Examples Containing Multiple Quotation Elements
¶ Rationale
This section contains examples that show multiple quotation elements used in combination.
These examples may help you understand the nuanced differences between some of these
elements and clarify in which instances you should choose one over the other.
¶ Examples
<note type="commentary">
<!-- ... -->
In his reply, Orlando sardonically takes Oliver’s <quote>what make you</quote> in the literal sense: <gloss>I can’t <mentioned>make</mentioned> anything, thanks to you</gloss>
<!-- ... -->
</note>
<!-- ... -->
In his reply, Orlando sardonically takes Oliver’s <quote>what make you</quote> in the literal sense: <gloss>I can’t <mentioned>make</mentioned> anything, thanks to you</gloss>
<!-- ... -->
</note>
A note on AYL by David Bevington.
<note type="commentary">
<!-- ... -->
The <title level="m">OED</title> quotes this passage as its first usage of <term>color</term> meaning <gloss>kind</gloss>. The lack of an earlier instance in the <title level="m">OED</title> may help explain why Le Beau is puzzled by the word in <ptr/>. Note a similar use of <quote>color</quote> at <ptr/>, <quote>boys and women are for the most part cattle of this color</quote>
<!-- ... -->
</note>
<!-- ... -->
The <title level="m">OED</title> quotes this passage as its first usage of <term>color</term> meaning <gloss>kind</gloss>. The lack of an earlier instance in the <title level="m">OED</title> may help explain why Le Beau is puzzled by the word in <ptr/>. Note a similar use of <quote>color</quote> at <ptr/>, <quote>boys and women are for the most part cattle of this color</quote>
<!-- ... -->
</note>
A note on AYL by David Bevington, containing
<term>
,
<gloss>
and
<quote>
elements.
<note type="commentary">
<!-- ... -->
<soCalled>Housewife</soCalled>, spelled <quote>houswife</quote> in the Folio, is often spelled <q>huswife</q>, or <q>hussif</q>, blending into the sense <soCalled>hussy</soCalled>
<!-- ... -->
</note>
A note on AYL by David Bevington, containing <!-- ... -->
<soCalled>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>
<soCalled>
,
<quote>
, and
<q>
elements.
<note type="commentary">
<!-- ... -->
Neill favors <mentioned>assigned</mentioned> both for its <quote>military resonances</quote> and its echo of Iago’s obsession with <soCalled>signs</soCalled>, but, especially given that <mentioned>affined</mentioned> appears again, textually uncontested, later in the play <!-- ... --></note>
<!-- ... -->
Neill favors <mentioned>assigned</mentioned> both for its <quote>military resonances</quote> and its echo of Iago’s obsession with <soCalled>signs</soCalled>, but, especially given that <mentioned>affined</mentioned> appears again, textually uncontested, later in the play <!-- ... --></note>
A note on Oth by Jessica Slights, containing
<mentioned>
,
<quote>
, and
<soCalled>
elements.
<note type="commentary">
<!-- ... -->
By associating the mayhem that Emilia reports with a personified moon goddess (Luna) who has wandered out of her orbit, Othello evokes a longstanding link between the moon and <term>lunacy</term> (from Latin <foreign xml:lang="la">luna</foreign> = <gloss>moon</gloss>) <!-- ... --></note>
<!-- ... -->
By associating the mayhem that Emilia reports with a personified moon goddess (Luna) who has wandered out of her orbit, Othello evokes a longstanding link between the moon and <term>lunacy</term> (from Latin <foreign xml:lang="la">luna</foreign> = <gloss>moon</gloss>) <!-- ... --></note>
A note on Oth by Jessica Slights, containing
<term>
,
<foreign>
, and
<gloss>
elements.
<note type="commentary">
<!-- ... -->
There is an echo here of the legal definition of marriage as a contract to share <soCalled>bed and board</soCalled>. In the medieval York Manual, for instance, a wife’s wedding vows read: <quote>Here I take you [name] to my wedded husband, to hold and to have <q>at bed and at board</q>, for fairer for [fouler], for better for worse, in sickness and in health</quote>
<!-- ... -->
</note>
<!-- ... -->
There is an echo here of the legal definition of marriage as a contract to share <soCalled>bed and board</soCalled>. In the medieval York Manual, for instance, a wife’s wedding vows read: <quote>Here I take you [name] to my wedded husband, to hold and to have <q>at bed and at board</q>, for fairer for [fouler], for better for worse, in sickness and in health</quote>
<!-- ... -->
</note>
A note on Oth by Jessica Slights, containing
<soCalled>
,
<quote>
, and
<q>
elements.
