This anthology will be the world’s first complete anthology of early modern mayoral
pageant books and shows. Once we add in records, images, sounds, maps, eye-witness
accounts, and contextual essays, we will collectively have gone a long way towards
an edition of those ephemeral things, namely the shows to which the pageant books
bear witness. Your contributions will also go a long way toward helping MoEML realize
its goal of understanding how London’s spaces and places were named, traversed, used,
repurposed, and contested by various practitioners, writers, and civic officials.
We will supplement these guidelines with additional encoding guidelines and how-to tutorials for those of you wishing to take the TEI-XML plunge (see LEMDOʼs Quickstart Guidelines and especially the Quickstart for MoMS Editors. As people ask questions, we will send out answers over the listserv so that we all
benefit. You are all subscribed to the listserv and are welcome to post to the list.
We are looking forward to working with you—and with our stellar Advisory Board (David Bergeron, Tracey Hill, Anne Lancashire, and Dominic Reid)—over the next few
years!
We need to use the terms show, pageant, and pageant book carefully, consciously, and consistently throughout the anthology. Confusingly, past
scholars have often been inconsistent in their use of these terms. We want to keep
Tracey Hill’s caveat in mind: it is inaccurate to call the Lord Mayor’s Show in its entirety a pageant (Hill 12). At the same time, we must also acknowledge that the pageant poets themselves use
a variety of terms. The pageants within the pageant books are variously labelled show,triumph,invention,presentation, and pageant. For example, John Squire refers to the First Show or Presentment on the Water in The Triumphs of Peace. To further muddy the waters, pageants within a show sometimes have the same name
as the pageant book. For example, the penultimate pageant in Thomas Dekker’s London’s Tempe is called London’s Tempe. Finally, contemporary references suggest that pageant day was the term generally used to refer to the day of the Lord Mayor’s oath-taking and
the mayoral show.
Term
Usage
show
We will use the term show to indicate the entire theatrical event.
pageant
We will use the term pageant to indicate a single staged spectacle within the show. Not all pageants have speeches,
and not all speeches take place in the context of a pageant.
pageant book
We will use the term pageant book to indicate the printed book that bears witness to the show and the pageants therein.
pageant day
We will use the term pageant day to refer to the entire day. The day featured many events, including the oath-taking,
a sermon, and a feast.
pageant writer
We will use the term pageant writer to refer to the person who compiled the book, wrote the speeches and descriptions,
and arranged for printing. (Note that early moderns often used the term pageant poet. We use pageant writer because the pageant books include prose.)
artificer
We will use the term artificer for any person who contributed to the building of the pageants (e.g., Gerard Christmas).
livery company
We will use the term livery company, adhering to Hill’s suggestion that livery company is a more appropriate term than
guild, given that early modern people never referred to the companies as guilds (Hill 12).
The semi-diplomatic transcriptions are editions of a single copy of a pageant book. The text of your modern edition will be a modernized text of a pageant book. Your
modern edition, however, will gesture towards the circumstances to which the pageant
book bears witness: a spectacular, noisy, complex show with many moving parts and related events. Once you have completed your modern editions,
we will be taking sections from your editions—breaking the book, to use Laura Mandellʼs phrase (Mandell 8-9)—and engaging in a digital experiment to produce a geospatial edition of a show. To do so, we will rely on your editorial identification of textual passages that
pertain to place and performance.
A printed pageant book is an odd thing. It has a title page, dedicatory epistle(s), historiography, (ostensibly
performed) speeches, descriptive passages of the event, and other pieces (such as
sheet music, cast lists, et cetera). The printed Jacobean mayoral pageant also becomes far more elaborate and developed
than its Elizabethan predecessor. As Paula Johnson initially recognized and David
M. Bergeron later argued at greater length, it is important to remember that these
printed books are commemorative documents that represent an idealized version of what
the pageant writer intended rather than eye-witness accounts (Johnson; Bergeron).
Some aspects of the printed book (the speeches, descriptions of how events actually
occurred, or a description of the trainʼs movement through the city streets) offer
details related to the original performance.
We recommend reading Bergeronʼs Renaissance Quarterly article as well as Hillʼs article in Library & Information History to obtain a good sense of the print history and nature of the pageant books (Bergeron; Hill). Hillʼs two recent books (Anthony Munday and Civic Culture; Pageantry and Power) and Bergeronʼs revised text (English Civic Pageantry) on the subject are invaluable resources. If you are interested in obtaining a better
sense of the future goals of the project with respect to the geospatial editions,
please see our chapter in J. Caitlin Finlayson and Amrita Senʼs forthcoming collection
of essays on civic pageantry. Once it is available, you will want to consult this
latter collection as a whole. See MoEMLʼs Bibliography and LEMDOʼs Bibliography for these and other sources.
A complete edition of a single pageant book within the anthology will include:
An in-type facsimile edition (i.e., a documentary edition) of a single witness (or
two witnesses if there is no complete witness) with entities tagged (places, people,
and dates). The documentary edition is published on the MoEML site. We may repurpose
these as semi-diplomatic transcriptions for the LEMDO-produced MoMS anthology.
(Optional) Digital surrogates of that witness (and possibly digital surrogates of
additional copies). The documentary editions currently link to EEBO in most cases. In some cases, we have obtained new digital surrogates directly from
the holding libraries and have been able to create open-access links within the edition.
Geospatial editions that plot the route(s) of the shows and link to relevant information
pertaining to their original staging in the city streets. Mark and Janelle will compile
the geospatial editions when all the MS editions are finished.
Short essays on the livery companies.
Short essays on the personnel involved (writers, artisans, livery company members).
Short essays on the printers.
Links to MoEML encyclopedia entries on locations mentioned.
Links to MoEML encyclopedia entries on people mentioned (including fictionalized versions
of historical figures and other characters in the shows).
Full metadata and provenance notes for each of the digital surrogates.
The anthology will be peer-reviewed and published on the LEMDO digital publishing
platform as an independent static website called MoEML Mayoral Shows anthology (MoMS) at the URL lemdo.uvic.ca/moms. We will make generous links between the MoEML website and the MoMS website.
