Chapter 15. Modern Texts

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 Modern Texts

The LEMDO team will provide you with an XML template for your modern text once your semi-diplomatic text is completed. This template will have some TEI tagging appropriate to the modern text already in place. In cases where more than one semi-diplomatic text exists, you will want to consult with your anthology lead about the appropriate starting point for your modern text. If you choose to do copytext editions of multiple early texts, we will provide you with all relevant templates, within reason.
Your collations and annotations are pinned to this file. You will want to prepare your collations BEFORE you begin to modernize the text. You will likely create annotations as you modernize and/or after you have finished tagging prose, verse, and literary divisions.
Once you have completed your collation, you will modernize the spelling and punctuation of the text, relineate where necessary, and make any emendations (recording in your collation file all substantive changes that are unique to you or attributable to earlier editors).
The purpose of tagging in the modern text is to encode editorial decisions. While many of the TEI tags will be in place, you should check the markup for your modern text to make sure it communicates what you want it to, both in its final rendering for human readers and in metadata for machine-aided analysis.
The modern text is where you will add your editorial act and scene divisions, distinguish prose from verse, add editorial stage directions, and assign speeches to speakers. Your character list is embedded in the <teiHeader> of the modern text file.

Lineation in Modern Texts

Rationale

The modern text does not aim to preserve the layout of text on the page: prose passages may wrap to fit a user’s screen and stage directions can be contained on a single line. The editors task in the modern text is, rather, to encode sections of text with the <lg> (line group) element, <l> (line) element, and <p> (paragraph) element.

Practice

The basics of lineation are as follows:
Each verse line in a speech is wrapped in <l>
Each prose speech is wrapped in <p> .
Passages of verse lines that constitute a song, sonnet, or other literary form that is more than just blank verse or sporadically rhymed verse are additionally wrapped in a parent <lg> element that contains all the <l> elements and their content. Do not use <lg> to wrap verse speeches unless the lines therein comprise a song, sonnet, or some other literary form that you want to identify as more than just verse lines.

Line Groups

LEMDO allows various types of linegroups:
@type = sonnet
@type = quatrain
@type = verseLetter
@type = song
You have the option to wrap rhyming couplets or triplets in the <lg> element, using the @type attribute and the values couplet or triplet. Consult with your Anthology Lead about whether or not your anthology is tagging couplets and triplets. You will also want to be aware of rhymes in early modern English pronunciation. See Appendix I in David Crystalʼs Pronouncing Shakespeare.
<lg type="couplet">
  <l>Never was a tale of more woe</l>
  <l>Than that of Juliet and her Romeo.</l>
</lg>
These <lg> can be nested. You may tag an entire sonnet with a <lg> and then tag the quatrains and couplet within the sonnet with child <lg> elements.
We have additional documentation on Encode Letters and Songs in Modern Texts.

Shared Verse Lines

Verse lines usually have ten beats in iambic pentameter. Some have an eleventh unstressed syllable (a feminine ending which has nothing to do with modern gender).
If a single line of verse is spoken by two or more speakers, we consider it a shared verse line.
Use the @part attribute on <l> element to indicate the Initial, Medial, and Final part of a shared line. These values are indicated by capital letters: I, M, and F.
For example, see this exchange in Henry V:
<sp>
  <speaker>Exeter</speaker>
  <l part="I">Not here in presence.</l>
</sp> <sp>
  <speaker>King Henry</speaker>
  <l part="F">Send for him, good uncle.</l>
</sp>
Note that LEMDO does not indent shared verse lines in the HTML or print outputs. Your tagging facilitates text analysis and may facilitate indented rendering in other publishing environments if your texts are repurposed.

Encode Character Lists in Modern Texts

Introduction

LEMDO produces a character list only for the modern texts. See narrative on speech prefixes to see how LEMDO handles speech prefixes in the semi-diplomatic transcriptions. The character list is meant to be a truthful list of all the characters in the play. LEMDO uses the list to generate the online and printed Character List in your edition. LEMDO also uses the list to cross-check the speech prefixes in the play and ensure consistency of name and spelling. You can add notes on the characters to this list.

How to Encode a Character List

Locating the Character List

You will receive a template file for your modern text based on the semi-diplomatic transcription of your choice. The character list belongs in the <particDesc> (“participation description”) of the <teiHeader> of this file. Inside the <particDesc> , you will find a <listPerson> element with one sample <person> entry. If you are not starting from a template, then you may need to add a <listPerson> inside the <particDesc> yourself and follow the template below to add each character.

Basic Template for a Character

The basic template for a single <listPerson> with a single character is as follows. To create a full character list, add one <person> element (and all of its child elements) for each character.
<particDesc>
  <listPerson>
    <person xml:id="id">
      <persName>
        <name>String that we want in the List of Characters online and in print</name>
        <reg>Allowed speech prefix</reg>
        <reg>Another allowed speech prefix</reg>
      </persName>
      <note type="editorial" subtype="onlineOnly">
        <p>Commentary to go in the online edition</p>
      </note>
    </person>
  </listPerson>
</particDesc>

Breakdown of Elements in the <person> Entry

<person> : Add one <person> element for each character. If a character speaks, they must have a <person> element in the <particDesc> . If the character does not speak, inclusion is optional. Discuss the appropriate strategy with your anthology lead. Add the attribute @xml:id to the <person> element. Each character in your play must have a unique xml:id. Normally, the LEMDO team will work with you to create the xml:ids. If you want to have a first go at creating the xml:ids for your characters, notice that they are constructed formulaically as follows: emd + name of your file + underscore + character name or short form thereof: emdH5_FM_Warwick is the xml:id for Warwick in the folio modern text of Henry V.
<persName> : The <persName> element allows us to capture various names. Each <persName> element must contain one <name> element and at least one <reg> element.
<name> : Inside this element, type the name of the character and any information you want to appear about the character in the online and print Character List. Usually, you will want to include just the name of the character or the name and brief note. E.g.,
<name>Rosalind, daughter of the banished duke</name>
<reg> (“regularization”): Inside this element, type the exact wording of the speech prefix you want to use for this character throughout the play. If you want to change speech prefixes for this character (for example, if the character’s name or status changes in the course of the play), create one <reg> element for each speech prefix. LEMDO has diagnostics to check your speech prefixes for consistency; these diagnostics will check the contents of each of your <speaker> elements in the play against the contents of the <reg> elements in your <particDesc> . If the diagnostics reveal inconsistencies, you will need to fix either the <reg> elements or the <speaker> elements.
<note> : the <note> element allows you to add an extended commentary on the character. Wrap the content of your note in the <p> element. Add the @type attribute with a value of editorial and the @subtype attribute of onlineOnly or printOnly. Keep in mind that annotations can be capacious in the online environment. Our print publisher does not encourage annotations on the characters in the print environment.