<note type="commentary">
<!-- ... -->
<mentioned>Gasparo</mentioned> is the Italian equivalent of English <gloss>Jasper</gloss>. The <soCalled>Italian</soCalled>
<quote>Trebazzi</quote> in Q1 and Q2 perhaps represents <foreign xml:lang="it">tre-bacci</foreign>, which could then be intended to mean <gloss>three kisses</gloss>
<!-- ... -->
</note>
A note on 1HW by Joost Dalder, containing <!-- ... -->
<mentioned>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>
<mentioned>
,
<gloss>
,
<soCalled>
, and
<quote>
elements.
<note type="commentary">
<!-- ... -->
Proverbial (Dent I88): <quote>You (etc.) are ipse (he, the man)</quote>. The phrase was in vogue in the 1580s and 1590s. <quote>Touchstone claims that the Latin pronoun <foreign xml:lang="la">ipse</foreign> means <q>he</q>, and that William cannot be <foreign xml:lang="la">ipse</foreign>, i.e. the <q>he</q> who will marry Audrey, because he himself (<foreign xml:lang="la">ipse</foreign>) is that <q>he</q>. In Lily’s Grammar the section on pronominal construction declares: <q xml:lang="la">IPSE, ex pronominibus solum trium personarum significationem repraesentat: ut: Ipse vidi. Ipse videris. Ipse dixit</q> (281) (<q>
<foreign xml:lang="la">Ipse</foreign> is the only one of the pronouns which may stand for the signifying of three persons: as, I myself see. You yourself will see. He himself said</q>). Touchstone is not the only <q>he</q>, because <foreign xml:lang="la">ipse</foreign> can apply to all three grammatical (and actual) persons</quote> (Dusinberre) <!-- ... --></note>
<!-- ... -->
Proverbial (Dent I88): <quote>You (etc.) are ipse (he, the man)</quote>. The phrase was in vogue in the 1580s and 1590s. <quote>Touchstone claims that the Latin pronoun <foreign xml:lang="la">ipse</foreign> means <q>he</q>, and that William cannot be <foreign xml:lang="la">ipse</foreign>, i.e. the <q>he</q> who will marry Audrey, because he himself (<foreign xml:lang="la">ipse</foreign>) is that <q>he</q>. In Lily’s Grammar the section on pronominal construction declares: <q xml:lang="la">IPSE, ex pronominibus solum trium personarum significationem repraesentat: ut: Ipse vidi. Ipse videris. Ipse dixit</q> (281) (<q>
<foreign xml:lang="la">Ipse</foreign> is the only one of the pronouns which may stand for the signifying of three persons: as, I myself see. You yourself will see. He himself said</q>). Touchstone is not the only <q>he</q>, because <foreign xml:lang="la">ipse</foreign> can apply to all three grammatical (and actual) persons</quote> (Dusinberre) <!-- ... --></note>
A note on AYL by David Bevington, containing
<quote>
,
<foreign>
, and
<q>
elements.
<note type="commentary">
<!-- ... -->
<quote>Service</quote> suggests the status both of being a servant (<title level="m">OED</title>
<term>Service</term> 1 1a) and of being a <soCalled>servant</soCalled> in love with one’s <soCalled>mistress</soCalled>
<!-- ... -->
</note>
<!-- ... -->
<quote>Service</quote> suggests the status both of being a servant (<title level="m">OED</title>
<term>Service</term> 1 1a) and of being a <soCalled>servant</soCalled> in love with one’s <soCalled>mistress</soCalled>
<!-- ... -->
</note>
A note on AYL by David Bevington, containing
<quote>
,
<term>
, and
<soCalled>
elements.
<note type="commentary">
<!-- ... -->
The Quarto reading, <quote>lenitie</quote> (<gloss>mercy, gentleness</gloss>), suggests that a u/n compositorial error is highly likely, but a nonce-use of <term>levity</term>—in the broadest, non-pejorative sense of <gloss>lightness</gloss>—makes sense as an opposite quality to heavy cruelty <!-- ... --></note>
<!-- ... -->
The Quarto reading, <quote>lenitie</quote> (<gloss>mercy, gentleness</gloss>), suggests that a u/n compositorial error is highly likely, but a nonce-use of <term>levity</term>—in the broadest, non-pejorative sense of <gloss>lightness</gloss>—makes sense as an opposite quality to heavy cruelty <!-- ... --></note>
A note containing
<quote>
,
<gloss>
, and
<term>
elements.Prosopography
Isabella Seales
Isabella Seales is a fourth year undergraduate completing her Bachelor of Arts in
English at the University of Victoria. She has a special interest in Renaissance and
Metaphysical Literature. She is assisting Dr. Jenstad with the MoEML Mayoral Shows
anthology as part of the Undergraduate Student Research Award program.