We imagine four distinct user groups for the anthology:
General MoEML users: MoEML has a broad general user group. These users will be directed to MoMS via links
from the MoEML website. As of March 2019, MoEML served 9.5 million page requests per
year to 243,500 visitors from 128 countries; 40% of visits are from North America
and 34% from Europe. Many visits come from university domains and course-management
systems. Scholarly reviews, media articles, and citations show up in various disciplines:
literary studies, digital humanities, library and information science, history, human
geography, new media studies, critical pedagogy, curriculum studies, literary biography,
theatre history, musicology, and even physics. Other site users include historical
novelists and genealogists. We may inspire a scene in a historical novel! This broad
user group means that you may have readers who stumble into your edition from some
other part of the site. You do not have to write for this diverse readership; we will
have some kind of prominent quick overview link that takes these users to a general overview of mayoral pageantry. But you do
need to write for the many users of the MoEML editions of the 1598 and 1633 editions
of the Survey of London. Because Anthony Munday revised and expanded the Survey, there are many interesting and illuminating connections to be made between the Survey and the shows. You will want to search and link to one or both Surveys. Keep in mind that Munday is revising the Survey while he is writing his shows in the 1610s.
MoMS Users: All components of the edition except the in-type facsimile transcription will be
published in the MoMS anthology on the LEMDO platform. We anticipate that MoMS users
will be primarily educators and students, who will likely turn first to the modern
editions, critical introductions, and annotations. Students will almost certainly
be reading pageant books and learning about mayoral pageantry for the first time.
While these students are likely to know something about early modern English history
and/or drama, we do not want to assume that they come to these works with a thorough
background. Their instructors will know more, but remember that our anthology is a
world-first. Good teaching editions have not been available, so instructors will also
be glad for your guidance. (You may choose to provide optional pedagogical annotations.)
Given this broad usership, we will aim to be interdisciplinary in focus whenever possible
so that mayoral shows can be assigned not only in English classes but potentially
history and theatre classes as well. Any elaborate interpretive criticism should be
reserved for the planned companion volumes (digitally published by UVic through LEMDO
and/or printed at a later date by another press).
General LEMDO Users: LEMDO users include educators, students, scholars, and theatre practitioners. It
is designed to facilitate cross-connections between texts that do not generally appear
in the same editorial context. The LEMDO ecosystem ensures that anyone studying Time
in The Winter’s Tale will not be reading Shakespeare in isolation. They will be invited to consider the
character of Time in the mayoral shows as well. This cross-fertilization means that
you can and should make connections with texts across the range of early modern dramatic
output.
Scholars: Scholars will likely turn first to the digital surrogates, to the in-type facsimile
transcriptions with their underlying deep encoding of bibliographical features, and
to your textual introductions and collations. As we keep the introductions to the
editions general enough for users, we will still want to provide findings and observations
that further scholarship. Anything remarkable about the typeface, historical contexts,
or commonalities across livery company productions and/or an authorʼs shows should
be included for these purposes, but elaborate or sustained analysis should be reserved
for a submission to the critical companion(s). Please be sure to maintain this distinction
as you work on the introduction to your edition.
Prepared and encoded in-type facsimile transcriptions (semi-diplomatic transcriptions)
of one copy of each pageant book (with some reference to other copies in a few cases).
Secured some digital surrogates of pageant books.
Written encyclopedia entries on many people (historical and literary).
Written encyclopedia entries on many locations.
Tagged all the people, places, and dates in the OS texts.
Used encoding in the OS texts to capture some features of the copy-text (e.g., gaps
in inking).
Made XML comments in the XML files of the OS texts. XML comments are not rendered
on the site. We and the RAs have used them to make notes about discoveries as we go.
You can turn these XML comments into commentary and textual notes, elaborate on them,
or delete them as you see fit.
MoEML will:
Obtain digital surrogates of as many pageant books as possible.
Secure permissions for MoEML to publish these digital surrogates on the MoEML and
MoMS websites.
Obtain digital surrogates of other witnesses whenever possible.
Give credit to everyone who contributes to your edition (you, your RAs, your funders,
and the MoEML/LEMDO Teams)
Give file-level credit to every person who works on a file.
Provide encoding support at UVic until our current SSHRC grant concludes in March
2023.
Provide you with a UVic NetLink ID and access to the UVic library if you need digital
access to a research library.
By signing the contract with LEMDO, you commit to the following tasks:
Check the MoEML semi-diplomatic transcription for accuracy.
Collect other copies for collation (if they exist and you are able to access them).
Advise MoEML/LEMDO on how to liaise with holding libraries if we have not already
done so.
Produce a modern-spelling text.
Write critical paratexts.
Annotate your modern-spelling text.
Collect any relevant information pertaining to the performance for the geospatial
edition.
You may also choose to:
Write, augment, or revise MoEML encyclopedia entries that link to your and/or other
editions of shows.
Add entries to the Personography, Orgography, and Glossary, or revise/augment existing
entries.
Write Topics pages for anything that is longer than an annotation and might serve more than one
edition in our anthology and potentially serve general users of MoEML.
Write a piece for the print Oxford Handbook we plan to propose.
Translate the foreign text in your pageant book.
Transcribe livery company records pertaining to your show.
Transcribe (and translate) the known accounts pertaining to your pageant book (1585,
1612, 1613, 1617, 1624, 1629) or newly discovered accounts.
We hope that you will work together to produce the following:
Short or long essays on the following topics (to be published in the MoEML encyclopedia
and then collected together as an online and/or print Critical Companion):
Personnel involved (writers, artisans, livery company members).
Each of the livery companies.
Printers.
Translations of foreign-language passages within the pageant books and foreign-language
documents. We need expertise in Latin; Greek; and early modern Dutch, Welsh, French,
Russian, and German.
Editors working on a particular pageant writer will want to communicate with one another.
Those working on a pageant writer with a single show and those who are editing all
the shows by a particular pageant writer ought to be talking amongst each other as
well.
Editors working on productions financed by the same livery company should likewise
correspond with one another.
Please use the listserv to communicate questions, remarks, insights, and general joys/frustrations/insights
when working on the texts. Shared experiences are usually more productive and enlightening
experiences. Mark and Janelleʼs responses to list posts will likewise benefit the
group and keep everyone up to date. If you find resources (or publish articles) that
are likely to interest all of us, please do post.
We are steadily acquiring fresh high-resolution scans of the pageant books and have
been sharing scans with editors as we acquire them. We will not be able to obtain
scans of all the pageant books and will have to rely upon and link to EEBO for some of them.