Examples

<person xml:id="emdOth_M_Iago">
  <persName>
    <name>Iago</name>
    <reg>Iago</reg>
  </persName>
</person>
<person xml:id="emdH5_FM_Warwick">
  <persName>
    <name>Earl of Warwick</name>
    <reg>Warwick</reg>
  </persName>
  <note type="editorial" subtype="onlineOnly">
    <p>Richard Beauchamp, thirteenth Earl of Warwick (1382-1439), also appears in <title level="m">1H6</title>. His presence at Agincourt is unhistorical; various sources have him either holding Calais for the English or returning to England with Clarence after Harfleur.</p>
  </note>
</person>

Groups of Characters

Minor characters often function as a group. Common examples are lords, servants, soldiers, and officers. Rather than have a discrete <person> element and xml:id for each of these minor characters, you may wish to group them into one <person> element with multiple <reg> elements.
In the following example, the play contains multiple unnamed servants. The editor wishes to have one entry on the character list for Servants. Sometimes one servant speaks, so we have a <reg> element for Servant. Sometimes two or more servants speak together, so we havea a <reg> element for Servants. This encoding allows the editor to use either Servants or Servant in the speech prefix without cluttering up the character list with multiple unnamed servants.
<person xml:id="emd2H4_M_Servants">
  <persName>
    <name>Servants</name>
    <reg>Servants</reg>
    <reg>Servant</reg>
  </persName>
</person>
<person xml:id="emd2H4_M_Officers">
  <persName>
    <name>Officers</name>
    <reg>Officers</reg>
    <reg>Officer</reg>
  </persName>
</person>
In the following example, the editor wishes to have one character list entry for all the lords, but number the lords in the speech prefixes. Sometimes two or more lords speak together.
<person xml:id="emdAYL_M_Lords">
  <persName>
    <name>Lords</name>
    <reg>Lords</reg>
    <reg>Lord</reg>
    <reg>First Lord</reg>
    <reg>Second Lord</reg>
  </persName>
</person>
Note that if our textual analysis tools count speeches or generate cue scripts, all of the speeches whose @who attribute points to the same value will be counted together. Early modern performances probably assigned these parts flexibly, as do modern directors. It is logical to group the parts as a minor problem to be resolved in rehearsals.
In many cases, the decision to group characters is not trivial. For example, an editor will have to decide if the three witches in Macbeth constitute a group of indistinguishable witches or three distinct characters. In the following example, the editor treats the witches as a group. There will be one entry in the character list (Three Witches). The editor is expressing the belief that the speech assignments might well be adjusted with no impact on character.
<person xml:id="emdMac_M_Witch">
  <persName>
    <name>Three Witches</name>
    <reg>1 Witch</reg>
    <reg>2 Witch</reg>
    <reg>3 Witch</reg>
    <reg>All</reg>
  </persName>
</person>
In the following example, the editor distinguishes the three witches as individual. There will be three entries in the character list (1 Witch, 2 Witch, and 3 Witch.
<listPerson>
  <person xml:id="emdMac_M_1Witch">
    <persName>
      <name>1 Witch</name>
      <reg>1 Witch</reg>
    </persName>
  </person>
  <person xml:id="emdMac_M_2Witch">
    <persName>
      <name>2 Witch</name>
      <reg>2 Witch</reg>
    </persName>
  </person>
  <person xml:id="emdMac_M_3Witch">
    <persName>
      <name>3 Witch</name>
      <reg>3 Witch</reg>
    </persName>
  </person>
  <!-- Additional person entries follow for other characters. -->
</listPerson>
If one takes the latter approach, then speeches where all three witches speak together will need to follow the encoding protocols for Special Case: Multiple Speakers
You want to think carefully about how to group characters because you are making an argument about the embodiment of character. The murderers in Macbeth present the editor with an interesting challenge. Editors Tony Dawson and Gavin Paul decided to have three entries in the character list for murderers. They distinguish the murderers of Banquo from the murderers of Macduff (even though in performance there is a good chance that the same actors embody these different groups of murderers). They also distinguish the mysterious third murderer from the other two murderers of Banquo:
<!-- Additional person elements precede. --> <listPerson>
  <person xml:id="emdMac_M_Murderers_Banquo">
    <persName>
      <name>Two murderers employed by Macbeth</name>
      <reg>1 Murderer</reg>
      <reg>2 Murderer</reg>
      <reg>Murderers</reg>
    </persName>
  </person>
  <person xml:id="emdMac_M_3Murderer">
    <persName>
      <name>A third Murderer, employed by Macbeth</name>
      <reg>3 Murderer</reg>
    </persName>
  </person>
  <person xml:id="emdMac_M_Murderers_Macduff">
    <persName>
      <name>Two Murderers who kill Lady Macduff and her son</name>
      <reg>1 Murderer</reg>
      <reg>2 Murderer</reg>
    </persName>
  </person>
  <!-- Additional person elements follow. -->
</listPerson>

Multiple Character Lists

You might want to have multiple character lists. For example, James Mardock’s LEMDO edition of Henry V has three lists: one for the English, one for the French, and one for the Chorus who belongs to neither list. Consult with your anthology lead before you create multiple character lists. There have to be compelling editorial reasons for doing so.
In this case, the <particDesc> has three child <listPerson> elements, each with its own <head> element. The following example gives three lists with one truncated <person> element in each list. Notice the use of the <head> element to name the lists of the English and of the French respectively:
<div>
<!-- ... -->

