello) is speaking of having to write a word upon Desdemona.

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

Desdemona also speaks about words as words:

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

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

Here are several examples of editors discussing words as words:

<note type="commentary">Contraction of <mentioned>God’s blood</mentioned>, a common oath.</note>

<note type="commentary">

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

<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>

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.

Rationale

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 lemdo@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’s TEI customization has decided to disallow


                                             <quote>

as a child of the


                                             <quote>

element. 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>

Imagined Speech

Sometimes, one character will project what someone might have said (but didn’t say) or tell a character what not to say. In this passage from As You Like It, Rosalind is criticizing Celia (reimagined as Jupiter) for not asking her listeners to have patience. It’s imagined speech rather than quoted speech.

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

Here is another example of imagined speech:

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

Prompts

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

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

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

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

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.

In this example from As You Like It, the word keeping plays on unkept but is not a direct quotation:

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?

Immediately before this line, Mistress Page has said He would never have boarded me in this fury. Mistress Ford replies with a variant on the word board:

<q>Boarding</q>, call you it? I’ll be sure to keep him above deck.

Parts of Words, Single Letters, or Alphanumeric Strings

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

<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>

<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>

Encode Emphasis

Rationale

Use the


                                          <emph>

element to stress or emphasize a word in a critical paratext or in documentation. Anything tagged with


                                          <emph>

will be italicized in the HTML or PDF output. We ask that you use this element judiciously and not without good reason.

We foresee six 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 our shared bibliography) that has emphatic italics in the source.

In running text, where you want to add your own emphasis for rhetorical purposes. (But please do so sparingly.)

In a documentation file (including editorial guidelines), to guide the user’s 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 (Rosemary Gaby) emphasizing the words myself and himself and then going on to offer an analysis with in-line glosses. Indicate that you have added the emphasis.

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"/>, emphasis added here and below). Comparing himself to the sun breaking through the clouds, Hal 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>. 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 author’s 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

Prior Reading

Encode Quotations

Use Cases and General Principles

In TEI, foreign means “not the main language of the text”. For most LEMDO editions, the main language is English and the processor assumes that the language of the text is English unless we indicate otherwise in our encoding. Mark up words, phrases, and speeches in languages other than the text by wrapping them in 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.

The following scenarios do not comprise foreign languages:

Gibberish that sounds like a foreign language. Example: Lacy’s pseudo-Dutch in The Shoemaker’s Holiday.

Heavily accented English words. Example: Dr. Caius’s Begar (i.e., “By god”) in The Merry Wives of Windsor.

Note that LEMDO renders text tagged with the


                                       @xml:lang

attribute as italic.

Practice

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.

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 (Love’s Labour’s Lost) 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, Nathaniel’s 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.

For 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 lemdo@uvic.ca to have new language values added to our schema:

Language	Value
Albanian	sq
Anglo-Norman	xno
Arabic	ar
Dutch	nl
English	en³
French, Modern (1600–present)	fr
French, Middle (ca. 1400–1600)	frm
French, Old (843–ca. 1400)	fro
German	de
Greek, Ancient (to 1453)	grc
Greek, Modern (1453–present)	el
Hebrew	he
Irish	ga
Italian	it
Latin	la
Norwegian	no
Old English	ang
Persian (macrolanguage)	fa
Portuguese	pt
Romany	rom
Spanish	es
Welsh	cy

Foreign Words in Apparatus Texts and Critical 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, or

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

These examples come from (or are inspired by) editions prepared by Brett Greatley-Hirsch, Elly Lowe, and Joost Daalder:

Example from an editorial note on a character list:

<note type="editorial">
Beautiful forehead or face (made up from Italian <foreign xml:lang="it">bella</foreign> + <foreign xml:lang="it">fronte</foreign>).
</note>

Simplified example from a modern text:

My Lord, <foreign xml:lang="fr">pardonnez-moi</foreign>, I must not let her talk alone with anyone, for her father gave me charge.

Since you will need to provide a gloss for foreign words and phrases, your final encoding will include anchors to which your annotations file will point:

My Lord, <anchor xml:id="emdAHDM_M_anc_590"/>
<foreign xml:lang="fr">pardonnez-moi</foreign>
<anchor xml:id="emdAHDM_M_anc_591"/>, I must not let her talk alone with anyone, for her father gave me charge.

Example from a critical paratext:

We may also infer that his name—from the Greek <foreign xml:lang="el">gerōn</foreign>, or <gloss>old man</gloss>—suggests Gerontus was bearded.

Foreign Words in Quotations

Tag foreign words within English quotations with the


                                             <foreign>

element.

Walsh suggests the feminine Truth <quote>might also draw on the <foreign xml:lang="la">veritas filia temporis</foreign> motif</quote> (<ref type="bibl" target="bibl:WALS2">78</ref>).

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:

It also features a Latin motto on the title page, <quote xml:lang="la">Quod non dant Proceres, Dabit Histrio</quote>, from Juvenal’s <ref type="bibl" target="bibl:JUVE2">
<title level="m">Satires</title>
</ref>.

(example by David Nicol).

Examples Containing Multiple Quotation-Like Elements

Rationale

This section contains examples of multiple quotation-like elements used in combination:


                                          <quote>


                                          <foreign>

<q>


                                          <soCalled>

, and


                                          <mentioned>

. 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

These examples are drawn from (or inspired by) editions prepared by Jessica Slights, David Bevington, James Mardock, and Joost Daalder.