One copy of each pageant book has already been transcribed, encoded, lightly tagged,
and styled (using the language of Cascading Style Sheets (CSS) to describe the bibliographical features of the book) by the MoEML team (Mark,
Janelle, and RAs working at UVic). They were released with MoEML v.6.4 in Summer 2020. While you are not responsible for the MoEML semi-diplomatic transcriptions,
you are better positioned than any MoEML peer reviewers to check the MoEML transcription
of your pageant book for accuracy. You have additional motivations to correct the
transcription in that you will be working from this text to prepare your modern edition
(if you are encoding and editing simultaneously), and in that there will be a link
from your edition landing page on MoMS to the MoEML transcription. You will be given
a credit in MoEML as a proofreader. Please send corrections to london@uvic.ca.
At the moment, the base text for the semi-diplomatic transcriptions is, in most cases,
whatever copy is available on EEBO. Despite its well known inadequacies (Kichuk; Gadd), EEBO does have at least one digital surrogate of a black-and-white microfilm surrogate
of each pageant book. We will gradually embed links to high-res images—either new
images of the copies already on EEBO, or images of other copies. If acquiring new high-res images precipitates a change
in the base text for the MoEML transcription, the MoEML team will bring the semi-diplomatic
transcription into line with the new high-res images and may ask you to have another
look at the revised transcription to ensure that we have not introduced new errors.
For the semi-diplomatic text, decisions about base-text can be complex in the absence of a single complete copy. For example, even though
the text of the NLS copy of Londonʼs Tempe is arguably superior, its title page is torn and damaged. We have of necessity had
to prepare the semi-diplomatic transcription from two distinct witnesses.
The MoMS collation process differs from the process followed by editors working for
most other LEMDO anthologies in two ways:
We do both a horizontal collation of press variants if more than one copy survives,
and a vertical collation of publications and later editions.
We pin our horizontal and vertical collations to the modern text.
All but two pageant books from 1585-1639 survive in only one extant edition, so far
as we know. A few survive in only one copy of that edition, which means there is nothing
to collate.
For those pageant books that do survive in multiple copies, you need to record any
press variants across the extant copies by consulting the copies either in person
or via digital surrogates. Unlike the editor of The Merchant of Venice, who is not preparing a horizontal collation because that work has been done repeatedly
for Shakespeare plays, you do need to capture the press variants because we are breaking
new editorial ground with so many of these shows.
High-quality digital surrogates will necessarily be our first resource for the collations.
Even so, try to view all of the copies in person or have someone else on the editorial
team view the book for you to answer any lingering questions. The copies in Britain
are mainly at the British Library, the Bodleian, the Guildhall, and the Victoria and Albert Museum. Editors in the UK may be called upon to check pageant books for editors who cannot
get to the UK easily. The American copies are far-flung. If we apprise each other
of our travel plans and relative proximity to research libraries, we should be able
to have at least one set of editorial eyes on each copy at least once to answer any
textual questions. Janelle Jenstad and Tracey Hill have independently viewed every
extant copy at least once and have some copy notes. (See Hill.)
For your collation of press variants, do not rely on the work of previous editors.
Only by personal inspection did Mark discover that the National Library of Scotland (NLS) copy of Londonʼs Tempe (1629) contains the corrected Sheet C, with a reading strikingly different from that
found on the uncorrected sheet of the British Library and Huntington copies.
The MoEML team at UVic will add the press variants to the semi-diplomatic transcriptions
for you. You simply need to send a list of variants in tabular form, as follows:
For the modern texts, most of the pageant books have a single possible copy-text because there is only one publication. The exceptions are The Triumphs of Truth,which survives in multiple copies of two distinct imprints, and Chruso-Thriambos, which survives in a single copy of each of two imprints. In both cases, however,
both imprints bear witness to the same performance.
If you wish to take the MoEML semi-diplomatic transcription as the starting point
for your modernization, we can create a file for you that contains the text from MoEML
and the basic encoding for a MoMS modern text. Once you have checked the MoEML semi-diplomatic
text and confirmed its accuracy, we will run some programmatic modernizations (e.g.,
conversion of long s to short s), remove forme works elements and other descriptive
bibliographical tagging, and give you a relatively clean text.
We can supply this text either in a file suitable for word processing (.docx or .odt
for use in Word or Open Office), or in an XML file (for editing in an XML editor like
Oxygen). For more information, see this later section on working in XML.
Full collation guidelines (both how to record textual variants and how to record editorial
emendations) can be found in the LEMDO chapter on Collation.
The editorial history for the pageant books is short. To our knowledge, the only pageant
books that have been fully modernized are those of Thomas Middleton (in Taylor and
Lavagninoʼs Thomas Middleton: The Collected Works for Bergeronʼs editions) and Anthony Mundayʼs Triumphs of Re-United Britannia (in Kinneyʼs Renaissance Drama: An Anthology). There may be other editions on the way. The following list includes all the old-spelling
and modern editions of which we are aware. If you come across an edition of your pageant
book that we have not listed, please let us know.
General Anthologies of the Mayoral Shows:
1843. Fairholt, Frederick W., ed. Lord Mayorsʼ Pageants: Being Collections Towards a History of These Annual Celebrations. 2 vols. Percy Society, 1843. LEMDO xml:id: "FAIR2". MoEML xml:id: "FAIR7".
1931. Sayle, R. T. D., ed. Lord Mayorsʼ Pageants of the Merchant Taylorsʼ Company in the 15th, 16th, & 17th Centuries. London: The Eastern Press, 1931. LEMDO xml:id: "SAYL1". MoEML xml:id: "SAYL1".
George Peele:
1829. Dyce, Alexander, ed. The Works of George Peele. Vol. 3. London: William Pickering, 1829. LEMDO xml:id: "DYCE7". MoEML xml:id: "DYCE2".
Thomas Nelson:
No modern or facsimile editions exist, to our knowledge.
Anthony Munday
1985. Bergeron, David M., ed. Pageants and Entertainments of Anthony Munday: A Critical Edition. New York: Garland, 1985. LEMDO xml:id: "BERG8". MoEML xml:id: "BERG18".
2005. Kinney, Arthur F., ed. The Triumphs of Re-United Britannia. By Anthony Munday. Renaissance Drama: An Anthology of Plays and Entertainments. 2nd ed. Toronto: Wiley, 2005. LEMDO xml:id: "KINN3". MoEML xml:id: "KINN1".
Thomas Dekker
1964. Bowers, Fredson, ed. The Dramatic Works of Thomas Dekker. 4 vols. Cambridge: Cambridge UP, 1964. LEMDO xml:id: "BOWE2". MoEML xml:id: "BOWE6".