  <listPerson type="castlist" xml:id="emdH5_FM_castList_01">
    <person xml:id="emdH5_FM_Chorus">
      <persName>
        <name>Chorus</name>
        <reg>Chorus</reg>
      </persName>
    </person>
  </listPerson>
  <listPerson type="castlist" xml:id="emdH5_FM_castList_02">
    <head>The English</head>
    <person xml:id="emdH5_FM_KingHenry">
      <persName>
        <name>King of England, Henry V</name>
        <reg>King Henry</reg>
      </persName>
    </person>
  </listPerson>
  <listPerson type="castlist" xml:id="emdH5_FM_castList_03">
    <head>The French</head>
    <person xml:id="emdH5_FM_FrenchKing">
      <persName>
        <name>King of France, Charles VI</name>
        <reg>French King</reg>
      </persName>
    </person>
  </listPerson>
  <!-- ... -->
</div>

Encode Speakers in Modern Texts

Introduction

You will want to read Encode Character Lists in Modern Texts and ensure that you have created a <listPerson> in your <teiHeader> before you attribute speeches to characters and add your speech prefixes.
LEMDO’s encoding protocols for speakers have four aims:
To enforce consistency in the speech prefixes of a modern text
To allow for changes in a character’s title over the course of the play (from Prince to King, for example)
To identify the speeches spoken by a single character in a play and make them processable (for cue scripts, for example)
To accommodate multiple speakers and unusual speech prefixes (such as All, Both, or Voices within
There are two aspects to encoding the speaker:
Identifying the character(s) who are speaking
Providing the speech prefix that will appear in your online and print edition
We attribute each speech to a character (or to characters) by adding the xml:ids of the character(s) to the speech. We nest a <speaker> element inside the <sp> element and provide one of the allowed speech prefixes for that character. Each speaker in a play is given a unique xml:id, recorded in the <listPerson> LEMDO encodes <speaker> so as to match the corresponding <person> encoded in the <listPerson> in the documentʼs header. Note that these rules devised apply only for primary texts (texts having <catRef> ʼs @target of value cat:ldtPrimary or any children thereof), and are not checked if the speaker is tagged inside a <quote> .

Basic Template for Identifying a Speaker

<sp who="#id">
  <speaker>Speech Prefix</speaker>
  <lg>
    <l>Line of spoken verse</l>
  </lg>
</sp>

Breakdown of Elements in the Template

The elements envolved in encoding a speaker are <person> and <reg> in the <teiHeader> of the document (see Encode Character Lists in Modern Texts), and <sp> and <speaker> in the <body> of the document.
<person> : This element in your <listPerson> allows you to name and identify each character in the play. To attribute a speech to one of these characters, you need to use the @xml:id on the <person> element for the character to whom you wish to attribute the speech.
<reg> : Each <reg> element in your <listPerson> gives one allowed speech prefix that will be used in the <speaker> element corresponding to this character. Given that some charactersʼ names might change, a single <person> may contain multiple <reg> s. You are responsible for deciding which allowed speech prefix to use at any given point.
<sp> : The <sp> element contains a single speech. You add the @who attribute to this <sp> element in order to indicate who is is speaking.
<speaker> : The <speaker> element contains the speech prefix. The content of this element (i.e., the speech prefix) must match one of the <reg> elements for the <person> to whom you have assigned this speech. The LEMDO schema will compare your <speaker> elements to the <reg> elements. Thus the schema ensures that you are consistent in the speech prefixes across your modern text.

Practice: Encode Speakers

<speaker> elements are children of <sp> elements. Every <sp> element should have an attribute @who that determines what the content of the child <speaker> should be.
If the speaker of the speech is listed in the <listPerson> , then the value of @who should reflect the @xml:id of the corresponding person, by adding a # to the value of the corresponding <person> ʼs @xml:id, as the value of @who. In this case, the speaker content has to match the corresponding <person> ’s <reg> value.

Special Case: Multiple Speakers

If the speech has more than one speaker, then the value of <sp> ’s @who would be a space separated list of the corresponding <person> sʼ @xml:ids, with a # sign before each. In this case, the speaker content does not necessarily have to match any of the corresponding <person> ’s <reg> values.

Special Case: Irregular Speakers

If the speech has irregular or exceptional speakers, such as All or Voices, within, the the value of the parent <sp> ʼs @who should be spkr:other. In this case, the content of the <speaker> element is not checked against any of the <person> sʼ @xml:ids listed in the TEI header.

Basic Template

Here is an example of a <speaker> instance from Rhodon and Iris:
<sp who="#emdRho_M_Agnostus">
  <speaker>Agnostus</speaker>
  <lg>
    <l>What, hath <anchor xml:id="emdRho_M_anc_20"/>Hesperus<anchor xml:id="emdRho_M_anc_21"/> forgot to light heaven’s tapers up?</l>
    <l>Or be the chariot wheels of <anchor xml:id="emdRho_M_anc_24"/>Night<anchor xml:id="emdRho_M_anc_25"/> o’erloaden with the leaden weights of sleep,</l>
    <l>That she delays to throw her misty veil upon the face of things?</l>
  </lg>
</sp>
In this example, you notice that @who of the <sp> element refers to an id emdRho_M_Agnostus. In the character list of this document, you can find the following person entry:
<person xml:id="emdRho_M_Agnostus">
  <persName>
    <reg>Agnostus</reg>
    <name>Agnostus, an impostor</name>
  </persName>
</person>
The <speaker> content (Agnostus) exactly matches that of the corresponding <person> ʼs <reg> .
Hereʼs an example of a case where you might have more than one speaker in a speech:
<sp who="#emdRho_M_Rhodon #emdRho_M_Iris #emdRho_M_Panace #emdRho_M_Eglantine #emdRho_M_Acanthus #emdRho_M_Anthophotus #emdRho_M_Martagon #emdRho_M_Cynosbatus">
  <speaker>All <supplied>except Flora</supplied>
  </speaker>
  <lg>
    <l>We must obey, and will, O awful goddess.</l>
  </lg>
</sp>
The fact that @who contains more than one value (that are space separated), exempts its child <speaker> from the rule of matching a corresponding <reg> .
The third template is one where the value of @who is spkr:other:
<sp who="spkr:other">
  <speaker>Voices Within</speaker>
  <lg>
    <l>A sail! A sail! A sail!</l>
  </lg>
</sp>
Here, the value spkr:other exempts the <speaker> content from matching a specific <person> ʼs <reg> ; Voices Within is not a chracter in this play, and therefore does not have a corresponding <person> entry in the headerʼs character list.