Janelle Jenstad
Janelle Jenstad is a Professor of English at the University of
Victoria, Director of The Map
of Early Modern London, and Director of Linked Early Modern Drama
Online. With Jennifer Roberts-Smith and Mark Kaethler, she
co-edited Shakespeare’s Language in Digital Media: Old
Words, New Tools (Routledge). She has edited John Stow’s
A Survey of London (1598 text) for MoEML
and is currently editing The Merchant of Venice
(with Stephen Wittek) and Heywood’s 2 If You Know Not
Me You Know Nobody for DRE. Her articles have appeared in
Digital Humanities Quarterly, Elizabethan Theatre, Early Modern
Literary Studies, Shakespeare
Bulletin, Renaissance and
Reformation, and The Journal of Medieval
and Early Modern Studies. She contributed chapters to Approaches to Teaching Othello (MLA); Teaching Early Modern Literature from the Archives
(MLA); Institutional Culture in Early Modern
England (Brill); Shakespeare, Language, and
the Stage (Arden); Performing Maternity in
Early Modern England (Ashgate); New
Directions in the Geohumanities (Routledge); Early Modern Studies and the Digital Turn (Iter);
Placing Names: Enriching and Integrating
Gazetteers (Indiana); Making Things and
Drawing Boundaries (Minnesota); Rethinking
Shakespeare Source Study: Audiences, Authors, and Digital
Technologies (Routledge); and Civic
Performance: Pageantry and Entertainments in Early Modern
London (Routledge). For more details, see janellejenstad.com.
Joey Takeda
Joey Takeda is LEMDO’s Consulting Programmer and Designer, a role he
assumed in 2020 after three years as the Lead Developer on
LEMDO.
Martin Holmes
Martin Holmes has worked as a developer in the
UVicʼs Humanities Computing and Media Centre for
over two decades, and has been involved with dozens
of Digital Humanities projects. He has served on
the TEI Technical Council and as Managing Editor of
the Journal of the TEI. He took over from Joey Takeda as
lead developer on LEMDO in 2020. He is a collaborator on
the SSHRC Partnership Grant led by Janelle Jenstad.
Navarra Houldin
Project manager 2022–present. Textual remediator 2021–present. Navarra Houldin (they/them)
completed their BA in History and Spanish at the University of Victoria in 2022. During
their degree, they worked as a teaching assistant with the University of Victoriaʼs
Department of Hispanic and Italian Studies. Their primary research was on gender and
sexuality in early modern Europe and Latin America.
Nicole Vatcher
Technical Documentation Writer, 2020–2022. Nicole Vatcher completed her BA (Hons.)
in English at the University of Victoria in 2021. Her primary research focus was womenʼs
writing in the modernist period.
Rylyn Christensen
Rylyn Christensen is an English major at the University of Victoria.
Tracey El Hajj
Junior Programmer 2019–2020. Research Associate 2020–2021. Tracey received her PhD
from the Department of English at the University of Victoria in the field of Science
and Technology Studies. Her research focuses on the algorhythmics of networked communications. She was a 2019–2020 President’s Fellow in Research-Enriched
Teaching at UVic, where she taught an advanced course on
Artificial Intelligence and Everyday Life.Tracey was also a member of the Map of Early Modern London team, between 2018 and 2021. Between 2020 and 2021, she was a fellow in residence at the Praxis Studio for Comparative Media Studies, where she investigated the relationships between artificial intelligence, creativity, health, and justice. As of July 2021, Tracey has moved into the alt-ac world for a term position, while also teaching in the English Department at the University of Victoria.
Orgography
LEMDO Team (LEMD1)
The LEMDO Team is based at the University of Victoria and normally comprises the project
director, the lead developer, project manager, junior developers(s), remediators,
encoders, and remediating editors.
Metadata
| Authority title | Examples Containing Multiple Quotation Elements |
| Type of text | Documentation |
| Short title | |
| Publisher | University of Victoria on the Linked Early Modern Drama Online Platform |
| Series | Linked Early Modern Drama Online |
| Source |
TEI Customization created by Martin Holmes, Joey Takeda, and Janelle Jenstad; documentation written by members of the LEMDO Team
|
| Editorial declaration | n/a |
| Edition | Released with Linked Early Modern Drama Online 1.0 |
| Encoding description | Encoded in TEI P5 according to the LEMDO Customization and Encoding Guidelines |
| Document status | prgGenerated |
| Funder(s) | Social Sciences and Humanities Research Council of Canada |
| License/availability | This file is licensed under a CC BY-NC_ND 4.0 license, which means that it is freely downloadable without permission under the following conditions: (1) credit must be given to the author and LEMDO in any subsequent use of the files and/or data; (2) the content cannot be adapted or repurposed (except in quotations for the purposes of academic review and citation); and (3) commercial uses are not permitted without the knowledge and consent of the editor and LEMDO. This license allows for pedagogical use of the documentation in the classroom. |