Thomas Middleton
1840. Dyce, Alexander, ed. The Works of Thomas Middleton. 5 vols. London: Edward Lumley, 1840. LEMDO xml:id: "DYCE5". MoEML xml:id: "MIDD27".
1885. Bullen, A.H., ed. The Works of Thomas Middleton. 8 vols. London: J.C. Nimno, 1885. LEMDO xml:id: "BULL9". MoEML xml:id: "BULL2".
2007. Taylor, Gary, and John Lavagnino, eds. Thomas Middleton: The Collected Works. Oxford: Oxford UP, 2007. LEMDO xml:id: "TAYL8". MoEML xml:id: "TAYL9". (See also Textual Companion. LEMDO xml:id: "TAYL7". MoEML xml:id: "TAYL8").
John Squire
2015. Finlayson, J. Caitlin, ed. Two London Lord Mayorʼs Shows by John Squire (1620) and John Taylor (1634). Collections XVII. Oxford: Malone Society, 2015. 75-110. LEMDO xml:id: "FINL2". MoEML xml:id: "FINL7".
John Webster
1830, 1840, 1857, 1859, 1877. Dyce, Alexander, ed. The Works of John Webster. London: Edward Moxon, 1857. LEMDO xml:id: "DYCE6". MoEML xml:id: "WEBS7". (There are at least five 19C revisions and reprints. We give bibliographical details
for the 1857 revision. If you are working on the Webster pageant book, please check
all five revisions to see if you should be collating all of them. If there are no
differences in the text for the Webster pageant book, then cite whichever revision
you deem most authoritative or accessible. If you collate a different edition than
the one listed here, let us know so that we can add it to our bibliographies and point
your collations at the right edition.)
1897. Hazlitt, William, ed. The Dramatic Works of John Webster. Vol. 3. London: Reeves & Turner, 1897. LEMDO xml:id: "HAZL2". MoEML xml:id: "WEBS6".
1927. Lucas, F.L., ed. The Complete Works of John Webster. London: Chatto & Windus, 1927. LEMDO xml:id: "LUCA2". MoEML xml:id: "WEBS5".
2007. Gunby, David, David Carnegie, and MacDonald P. Jackson, eds. The Works of John Webster: An Old-Spelling Critical Edition. 3 vols. Cambridge: Cambridge UP, 2007. LEMDO xml:id: "GUNB1". MoEML xml:id: "GUNB1". (The pageant book is in vol. 3.)
John Taylor
2015. Finlayson, J. Caitlin, ed. Two London Lord Mayorʼs Shows by John Squire (1620) and John Taylor (1634). Collections XVII. Oxford: Malone Society, 2015. 75-110. LEMDO xml:id: "FINL2". MoEML xml:id: "FINL7".
1986. Bergeron, David M. Thomas Heywoodʼs Pageants: A Critical Edition. New York: Garland, 1986. LEMDO xml:id: "BERG7". MoEML xml:id: "BERG40".
Forthcoming. Ioppolo, Grace, ed. Thomas Heywoodʼs Collected Works. Oxford: Oxford UP. (Susan Anderson and David Lindley are working on the pageant
books for this forthcoming edition.)
¶ Resources and Guiding Principles for Modernizing Your Text
Our modern-spelling texts adhere generally to the principles laid out by Stanley Wells
in his two essays about the Oxford Shakespeare (Modernizing Shakespeareʼs Spelling; Old and Modern Spelling). We would also recommend consulting David Bevingtonʼs more recent essay that delineates
further difficulties in preparing a modern-spelling edition (Bevington). We highly recommended that anyone unfamiliar with these essays read through them
before commencing the work of modernizing.
Much as the pageant writers counselled the lords mayor, we advise that you be judicious
and vigilant in your choices. We set out the anthologyʼs standards below and indicate
places where you are at liberty to make judicious choices.
Make the following silent standardizations throughout the text. You do not have to
collate these changes, unless you find that your standardization or punctuation choice
entails choosing between two or more possible meanings or resolving a potentially
substantive ambiguity. In every case where another solution might have been possible,
collate the witnesses and add a textual note.
Replace the long s with the modern short s. (This replacement will already have been
done for you, but if there are any stray long s characters left over from the transformation,
do replace them.)
Modernize the use of u and v.
Modernize the use of i and j.
Standardize all capitalization of substantives according to modern usage. See below
for further use cases and a list of specific words.
Regularize the spacing as follows:
Leave one space between a period and the next sentence.
Leave one space after a colon.
Convert hyphens and multiple hyphens to the appropriate modern punctuation marks:
Retain hyphens in compounds unless the modern equivalent is usually not hyphenated
in Canadian English. For example, convert comon-welth to commonwealth.
When hyphens or multiple hyphens function to offset modifying clauses, convert to
em dashes. You may elect to collate these emendations, if they require choosing between
two or more possible meanings. (Note: do not insert a space before or after the em
dash.)
If hyphens or multiple hyphens function to introduce a list or qualifier, convert
to a colon.
We will add these to your text later. Please make a marginal comment (or an XML comment
if you are working in an XML file) to let us know to do so.
From Dekker’s Troia-Nova Triumphans. Image kindly supplied by the Chapin Library.
Reduce emphasis capitals to lower case. Emphasis capitals often appear on nouns.
From the British Library copy of Middleton’s The Triumphs of Truth, as scanned for EEB and digitized for EEBO.
Modernize as: let the inquisitive man waste the dear treasures of his time and eyesight
Retain the capitalization in salutations and bylines (but do not retain emphasis italicization).
From the British Library copy of Middleton’s The Triumphs of Truth, as scanned for EEB and digitized for EEBO.
Modernize as:
To your Lordship, in the best
of my observance,
Retain or add capitalization in headers and titles.
From the British Library copy of Dekker’s Britannia’s Honour, as scanned for EEB and digitized for EEBO.
Modernize as: The Second Presentation, New Troyʼs Tree of Honour
Retain or introduce emphasis capitals for personal titles only when the individual
is named.
Remove emphasis italics from your modern text.
From Dekker’s Troia-Nova Triumphans. Image kindly supplied by the Chapin Library.
Modernize as: They are now and then the rich and glorious fires of bounty, state, and magnificence. (Note the addition of the serial comma in the list, in keeping with the punctuation guidelines below.)