Literary Divisions in Modern Texts

Rationale

The basic literary divisions of the modern text of a play are acts and scenes. The smallest countable stable units in the digital edition of your modern text are speeches. Each one is given a unique @xml:id that makes it citable and linkable. Lines are not considered to be stable countable units in digital editions because prose lines will change length depending on the device (computer screen or mobile device), the sizing of the browser window, and the display font.
Line numbers will be assigned in the final stages of generating the print edition (if your anthology chooses to produce print editions through LEMDO’s partnership with UVic Libraries). If you have the resources and time to do so, you may add these numbers retroactively to your digital edition as milestones to help users move between the print edition and the digital editions. (Documentation is forthcoming about how to add milestone line numbers.)

Practice

In practice, we number the following units in a digital edition:
Acts: The xml:id of an act ends with the pattern _a1, _a2, _a3, and so on (where a1 is act 1). See Number Acts and Scenes.
Scenes: The xml:id of a scene ends with the pattern _a1_s1, _a1_s2, and so on (where a1 is act 1 and s1 is scene 1). See Number Acts and Scenes.
Running scenes: The xml:id of a scene in a play that only has scenes ends with the pattern _s1, _s2, and so on (where s1 is scene 1). See Number Acts and Scenes.
Speeches (the smallest stable unit): The xml:id of the <sp> element wrapped around a single speech of spoken text ends with the pattern _sp1, _sp2, and so on (where sp1 is speech 1). See Encode Speakers in Modern Texts for more information. See Number Speeches.
Preliminary spoken text: The xml:id of the <div> element wrapped around preliminary spoken text (choruses, prologues, and inductions, but not dedications or addresses to the reader) ends with the pattern _pr1, pr2, and so on (where pr1 is the first piece of preliminary spoken text). See Text Before an Act (or Scene) for more information.
Intermediary spoken text: The xml:id of the <div> element wrapped around spoken text that falls between scenes or acts ends with the pattern _bt1, bt2, and so on (where bt1 is the first piece of intermediary spoken text). See Text Between Acts (or Scenes) for more information.
Postliminal spoken text: The xml:id of the <div> element wrapped around spoken text after the final act or scene of a play ends with the pattern _ps1, _ps2, and so on (where ps1 is the first piece of postliminal spoken text). See Text After the Last Act (or Scene) for more information.

Further Reading

Number Acts and Scenes

Rationale: Number Acts and Scenes

We include both the @n attribute and the @xml:id attribute on <div> elements for acts and scenes because both are used at the processing stage.
The @n values are used to generate act and scene numbers when you cite your modern edition in other texts going to print. For example, if you point to a scene in your modern text from a critical paratext, the citation that will be rendered in the print edition of that critical paratext will be generated from the @n values that you provide in your modern edition. @n values are also used to generate citations in HTML when you point to prologues, epilogues, or other intra-texts. For more information, see Number Prologues, Epilogues, and Intra-texts.
The @xml:id values are used to generate act and scene numbers for the HTML output when you cite your modern edition in other texts. For example, if you point to a scene in your modern text froma critical paratext, the citation that will be rendered in the online edition of that critical paratext will be generated from the final portion (e.g., _a1, _s1, or _a1_s1) of the @xml:id values that you provide in your modern edition.

Step-by-Step: Modern Texts with Editorial Acts and Scenes

Wrap each act with the <div> element.
Add the @type attribute with the value act.
Add the @n attribute with the act number as the value.
Do not include <head> elements for the act. The header for the next <div> element (i.e., the first scene or chorus) already serves as the header for the act.
Wrap each scene with the <div> element.
Add the @type attribute with the value scene
Add the @n attribute with the scene number as the value.
Do give the scene <div> elements a <head> element. Consult with your anthology lead about how your anthology is representing headers for scenes (e.g., 1.1; Act 1, Scene 1; Scene 1; Scene One).
Give acts xml:ids following this pattern: emdPLAY_M_a1, where PLAY is the DRE abbreviation for the work, a signifies act, and 1 is the number of the act.
Give scenes xml:ids following this pattern: emdPLAY_M_a1_s1, where PLAY is the DRE abbreviation for the work, a signifies act, 1 is the number of the act, s signifies scene, and 1 is the number of the scene.

Examples

<div type="act" n="1" xml:id="emdPLAY_M_a1">
  <div type="scene" n="1" xml:id="emdPLAY_M_a1_s1">
    <head>1.1</head>
    <!-- Content of the scene goes here -->
  </div>
  <!-- Additional scenes in Act 1 go here. -->
</div>
<div type="act" n="1" xml:id="emdH5_FM_a1">
  <div type="scene" n="1" xml:id="emdH5_FM_a1_s1">
    <head>Act 1, Scene 1</head>
    <!-- Content of the scene goes here -->
  </div>
  <!-- Additional scenes in Act 1 go here. -->
</div>

Rendering Note

In the body of the modern edition, the scene headers will be 1.1 in the first case or Act 1, Scene 1 in the second case, using the text node of your <head> element. In the digital table of contents, the navigation pointers will be 1.1 in both cases, drawing from the n values of your <div> .
In the print edition, the scene headers will be whatever you have typed in the <head> element. The running titles of each page will include the @n value of the <div> .

Modern Texts of Plays with Running Scenes Only: Step-by-Step

Wrap the scene with a <div> element.
Add a @type attribute with the value scene.
Add an @n attribute with the scene number as the value.
Give the scene <div> element a <head> element. Consult with your anthology lead about how your anthology is representing headers for scenes (e.g., 1.1; Act 1, Scene 1; Scene 1; Scene One).
<div type="scene" n="1" xml:id="emdFV_M_s1">
  <head>Sc.1</head>
  <!-- Content of the scene goes here -->
</div>

Running Scenes and Act-Scenes

Some plays have a tradition of numbering scenes as subdivisions of acts (act-scenes) and as continuous scenes with no act divisions (running scenes). Timon of Athens is one such play. It’s the editor’s decision to privilege act-scenes or running scenes.1
If you prioritize act-scenes but want to capture running scenes as well, give the running scene number parenthetically in the <head> element. The xml:id of each <div> will reflect its act or act-scene number.
<div type="act" n="2" xml:id="emdTim_M_a2">
  <div type="scene" n="1" xml:id="emdTim_M_a2_s1">
    <head>2.1 (Sc. 3)</head>
    <!-- Content of the scene goes here -->
  </div>
  <!-- Remaining scenes in Act 2 go here -->
</div>
If you choose to privilege running scenes but want to capture act-scenes as well, give the act-scene number parenthetically in the <head> element. The xml:id of the each <div> will reflect the running scene number.
<div type="scene" n="1" xml:id="emdTim_M_s1">
  <head>Sc.1 (1.1)</head>
  <!-- Content of the scene goes here -->
</div>

Number Speeches

Rationale

Lineation is not stable in a digital edition. Prose wraps dynamically and changes from one device to another and from one window size to another. LEMDO adds line numbers only to the final print output generated by our single-source publishing process. We plan to add the line numbers from the print edition back into the digital edition as milestone elements (mainly as a courtesy to classroom users, who may be using the digital edition and the print edition simultaneously).
The smallest organizational and citational unit of a LEMDO digital play edition is therefore the A.S.Sp. (act, scene and speech; for plays with acts and scenes) or the S.SP (for plays with scenes only).