<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>

<note type="commentary">
<quote>As Fluellen has already volunteered information about Gower, Henry’s emphasis is presumably on <mentioned>Know’st</mentioned>. I.e., <q>are you personally familiar with the man,</q> the point being <q>would you recognize him? (or have you only heard <emph>of</emph> him)</q>
</quote> (<ref type="bibl" target="bibl:TAYL2">Taylor</ref>).</note>

<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>

<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>

<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>

<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>

<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>

This note from a legacy edition contains a longer quotation from another editor than LEMDO would now allow:

<note type="commentary">Proverbial (<ref type="bibl" target="bibl:DENT2">Dent I88</ref>): <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 <title level="m">Grammar</title> the section on pronominal construction declares: <q xml:lang="la">IPSE, ex pronominibus solùm trium personarum significationem repraesentat: vt: 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> (<ref type="bibl" target="bibl:DUSI1">Dusinberre</ref>).</note>

<note type="commentary">
 <quote>Service</quote> suggests the status both of being a servant (<ref type="bibl" target="bibl:OEDT2">
 <title level="m">OED</title>
 <term>Service</term> 1.1a</ref>) and of being a <soCalled>servant</soCalled> in love with one’s <soCalled>mistress</soCalled>.</note>

<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>

Notes

1.Boldface is used for emphasis only in project documentation. In edition and anthology pages, anything tagged with


                                    <emph>

will be italicized.↑

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


                                    <pc>

element.↑

3.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 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.

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.

Oluwaseun Akintola

Oluwaseun Akintola is a student pursuing an English major and Psychology minor at the University of Victoria. She has had the opportunity of working for LEMDO as the recipient of the Undergraduate Student Research Award (USRA) from the Social Sciences and Humanities Research Council of Canada (SSHRC) for the summers of 2024 and 2025. Her research primarily focuses on premodern critical race theory in early modern drama, researching racial representation, and constructions of identity in Shakespeare’s plays Othello and The Merchant of Venice.

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

Dent, R.W. Proverbial Language in English Drama Exclusive of Shakespeare, 1495–1616: An Index. Berkeley: University of California Press, 1984.

Dent, R.W. Shakespeare’s Proverbial Language: An Index. Berkeley: University of California Press, 1981. WSB aq146.

Dusinberre, Juliet, ed. As You Like It. By William Shakespeare. The Arden Shakespeare 3rd series. London: Thomson Learning, 2006. WSB aat83a.

Juvenal. The Sixteen Satires. Translated by Peter Green, rev. ed. New York: Penguin, 1998.

OED: The Oxford English Dictionary. 2nd ed. Oxford: Oxford University Press, 1989.

OED: The Oxford English Dictionary. 3rd ed. Oxford: Oxford University Press, 2022.

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.

Taylor, Gary, ed. Henry V. The Oxford Shakespeare. Oxford: Oxford University Press, 1982. WSB ap267.

Walsh, Brian. Shakespeare, the Queen’s Men, and the Elizabethan Performance of History. Cambridge University Press, 2009. WSB aay460.

Metadata

Authority title	Chapter 10. Quotations
Type of text	Documentation
Publisher	Linked Early Modern Drama
Series
Source
Editorial declaration
Edition
Encoding description
Document status	prgGenerated
License/availability

Chapter 10. Quotations

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

Rationale

Learning Outcomes

Rendering Note

Contents

Encode Quotations

Practice: Encode Quotations in Modernized Texts

Examples: Quotations in Modernized Texts

Practice: Encode Quotations in Critical Paratexts and Annotations

Examples: Quotes in Critical Paratexts and Annotations

Practice: Encode Quotation Marks around Requests for Clarification

Examples: Quotation Marks around Requests for Clarification

Practice: Encode Letters and Poems

Practice: Encode Rhetorical Play

Foreign Quotations

Practice: Encode Misquotations

Examples: Misquotations

Further Reading

Encode Block Quotations

Rationale

Practice

Examples

Encode Terms

Introduction

Practice

Disambiguation: Terms, Mentioned Words, and Quotes

Examples

Uncommon Words

Glossing a Term

Headwords in Annotations

Further Reading

Encode Disclaimers

Rationale

Practice

Rendering Note

Examples

Outmoded Terminology

Ahistorical Usages

Words or Phrases from Other Cultural Contexts

Epithets

Forms of Address, Honorifics, and Stereotpyes

Common Phrases or Names

Encode Glosses

Rationale

Rendering Note

Examples

Glossing Terms or Phrases

Quoting from a Dictionary

Self-Glossing

Encode Words as Words

Rationale

Practice

Examples

Notes

Encode Quotation Marks

Rationale

Examples

Quotations Within Quotations

Imagined Speech

Prompts

Quoting with Variation for Non-Rhetorical Purpose

Parts of Words, Single Letters, or Alphanumeric Strings

Encode Emphasis

Rationale

Showing Difference

Adding Emphasis to Quoted Material

Adding Metrical Stress

Quoting Emphasized Material

Adding Your Own Emphasis

Guiding User in Documentation

Encode Foreign Languages

Prior Reading

Use Cases and General Principles

Practice

Interpolated Foreign Words and Phrases

A Speech Entirely in Another Language

Character Speaking in a Foreign Language

Scene in a Non-English Language

Play in a Non-English Language