Retain italicization of foreign words (if you are preparing a .docx or .odt file)
and add a marginal comment identifying the language. If you are working in XML, you
will tag foreign words with the
<foreign>
tag and identify the language.
Remove italicization of verse, songs, and stage directions. Italicization in early
modern texts is a useful cue as to the function of the text at this point but we do
not want to retain it for its own sake. In TEI, we identify and describe these functions.
These textual features will be encoded with the tags
<lg>
and
<l>
for verse,
<song>
for songs, and
<stage>
for stage directions. We will render these features consistently across the anthology
later.
Note: If you are not using Oxygen, all justification, indentation, font-size, et cetera, will be taken care of during the encoding process. Everything that is a song, speech,
stage direction, et cetera, should be identified in marginal comments so that encoders know how you want MoEML
to identify those features with TEI tags.
Use Canadian spelling as you modernize spellings. Mark and Janelle are accustomed
to working in (and adjusting for) American, British, and Canadian spelling. If you
are unsure of a particular Canadian spelling, we will make any necessary adjustments
for you as we review your work.
Canadian spellings of common words that might turn up in the pageant books or in the
critical paratexts:
theatre
honour
colour
behaviour
mould
Also note that Canadian spellings:
Typically have two ls (e.g., traveling v. travelling).
Use -re endings where US English uses -er (e.g., fiber v. fibre). Exception: meter
(as in the meter of verse).
When in doubt, refer first to the Canadian Oxford Dictionary (COD), then defer to the Oxford English Dictionary (OED) if the word is not in the COD.
Most old spellings will not need to be preserved. For example, show and shew mean the same thing and do not signal variant meanings (Bevington 145).
Whether or not to preserve variant forms can be contentious. For example, we ourselves
(Mark and Janelle) have had an extensive debate about Wellsʼ prescription that shrieve means the same as sheriff and ought to be modernized as sheriff (Wells 7). The factors we have considered include: (1) potentially different valences, as
recorded in the headwords and definitions captured by Lexicons of Early Modern English (LEME); (2) the rhythmic differences between a one-syllable form and a two-syllable form
(which change the meter of verse and the cadence of prose); and (3) deliberate variations
in diction for effect (which may take us into the shifting terrain of authorial intention).
We welcome discussion of such matters via the listserv. Regardless of your decision,
do not silently modernize variants that require extended thought. Write a textual
note explaining the principle guiding your decision and set out the alternatives.
If there is a compelling reason to retain an old spelling (and potentially to retain
it across all the editions), please discuss it with Mark and Janelle and/or write
to the listserv.
We encourage you to use the following resources (in concert with the OED) to make informed decisions about retaining or modernizing early forms:
The searchable EEBO-TCP (Text Creation Partnership) texts. TCP is available with some
EEBO subscriptions, but not with the RSA subscription. All the TCP texts are available
on GitHub for free.
LEME (Lexicons of Early Modern English), now available in open-access format.
The benefits of using combinations of these tools (rather than the OED exclusively) for editing print and digital editions of early modern drama has been
extensively documented in recent years (Lancashire and Tersigni; Steggle; Wayne).
For lists of hard choices regarding modernization, see Stanley Wellsʼ index (Wells 35-36). Bevington also provides elaborate commentary on several words, which reminds us
that we should consider carefully how we modernize; one example that is relevant to
mayoral shows is his note on antic versus antique (Bevington 151).
See the appendix for a list of modernizations for words we predict will be common across the pageant
books. If you regularly encounter anything that you feel ought to be added, do let
us know.
Modernize the spellings and forms of names of mayors, sheriffs, craftsmen, et cetera to match the authority names given by MoEML. MoEMLʼs authority names are based (in order of authority) on the following resources/criteria:
An old spelling of a name should be retained only if the spelling entails a pun that
would be lost in modernization. For example, in Thomas Dekkerʼs Londonʼs Tempe (1629), Dekker draws upon Mundayʼs show Camp-bell (1609), which celebrated the mayor-electʼs now deceased father in his installation
in the mayoralty. However, it is necessary to retain the spelling Camp-bell only when Dekker reflects upon the name of Camp-bell, or Le Beau Champ. Otherwise, use the spelling Cambell throughout Londonʼs Tempe in keeping with MoEMLʼs authority name.
London: Always capitalize London, Londinium, and any variant spellings thereon. Do
not change the form or spelling of this particular toponym. I.e., do not change Londinium
to London.
The City: Capitalize the City and the City of London if the reference is to the city
as an administrative body.
London places: Use the authority name spelling in your critical paratexts. The authority
name is used as the title of the encyclopedia article, but you will want to check
the body of the article to see if all parts of the name are capitalized in running
prose. For example, The Strand is the title of the article about the Strand. Commonly mentioned places include the
Strand, Cheapside, St. Paul’s Churchyard, Guildhall, Paulʼs Chain, and Baynard Castle.
Search all locations in MoEML by clicking here and using Ctrl + F to search the text on the page.
In the case of verse, the meter should be preserved. Verse is usually present only
in speeches or songs, but there are some cases where it appears elsewhere (Taylorʼs
dedicatory epistle, which is a poem, for instance).
Pay attention to meter when modernizing spellings. Use accent marks (i.e., è) to indicate
a pronounced syllable. Preserve contractions that are metrically necessary.
Scan prose speeches to determine whether or not they were meant to be verse but have
been forced into prose by a compositor needing space. (Our preliminary sense is that
the pageant books were generally so short and relatively well printed that there is
not likely to be much verse set as prose.)
The punctuation in early modern printed texts is not necessarily authorial.
Whether the punctuation is authorial or compositorial, it was a guide to the voice
as well as a guide to sense.
Walter Ong and Bruce Smith use the terms physiological and syntactical to describe early modern and modern punctuation systems (Jenstad, Lichtenfels, and Magnusson 21; Smith 239-242). You might consult various other sources on punctuation and original pronunciation
(Hope; Crewe; Lodewyck).