Practice

Every speech should already be wrapped in the <sp> element. It will also have a @who attribute indicating the speaker. To number each speech, give it an @xml:id attribute.
The value of the @xml:id attribute must be carefully constructed to include the values of the parent act and scene <div> elements, plus the sequential number of the speech. The pattern for the value is emdABBR_M_a1_s1_sp1 where emdABBR_M is the name of the file, _a1 is inherited from act one, _s1 is inherited from scene 1, and _sp1 is the number of the speech.The first speech in the scene is always one.
In a play with running scenes, the pattern for the value of the @xml:id is emdABBR_M_s1_sp1.
Our Schematron will prompt you if you skip a number in the sequence. Our Schema will also catch any repeated values when you validate your file.
Remember that your speech numbers inherit the xml:id of the containing <div> . If you are privileging act-scenes, then the xml:id of the first speech in 1.1 will be (in the case of Timon) emdTim_M_a1_s1_sp1. If you are privileging running scenes, then the xml:id of the first speech in Sc. 1 will be emdTim_M_s1_sp1.

Examples

<div type="act" n="1" xml:id="emdMV_M_a1"><!-- Entire act goes here --></div>
<div type="scene" n="1" xml:id="emdMV_M_a1_s1"><!-- Entire scene goes here. --></div>
<sp who="#emdMV_M_Ant" xml:id="emdMV_M_a1_s1_sp1">
  <l>In sooth I know not why I am so sad.</l>
  <!-- Rest of the speech goes here. -->
</sp>

Number Prologues, Epilogues, and Intra-texts

Note: For plays that are divided into scenes only, read scene for act in this particular piece of documentation.

Rationale

Given the variety of texts that appear in playbooks, LEMDO gives you latitude in deciding what belongs in an act and what belongs before, between, or after acts. We also give you latitude in naming these components. Discuss your editorial rationale with your anthology lead.

Practice

Each of these intertextual and paratextual units needs to be wrapped in a <div> element. The <div> element requires the following attributes:
@n: You control the value on this attribute. Sample values include: Interlude, Interlude 1, Preface, Preface 1, Preface 2, Speech at court, Induction, Chorus, Prologue , Epilogue. Whatever value you give the @n attribute will appear in generated citations in digital outputs; the value Pro would result in the first speech in the Prologue being numbered Pro.1 (LEMDO’s processing adds the period between the value and the speech number). Consult with your anthology lead about the appropriate name for the unit, in case the anthology is imposing its own standard vocabulary for these types of texts. (Note that LEMDO is currently expecting @n values of Prologue, Epilogue, Chorus, or Other. We may expand this list at anthologiesʼ request.)
@xml:id: The value of the @xml:id attribute must include the xml:id of the file and any parent <div> . It will always begin with the name of the file: emdFV_M_, for example.
You may also add an optional @type attribute to the <div> element. If you do add @type, the value of @type must be in LEMDOʼs controlled vocabulary for this attribute on the <div> element:
title page
dedication
encomium
dramatis personae
prologue
main

Use Cases and Examples

Text Before an Act (or Scene)

For counting and processing purposes, anything that appears before the first act of the play is wrapped in a <div> element, which is given an xml:id beginning with _pr (for preliminary or preceding). These are numbered consecutively from one if you have more than one.
<div type="prologue" n="Prologue" xml:id="emdRho_M_pr1">
  <head>Prologue</head>
  <lg>
    <l>Candid spectators, you that are invited</l>
    <l>To see the lily and the rose united:</l>
    <!-- The rest of the prologue is encoded here. -->
  </lg>
</div>
<!-- Example of an abbreviated value for the @n attribute, with one of LEMDO’s allowed values for @type. --> <div type="prologue" n="Pro" xml:id="emdSel_M_pr1">
  <head>Prologue</head>
  <stage type="entrance">Enter Prologue.</stage>
  <sp who="#emdSel_M_Prologue" xml:id="emdSel_M_pr1_sp1">
    <speaker>Prologue</speaker>
    <l>No feignèd toy nor forgèd tragedy,</l>
    <!-- More lines follow -->
  </sp>
</div>

Text Between Acts (or Scenes)

Anything that appears between acts is wrapped in a <div> element, which is given an xml:id beginning with _bt (for between). These are numbered consecutively from one if you have more than one.

Text After the Last Act (or Scene)

Anything that appears after the final act is wrapped in a <div> element, which is given an xml:id beginning with _ps (for post). These are numbered consecutively from one if you have more than one. Use the <head> element to name this part of the play according to your preferred terminology. Note that the value of the @type attribute on the <div> element comes from LEMDOʼs controlled vocabulary (created in consultation with DRE). The value of the @n attribute will be used to create the content of any parenthetical citations to this part of the play.
<div type="epilogue" n="Epilogue" xml:id="emdAYL_M_ps1">
  <head>Epilogue</head>
  <sp who="#emdAYL_M_Rosalind" xml:id="emdAYL_M_ps1_sp1">
    <speaker>Rosalind</speaker>
    <p>It is not the fashion to see the lady the epilogue; but it is no more unhandsome than to see the lord the prologue. <!-- Rest of the epilogue --></p>
  </sp>
</div>