Richard Mulcasterʼs Elementary (1582) demonstrates the dual function of punctuation characters:
Name of character
Character
Written function
Rhetorical cue
Mulcasterʼs example
comma
,
in writing followeth som small branch of the sentence
in reading warneth vs to rest there, and to help our breth a litle
Who so shall spare the rod, shall spill the childe.
colon
:
in writing followeth som full branch, or half the sentence
no cue given
Tho the daie be long: yet at last commeth euensong.
period
.
in writing followeth a perfit sentence
in reading warneth vs to rest there, and to help our breth at full
The fear of God is the beginning of wisdom.
parenthesis
( )
in writing enclose som perfit branch, as not mere impertinent, so not fullie concident
to the sentence, which it breaketh
in reading warneth vs, that the words inclosed by them, ar to be pronounced with a
lower & quikker voice, then the words either before or after them
Bycause we ar not able to withstand the assalt of tentation (such is the frailtie
of our natur) therefor we praie God, that our infirmitie be not put the hasard of
that triall.
interrogation
?
both in writing & reading teacheth vs, that a question is asked there, where it is
set
both in writing & reading teacheth vs, that a question is asked there, where it is
set
Who taught the popiniaye to speak? the bellie.
All quotations in the chart above are taken from sig. T3r or sig. T3v.
There is a lot of scholarship from Anglo-American bibliography about compositors and
their punctuation habits. Thanks to Peter Blayneyʼs work on Nicholas Okes and the First Quartoof King Lear (Blayney), we know a lot about Nicholas Okesʼ print shop. When parsing early modern punctuation,
it is helpful to know what pieces of type Okes (and later his son John Okes) had in
the shopʼs various founts of type.
¶ Editorial Principles for Modernizing Punctuation
If we modernize punctuation, we usually have to choose between punctuating for the
voice or punctuating for modern reading sense. We can avoid the choice altogether
by retaining the original punctuation, but there are reasons to ignore this impulse:
Andrew Griffin offers a way to mitigate between these positions in his overview of
editing King Leir for Queenʼs Men Editions by offering diplomatic transcriptions and modern-spelling texts (Griffin). Given that our editions follow this pattern with the semi-diplomatic transcriptions
MoEML has already prepared and with your commissioned modern editions, we do not need
to retain the punctuation from the early texts simply for the sake of retaining it.
Our readers will have access to open-access digital surrogates as well as the semi-diplomatic
transcriptions. (See Neville for commentary on our role as editors when digital surrogates accompany our texts.)
Bevington notes that editorsʼ propensity to adhere to the punctuation of the original
text is often based on a spurious assumption that punctuation is authorial. In fact,
punctuation is often the result of scribal and compositorial interference rather than
the dramatistʼs own flair or intentions (Bevington 143).
¶ Potential Reasons to Preserve Original Punctuation
There are also reasons why we might be inclined to preserve the original punctuation:
Authorial habit: Some of the punctuation may indeed be authorial and substantive (i.e.,
having semantic significance). For instance, Dekker has a penchant for parentheses
(Taylor 256). You as editor must make a decision whether this habit represents something semantically
significant and/or worth preserving as a marker of style, or whether the ungrammatical
nature of many of these parentheses (by modern standards) risks confusing the reader.
Similar issues might come up with other pageant-writers, such as Middleton who frequently
ends sentences in his manuscripts with nonsensical question marks or exclamation marks
that then end up in early printed texts. In their edition of Londonʼs Tempe, Mark has chosen to omit the majority of these parentheses; however, their textual
introduction will note Dekkerʼs habit, explain the editorial omissions, and point
to the semi-diplomatic transcription.
Performance: You may also want to consider performance practices, which may incline
you to preserve the original punctuation in some or all instances. In editing Shakespeare,
some editors punctuate in ways that are designed to guide the modern actorʼs voice,
occasionally even working with actors to test options (Wells 34). The pageant books are records of performance with some script-like features (speeches,
speech prefixes); we donʼt know if the punctuation in the speeches has any relationship
to actual delivery, but it might be worth testing the punctuation using Mulcasterʼs
prescriptions.
Generally, you want to punctuate in such as way as to achieve grammatically correct
utterances by modern standards. Sometimes, a passage is like a tangled chain and your work is to know the stop and put it in the right place (MND 5.1). You want to:
Produce independent clauses.
Demarcate dependent clauses from independent clauses.
Put the period in the right place.
The following passage from Londonʼs Jus Honorarium (1631) contains punctuation that produces sentence fragments by modern standards.
Mark has repunctuated in order to show the modifying clause in the middle of an independent
clause.
From the Huntington Library copy of Heywood’s London’s Jus Honorarium, as scanned for EEB and digitized for EEBO.
Modernize as: into by descent. For you, whose goodness hath made you thus great, I make my affectionate
presentment of this annual celebration,
The following list explains practice for specific punctuation:
Semicolons: Be judicious with commas and sparing with semicolons, colons, and exclamation
marks (Wells 34). Do not add semicolons that are not already in the early printed text. You may wish
to retain those few semicolons that do appear in the early printed text, but you might
equally well convert those semicolons to periods. Semicolons functioning as modern
commas must be converted to commas.
Colons: Use colons to introduce lists or elaborations.
From Dekker’s Troia-Nova Triumphans. Image kindly supplied by the Chapin Library.
Modernize as:
The Lord Mayor and companies being landed, the first device, which is presented to
him on the shore, stands ready to receive him at the end of Paulʼs Chain (on the south
side the church) and this it is: A sea-chariot, artificially made, proper for a god
of the sea to sit in, ships dancing round about it, with
Exclamation marks: Use exclamation marks only for exclamations and expostulations.
Commas: Use commas judiciously and sparingly. Use commas to offset long modifying
clauses. Short modifying clauses do not necessarily need commas. Use serial commas
between all items in a list, including the final two. (The serial comma is the punctuation
mark formerly known as the Oxford comma.)
Question marks: Move question marks to the place where they would appear in modern
texts.
Whatever approach you take to punctuation should be appropriate to your author and
printer. Your practice should be consistent throughout your edition. Document and
justify your editorial approach in your Textual Introduction.
Note: These instructions have been simplified (2022-06-24).
Editions of dramatic texts conventionally have an editorial list of roles (Dramatis Personae, Character List). After our long labours on the semi-diplomatic transcriptions (and
many interesting conversations with our RAs about tagging persons), we have decided
to make a list of all speaking and non-speaking characters.
If you are preparing a .docx, .odt, or GoogleDocs file, please include two lists of
characters. The first list is for speaking characters, and the second for figures
represented in the pageants. If your pageant book seems to call for a third list of
people participating in the show (such as the mayor), talk it over with Mark or Janelle.
We do not want to require this third list because some pageant books are silent about
the participants in the procession.
Include a brief note about the character, figure, or person if it seems appropriate
to do so for our readership. The note should be specific to your show and should be
the sort of information that you would want to see in a list of participants. Some
examples follow:
Name of person
Note (specific to this pageant)
St. Catharine
Patron saint of the Haberdashers.