Choruses

Choruses are a special case. Nodding to longstanding editorial tradition (and in some cases the evidence of the early editions themselves), LEMDO allows you to place a chorus either between acts or at the beginning of an act.
In this first example, the editor treats the opening chorus of Romeo and Juliet as a prologue, spoken by the character Chorus, and gives the chorus the heading Prologue.
<div type="prologue" n="Prologue" xml:id="emdRom_Q2M_pr1">
  <head>The Prologue.</head>
  <sp who="#emdRom_Q2M_Chorus">
    <speaker>Chorus</speaker>
    <stage type="entrance optional"> Enter Chorus.</stage>
    <lg>
      <l>Two households, both alike in dignity,</l>
      <!-- The Chorus continues -->
    </lg>
  </sp>
</div>
How another editor would cite this:
(Prologue.1)
If you want to cite a particular line in the prologue, add anchors to the prologue and point to the anchors using the <ptr> element. For the digital edition, LEMDO will create a direct link to the first anchor. For the print edition, LEMDO will calculate and add line numbers.
In this second example, the editor treats the opening chorus of Henry V as the first scene of Act 1. Which choice you make as editor depends on how much you choose to follow the early editions and what argument you want to make about the relationship between the chorus and the act that follows (i.e., is the chorus preliminary to the act or is the chorus an integral part of the act?)
<div type="act" n="1" xml:id="emdH5_FM_a1">
  <div type="scene" n="0" xml:id="emdH5_FM_a1_s0">
    <stage type="entrance">Enter Chorus as Prologue.</stage>
    <sp who="#emdH5_FM_Chorus">
      <speaker>Chorus</speaker>
      <lg>
        <l>O for a muse of fire, that would ascend</l>
        <l>The brightest heaven of invention,</l>
        <!-- The rest of the speech -->
      </lg>
    </sp>
  </div>
  <div type="scene" n="1" xml:id="emdH5_FM_a1_s1"><!-- Scene 1 is encoded here --></div>
  <!-- The rest of Act 1 is encoded here. -->
</div>
However, the editor could equally well treat the opening chorus of Henry V as preceding Act 1:
<div type="prologue" n="Prologue" xml:id="emdH5_FM_pr1">
  <head>Prologue</head>
  <stage type="entrance">Enter Chorus as Prologue.</stage>
  <sp who="#emdH5_FM_Chorus">
    <speaker>Chorus</speaker>
    <lg>
      <l>O for a muse of fire, that would ascend</l>
      <l>The brightest heaven of invention,</l>
    </lg>
  </sp>
</div>

Further Reading

Chapter 1, Matters of Definition in Schneider.
The Early Modern Dramatic Paratexts project, edited by Sonia Massai and Heidi Craig. We have adopted our project vocabulary from Massai and Craig’s taxonomy of paratexts.

Encode Letters and Songs in Modern Texts

Encoding letters and songs is slightly different than remediating them, so if you are looking for information on remediating letters ans songs, go toRemediate Letters and Songs.
Letters and songs are encoded the same way. Both are effectively interruptions to the unfolding dialogue, read (or sung) by a speaker. If the letter or song is verse, wrap it in an <lg> element to indicate that the letter or song constitutes a verse unit. If the letter is prose, wrap it in a <p> element to indicate that the letter constitutes a prose or paragraph-like unit. (Treat songs as verse, regardless of line length or apparent meter.)
When encoding letters and songs, you must distinguish the two by adding the appropriate value to the @type attribute on either the <p> or <lg> element. For example, you would wrap the lines of a verse letter in the <lg> element with the @type attribute and the value verseLetter. For songs, use song, and for prose letters, use proseLetter.
Often, the letter or song is interrupted by interlineal commentary from the speaker. In these cases, we use multiple <lg> or <p> elements to demarcate the pieces of the letter or song. Add the @xml:id, @next, and @prev attributes to these elements to connect the pieces to each other. See also Encode Split Elements.

Practice: Encode Letters

Sometimes a character will read a letter or other document onstage. We want to distinguish the text the character is reading from the surrounding dialogue.
Do not use quotation tags (i.e. <quote> , <q> , etc.) to tag text that a character is reading from a document. Read the documentation on Introduction to Quotations, Terms, Expressions, Glosses, Emphasis, and Foreign Languages if there are quotations in the letter.
You will encounter both prose and verse letters. If you are encoding a prose letter, add the @type attribute to the <p> element wrapping the characterʼs speech and add the proseLetter value.
If you are encoding a verse letter, add the @type attribute to the <lg> element wrapping the verse and add the verseLetter value. Wrap the groups of lines that make up the verse letter in an <lg> element.
Example of a verse letter:
<div>
<!-- ... -->

  <lg type="verseLetter">
    <l>Hang there, my verse, in witness of my love;</l>
    <l>And thou, thrice-crownèd Queen of Night, survey</l>
    <l>With thy chaste eye, from thy pale sphere above,</l>
    <l>Thy huntress’ name that my full life doth sway.</l>
    <l>O Rosalind! These trees shall be my books,</l>
    <l>And in their barks my thoughts I’ll character,</l>
    <l>That every eye which in this forest looks</l>
    <l>Shall see thy virtue witnessed everywhere.</l>
    <l>Run, run, Orlando, carve on every tree</l>
    <l>The fair, the chaste, and unexpressive she.</l>
  </lg>
  <!-- ... -->
</div>

Special Case: Encode Letters Interrupted by Prose

Letters will often be interrupted by interlineal commentary from the speaker. To link the fragments of the letter together, add @next and @prev attributes to either the <p> or <lg> elements, depending on whether the letter is in prose or verse. See also Encode Split Elements.
In the case of verse letters like the one below, add the <lg> element before every fragment of the letter to indicate it is part of a larger piece of verse:
<div>
<!-- ... -->

  <sp who="#emdAYL_M_Rosalind">
    <speaker>Rosalind</speaker>
    <l>She Phoebes me. Mark how the tyrant writes.</l>
    <stage type="business">(Read)</stage>
    <lg type="verseLetter" xml:id="emdAYL_M_lg_1" next="#emdAYL_M_lg_2">
      <l>Art thou god to shepherd turned,</l>
      <l>That a maiden’s heart hath burned?</l>
    </lg>
    <l>Can a woman rail thus?</l>
  </sp>
  <sp who="#emdAYL_M_Silvius">
    <speaker>Silvius</speaker>
    <l>Call you this railing?</l>
  </sp>
  <sp who="#emdAYL_M_Rosalind">
    <speaker>Rosalind</speaker>
    <stage type="business">(Read)</stage>
    <lg type="verseLetter" xml:id="emdAYL_M_lg_2" prev="#emdAYL_M_lg_1" next="#emdAYL_M_lg_3">
      <l>Why, thy godhead laid apart,</l>
      <l>Warr’st thou with a woman’s heart?</l>
    </lg>
    <l>Did you ever hear such railing?</l>
    <lg type="verseLetter" xml:id="emdAYL_M_lg_3" prev="#emdAYL_M_lg_2" next="#emdAYL_M_lg_4">
      <l>Whiles the eye of man did woo me,</l>
      <l>That could do no vengeance to me.</l>
    </lg>
    <!-- ... -->
  </sp>
</div>