Time
The guide throughout the show.
Shepherd
Icon of perfect governance as well as a gatherer of wool, connecting him with the
Drapers.
MoEMLʼs site-wide databases mean that there will be two broad types of annotations:
Edition-specific annotations that will be unique to your edition. They will live within the XML files that make up your edition.
Entity tagging to which one or more of us will contribute and to which multiple editions
will link. These entities will live within the MoEML and LEMDO shared databases (especially the MoEML Placeography and
the LEMDO Prosopography).
LEMDO allows us to make seven types of annotations. We indicate here whether they
are required or optional for MoMS editors and how we would like you to take advantage
of these annotation types:
Glosses (required): Offer a single-word or short phrase annotation that aim to make
early modern terms or challenging phrases comprehensible to the undergraduate reader.
Lexical annotations (optional): If you wish, you may offer extended discussion of
definitions and usage, supported with citations from the OED, Lexicons of Early Modern English, and/or STC texts.
Commentary annotations (required): Include anything you think a reader needs to understand
about the history, context, intertextuality, or cultural meaning(s) of the show. These
notes can be as long as you deem necessary. If you find yourself writing a very long
note, consider moving the discussion into your critical paratexts. You can link from
a commentary note to a longer discussion in your critical paratexts (thus having your
note and your essay too!).
Textual annotations (required): These notes differ from collation and variant notes
(see Horizontal Collation of Press Variants). You may want to use them to identify puns by pointing to the alternative meaning
of the word, indicate other relevant information regarding the state of the printed
pageant book and its composition, and/or address discrepancies between modern editions
more directly if there is a need to identify the plurality of possibilities underlying
a modernization.
Performance annotations (required): These notes are vital to the later creation of
the geospatial edition of the show. Anything in the pageant book that suggests how
the pageants were performed, plots the pageants, or indicates movement from one site
to the next needs to be identified so that this data can be gathered for the peripatetic
geospatial edition.
Lineation annotations (required): Comment on any departures in lineation from the
compositorial lines in your copy-text.
Pedagogical annotations (optional): Signal pedagogical opportunities for an educator
and suggest ways that teachers might develop the teachable moments in the text. We
are making these notes optional because we recognize that not every editor will have
had the opportunity to teach their pageant book. We hope our editions will facilitate
teaching, and thereby begin to generate teaching ideas. If you do not write pedagogical
notes for your pageant book, other people (Mark, Janelle, other editors, people not
currently involved in our anthology, or even you at a later stage of your career)
may write notes later and link them to your text.
Document annotations as you usually would (footnotes), but begin with gloss, lexical,
critical, textual, performance, pedagogical, or lineation in bolded text at the outset
so that an encoder knows what type of annotation you are providing.
We will follow LEMDO practice in creating TEI-XML annotations in Oxygen. Those guidelines
can be found on the LEMDO site. Follow the links from the MoMS Quickstart link.
Historical people involved in the creation of the show and book, such as pageant writers,
artificers, printers.
Historical people mentioned in the book.
Organizations, such as livery companies.
Primary and secondary sources.
All of these places, historical people, organizations, and sources—called entities
in the dataverse—are stored either in MoEMLʼs or in LEMDO’s underlying databases.
To tag entities, you will need to find their xml:id in either MoEML (for places, certain
types of people, and certain types of organizations) or LEMDO (for everything else).
You must consult the build servers (MoEML-alpha and LEMDO-dev), which are the only
places you will be able to take advantage of the hourly/daily changes to MoEMLʼs and
LEMDO’s underlying databases. You will find links to the relevant build server pages
from the MoMS Quickstart page.
Find the xml:id of a MoEML place entity (a mol:id):
Go to the MoEML A-Z Index. Give this page a minute to load. Itʼs very long!
Search the page using Ctrl + F. (Do not use the MoEML search function; it does not work—by design—on the build server.)
Make sure you have the correct mol:id by clicking on the mol:id and reading what the
page says. The content of that page will be the annotation that pops up when readers
click on the tagged entity.
When London ("LOND5") and England ("ENGL2") show up multiple times in a document/text, tag the first instance of each and leave
all other occurrences untagged.
¶ Historical People: Mayors, Sheriffs, and Aldermen
Find the mol:id from MoEML’s PERS1 database using the link from the MoMS Quickstart.
¶ Historical People (except Mayors, Sheriffs, and Aldermen)
Find the xml:id from LEMDO’s PROS1 database (the Prosopography).
You are welcome to suggest revisions to the information about an entity, or to submit
new entities.
If you would like to add information to a MoEML place, person, or organization, send
your proposed new text (with sources if/as necessary) to the MoEML team via email
at london@uvic.ca. MoEML will give you credit for your contribution to the site-wide databases by adding
a
@resp attribute to your entry.
If you would like to add information to a LEMDO person, organization, or source, send
your proposed new text (with sources if/as necessary) to the LEMDO team via email
at lemdo@uvic.ca. LEMDO will give you credit for your contribution to the site-wide databases by adding
a
@resp attribute to your entry.
The information that accompanies an entity in a site-wide database is necessarily
generic. Use edition-level annotations to discuss things that appear in only your
text. If Time in your show wears a gold ring, and it is not mentioned in any other
shows, comment on this ring in a commentary note specific to your edition of the show.
Likewise, if you want to talk about how Time functions in your show (as opposed to
in other shows), write a note for your own edition.
Critical paratexts can be engagingly lively or dreadfully dull. Letʼs aim for the
former. The texts we are editing are often dismissed as unsophisticated poor cousins
of the public stage offerings. But we are editing them because, by various paths,
we have come to appreciate their artistry, impact, and/or historical significance.
We would like to balance rigorous scholarship with an invitation to do more with these
shows.
All the shows have a story: Triumphs of Truth is the most expensive; the Goldsmiths smoothed over internal company tensions with
their show; the Drapers actively resisted the translation of mayor-elect Edward Barkham
from the Leathersellers in 1621. As Mark has argued, the shows as a whole are the
Triumphs of Repetition (Kaethler), but you will want to offer a nuanced reading of the context and form of your own
show. To that end, you may want to begin your critical paratexts (whether they take
the form of one long document or several linked documents) with opening statements
about why and how your show matters.