Practice: Encode Songs

Wrap each group of lines that makes up the song in an <lg> element. Add the @type attribute to the <lg> element wrapping the song and add the song value to identify the verse as a song.
Do not tag songs with quotation tags (i.e. <quote> , <q> , etc.) unless the character is quoting someone:
<sp who="#emd2H4_M_Silence">
  <speaker>Silence</speaker>
  
<!-- ... -->

  <stage type="delivery"> Singing </stage>
  <lg>
    <l>Do nothing but eat and make good cheer,</l>
    <l>And praise god for the merry year,</l>
    <l>When flesh is cheap and females dear,</l>
    <l>And lusty lads roam here and there</l>
    <l>So merrily,</l>
    <l>And ever among so merrily.</l>
  </lg>
</sp>

Special Case: Encode Songs Interrupted by Prose

You may encounter songs that are interrupted by commentary. To link the fragments of the song together, add @next and/or @prev attributes to the <lg> element wrapping the lines of the song.
The example below shows not only the use of the @next and @prev attributes to link the fragments of the song together, but also the use of the @part attribute and corresponding values on the <p> element to link the fragments of prose together:
<sp who="#emd2H4_M_Falstaff">
  <speaker>Falstaff</speaker>
  <stage type="delivery"> Singing </stage>
  <lg type="song" xml:id="emd2H4_M_l_21" next="#emd2H4_M_l_22">
    <l>When Arthur first in court,</l>
  </lg>
  <p part="I">—empty the jordan!—</p>
  <lg type="song" xml:id="emd2H4_M_l_22" prev="#emd2H4_M_l_21">
    <l>And <lb type="tln" n="1063"/>was a worthy king</l>
  </lg>
  <p part="F">—how now, Mistress Doll?</p>
</sp>

Encode Stage Directions in Modern Texts

Step-by-Step

To encode a stage direction, you need to:
Identify the text node of the stage direction.
Wrap the text node in a <stage> element.
Add a @type attribute to the <stage> element.
Add the correct value(s) to the type attribute (entrance, exit, setting, business, sound, delivery, location). See Table Summary.

Punctuation in Stage Directions

In accordance with the DRE style guidelines, we recommend that you use terminal punctuation in all stage directions except for those that are in-dialogue.
For example:
<sp>
  <speaker>Labesha</speaker>
  <p>In a blanket?<!-- … --></p>
</sp> <stage type="exit">Exit.</stage> <sp who="#emdAHDM_M_Moren" xml:id="emdAHDM_M_s5_sp7">
  <speaker>Moren</speaker>
  <p>Nay, but Besha—</p>
</sp>
<sp>
  <speaker>Lemot</speaker>
  <p>He is marvellous welcome. <stage type="delivery">To Blanvel</stage> I shall be exceeding proud of your acquaintance.</p>
</sp>

Supplied Stage Directions

It is conventional for editors to add stage directions to specify which characters enter and exit and when, if the early stage directions are not entirely clear. The print convention has been to mark such supplied stage directions with square brackets. In LEMDOʼs digital environment, we never use square brackets in the modern text. For supplied stage directions, anthologies have two options:
Wrap the supplied stage direction in the <supplied> element. Add a collation note as well if you wish.
Use the collation file (1) to capture differences between the modern text and the earliest editions, and (2) to give your editorial predecessors credit where credit is due.
At least one LEMDO anthology (DRE) has taken the textual critical position that because the entire modern text is supplied (especially in the Anglo-American eclectic editing tradition and in recent efforts to try to reproduce a text or performance at a particular moment in its history even if one has to reconstruct it from witnesses that represent other points in its history). On the other hand, QME has chosen to wrap editorial stage directions that do not appear in the early modern printed texts.
LEMDO is agnostic on the questions of (1) what types of interpolations and clarifications an editor may add, (2) whether the editor needs to use markup to indicate supplied material, and (3) whether and how much the editor should collate. These decisions will be made at the anthology level. You will want to consult with your anthology lead.

Encoded Supplied Material

If your anthologyʼs practice is to use markup to indicate supplied material in stage directions (as QME has chosen to do), hereʼs what you need to know:
Wrap the supplied part of the stage direction in the <supplied> element.
You may use the <supplied> element in the modern text only inside the <stage> element.
You will want to collate your supplied material if the source is a prior editor (to give credit where credit is due).
If you collate the stage direction, you will need to include the <supplied> element in the lemma (the text node of the <lem> element). See Practice: Encode Collated Stage Directions.
At rendering time, the supplied material will be wrapped in square brackets on the screen and in the print output.
<stage type="entrance">Enter <supplied>Prince Edward</supplied>.</stage>

Collated Editorial Stage Directions

If your anthologyʼs practice is not to mark up supplied material, you will need to consult with your anthology lead about what to collate. In this case, do not add <supplied> elements to your stage direction. Instead, use LEMDOʼs collation protocols to indicate what the stage directions have been in earlier editions. It will be clear to the reader who looks at the collations what you have added.

Table Summary

The following table summarizes which value you should use for different types of stage directions.
Value Description Example(s)
entrance marks the entrance of one or more characters
exit marks the exit of one or more characters
remain indicates that one or more characters remains on stage when others exit2
business describes stage business and character actions like kneeling. Use for stage directions marked in the playbook as dumbshows. Kneels.
sound describes a sound such as flourish, music, thunder, a shot, drums, whether the sound is made offstage or onstage
delivery describes how or to whom a character speaks. Addressee clarification, addressee change, aside, or specialized dialogue (“sings”, “reading”, etc.)
setting describes a setting (e.g., in her bed, a council chamber). Do not use this value to describe a stage location. Any direction that gives a description of temporal or spatial setting (“Enter as from riding”, “Servants with torches”, “Enter Barabas to his counting house”, etc.)
location describes a location on stage, such as above or at one door. Do not use this value to describe a setting. Do not assign a location that is not required by an early modern stage direction or implied by a dialogic stage direction. Within, Above

Examples

Below are examples of the different types of stage directions.

Entrance

Use the value entrance for entrances of a character or characters:
<!-- ... -->
<stage type="entrance">Enter the king, Northumberland, Worcester, Hotspur, Sir Walter Blunt, with others.</stage>
<!-- ... -->

Exit

Use the value exitfor the exit of a single character or multiple characters:
<!-- ... -->
<stage type="exit">Exit Iago.</stage>
<!-- ... -->

Setting

Use the value setting for descriptions of temporal or spatial settings. This type of stage direction is almost always combined with another type. Setting in the early playhouse is usually established by costume and stage properties, which are often noted upon a characterʼs entrance:
<!-- ... -->
<stage type="entrance setting">Enter a Carrier with a lantern in his hand.</stage>
<!-- ... -->
<!-- ... -->
<stage type="entrance setting">Enter Barabas in his counting house, with heaps of gold before him.</stage>
<!-- ... -->
In the first example, the use of a lantern implies darkness. Darkness indicates temporal aspects like time of day and falls into the category of setting.

Business

Use the value business for specified actions:
<!-- ... -->
<stage type="business">They kiss.</stage>
<!-- ... -->

Sound

Use the value sound for non-dialogic sounds:
<!-- ... -->
<stage type="sound">Trumpet within.</stage>
<!-- ... -->

Delivery

Use the delivery value for addressee clarification, addressee change, aside, or specialized dialogue . When the addressee of a speech is not obvious, or you think the reader might be confused, you may use a stage direction within the speech element to clarify the character(s) being addressed. This clarification is particularly important when a speaker changes interlocutors within a speech, or in the case of asides. As with all added stage directions, collate fully:
<!-- ... --> <p>Thatʼs a lie in thy throat.—<stage type="delivery">To Gower</stage> I charge you in his majestyʼs name, apprehend him. Heʼs a friend of the Duke Alenconʼs.</p> <!-- ... -->
<!-- ... --> <l>
  <stage type="delivery">Aside</stage> How like a fawning publican he looks!</l> <!-- ... -->

Location

Use the value location for locations within the playhouse:
<!-- ... --> <l>
  <stage type="location">Within</stage> My lord, my lord? What ho? My lord, my lord!</l> <!-- ... -->

Multitype Stage Directions

Many stage directions will contain more than one of these types. You may tag their types with multiple values, separated by white space:
<!-- ... -->
<stage type="entrance exit">They pass over the stage.</stage>
<!-- ... -->
<!-- ... -->
<stage type="entrance sound">Flourish. Enter King Richard and attendants.</stage>
<!-- ... -->
<!-- ... -->
<stage type="sound setting">Storm still.</stage>
<!-- ... -->
<!-- ... -->
<stage type="entrance setting business sound">Enter Caliban with a burden of wood. A noise of thunder heard.</stage>
<!-- ... -->
<!-- ... -->
<stage type="entrance exit sound">Alarums and excursions.</stage>
<!-- ... -->
<!-- ... -->
<stage type="entrance setting">Enter Titus like a cook.</stage>
<!-- ... -->
<!-- ... -->
<stage type="entrance setting location">Enter Aaron, Chiron, and Demetrius at one door, and at the other door young Lucius, and another with a bundle of weapons and verses writ upon them.</stage>
<!-- ... -->

Appendix: Countable Units

ID Patterns at a Glance

Entity xml:id pattern
Act _a1
Scene _a1_s1
Running scene _s1
Preliminary spoken text _pr1
Intermedial spoken text _bt1
Postliminal spoken text _ps1
Speech _sp1

Examples

The following table gives examples of countable units in the modern text of The Merchant of Venice (and, in one case, Famous Victories):
Structural Unit Countable Element @type value @n value @xml:id value
Act <div> act underscore + Arabic numeral (1 to 5, usually) emdMV_M_a1
Scene contained by Act <div> scene underscore + lower case s + Arabic numeral 1 to n, restarting from 1 with each new act emdMV_M_a1_s13
Running scene in a play without acts <div> scene underscore + lower case s + Arabic numeral 1 to n emdFV_M_s1
Speech/Utterance <sp> who identifying the speaker(s) underscore + lower case s + Arabic numeral 1 to n, restarting from 1 with each new scene emdMV_M_a1_s1_sp1

Notes

2.Old IML value was usually “other”.↑
3.The xml:id for scenes contain by acts must begin with the number of the act: _a1, _a2, and so on.↑

Prosopography

Chloe Mee

Chloe Mee is a research assistant on the LEMDO team who is working as a remediator on Old Spelling texts. She is about to start her second year at UVic in Fall 2022 and is pursuing an Honours degree in English. Currently, she is working on the LEMDO team through a VKURA internship. She loves literature and is enjoying the opportunity to read and encode Shakespeare quartos!

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.

Kate LeBere

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

Mahayla Galliford

Research assistant, remediator, encoder, 2021–present. Mahayla Galliford is a fourth-year student in the English Honours and Humanities Scholars programs at the University of Victoria. She researches early modern drama and her Jamie Cassels Undergraduate Research Award project focused on approaches to encoding early modern stage directions.

Martin Holmes

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

Navarra Houldin

Project manager 2022–present. Textual remediator 2021–present. Navarra Houldin (they/them) completed their BA in History and Spanish at the University of Victoria in 2022. During their degree, they worked as a teaching assistant with the University of Victoriaʼs Department of Hispanic and Italian Studies. Their primary research was on gender and sexuality in early modern Europe and Latin America.

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.

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

Crystal, David. Pronouncing Shakespeare: The Globe Experiment. Cambridge: Cambridge University Press, 2005. WSB aaq125.
Schneider, Brian W. The Framing Text in Early Modern English Drama “Whining” Prologues and “Armed” Epilogues. London and New York: Routledge, 2011.
Taylor, Gary, John Jowett, Terri Bourus, and Gabriel Egan, eds. The New Oxford Shakespeare. Oxford: Oxford University Press, 2016. WSB aaag2304.

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Authority title Chapter 15. Modern Texts
Type of text Documentation
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Publisher Linked Early Modern Drama
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