For models of the genre, see J. Caitlin Finlaysonʼs introductions to the Malone Society
facsimiles of the Squire and Taylor shows. See especially 77-78 and 113-114, where
Finlayson articulates reasons for giving these shows more critical attention (Finlayson).
After your opening statements or in a separate document, provide an overview of previous
scholarship on the show. Offer new insights as well. Readings of gender and race,
geohumanities analyses, and comparisons to other shows by the same author and other
shows for the same company are particularly welcome. Even within discussion of commonalities
and features repeated across the corpus, keep the focus on your show. Mention ideas
for broader readings to Mark and Janelle so that they can be developed into larger
essays for the MoEML critical companion and/or a prospective Oxford Handbook.
Describe any contemporary events at the company, civic, national, and international
levels that provide a context for your pageant book. Frequent contexts are military
endeavours, naval allusions, trade relations, civic developments, and city-crown politics.
Discuss the mayor, his relationship to the sponsoring livery company, and the trade
practiced by the sponsoring company.
Consult the livery company records for the year of your show. The records of performance
preparation are transcribed in Robertson and Gordon 1954 and Robertson and Gordon 1959/1960. But the records include much more than records of performance preparation. They
also offer a rich picture of the companyʼs business and internal politics, as well
as an often-colourful glimpse into the daily workings of the craft. If you are able
to get to London, consider reading the complete company records for the year of your
show. Most of the records are housed at the Guildhall Library (although some companies retain their own archives). If you have time and inclination
to transcribe the records or portions thereof, we will encode them for you. Take photographs
of the passages/pages you transcribe so that we can verify the transcription.
Stationersʼ Register entry, if there is one. Consult Arberʼs transcriptions and the
digital surrogates of the registers in the Literary Print Culture database.
Printing of the pageant book.
Extant copies and locations thereof. Note that not all copies are listed in the ESTC and some that are listed are printed facsimiles or EEBO entries rather than copies of the pageant book. Consult Mark, as he has recently
done a complete inventory of pageant-book locations in consultation with Janelle and
Tracey.
Variants between the extant copies.
Other publications (e.g., the two publications of Chruso-Thriambos and of Triumphs of Truth).
Other modern editions.
Your findings concerning the printed pageant book.
If you have made new editorial discoveries with respect to variants amongst extant
copies (likely in cases where copies have been found that previous editors overlooked
or did not know existed) or you have made new findings regarding the state, composition,
printing, publication, circulation, or any other relevant matter concerning the text,
then this section may warrant its own separate essay. Otherwise, provide a brief overview
of how many copies survive, previous editions that have been published, if the book
survives in a fragmented state (as with Mundayʼs Camp-Bell, for instance), any information about the printing process, and an overview of any
significant editorial decisions you make with respect to extant copies of the show.
To our knowledge, there are only two instances (1605 and 2021) where there was any
attempt to repeat part of the performance. If you do discover (or produce!) later
performances, let us know. For some information about Triumph 1621 (performed in 2021), see The Beyond Shakespeare Company and the recording of the event.
Mayoral pageant books are not scripts for performance. As Finlayson notes, the printed books are accounts of an unrepeatable civic occasion, with little modern performance potential (Finlayson 83). However, we can experiment with the performative dimensions of the show. You might
do a reading, have a professional actor read the speeches, or have a singer perform
the songs. The speeches were the only portions intended to be spoken (whether or not
they were actually spoken on the day).1 Any such experiments will be of great interest to all of us.
For one experiment, see Scott Trudellʼs essay on The Sounds of Pageantry (Trudell). Trudell commissioned Marylandʼs Poet Laureate Stanley Plumly to read the Cyclopsʼ
song from Londonʼs Tempe (https://mapoflondon.uvic.ca/docs/plumly_smiths_song.mp3).
If you have access to recording technologies (professional audio-visual equipment)
and are inclined to collaborate with professional actors and/or theatrical practitioners,
we will support multi-media in the project, properly crediting all parties.
In the final years of the grant, Mark and Janelle intend to create peripatetic, geospatial
editions of the shows. Your editorial work will make it possible for MoEML to map
the processions, stack pageants virtually by place of performance, and use records
to reconstruct lost elements of the shows.
Some portions of the printed book will provide details of performance and location,
as, for example,
when Dekker clarifies on the final sheet of Troia-Nova Triumphans that the water pageants he describes earlier did not actually
occur. Livery company records and accounts from those who saw the show help us reconstruct
and
interpolate missing sonic, spectacular, meteorological, and spatial elements of the
shows. Such
resources will not enable a perfect edition or recreation of the event, being fragments
or records
from a single vantage point; however, we can offer an adumbration of the performance
event. We
will be very grateful for any notes and insights you offer, especially transcriptions
from the livery
company records.
Most immediately, we will be drawing on the performance notes that you add to your
edition. In
most cases, your performance notes will be based on close readings of the text and
on external
records and accounts anyway. Where you draw on records, please consider transcribing
the entire
record for publication on MoEML.
Any time you make a surmise or discovery about the location of a pageant or the route,
record it as a
performance annotation. If there is anything unusual or particularly significant about
that location in
that given year (such as when the New River conduit was created in 1613), mention
it in your
performance annotation. These annotations will be crucial guides when we build the
peripatetic,
geospatial editions.
We have already assigned authority names to the pageant books, based on the Short Title Catalogue and our own reading of the title pages. They are all listed on the build server:
https://mapoflondon.uvic.ca/mdtPrimarySourceLibraryMayoral.htm. Use these names when you refer to your own and to other pageant books.
As editor, you may well want to make a case for a different authority name for your
own pageant book. If you do, please confer with Mark and Janelle. We will make a global
change across the site and inform the other editors if we decide to alter the current
authority name of the pageant book.
To refer to the show as a whole, it is acceptable to use the title of the pageant
book (in keeping with past critical practice), provided your prose supplies the necessary
context. If you want to draw a distinction between the show and the book, use the
phrasing the 1612 show.
All critical apparatus must conform to the MoEML Guide to Editorial Style. (Note that the modern-spelling text has its own unique criteria, outlined above.)
Use down style capitalization (see Einsohn 151) except when quoting or transcribing. Examples:
MoEMLʼs citation practice is loosely based on MLA 7, with some adoption of Chicago
rules where MLA is silent. Where MLA and Chicago practices are not best practices
for digital environments, MoEML follows its own conventions. Here are a few highlights
from the MoEML Guide to Editorial Style:
Give all the digits in page numbers (242-258) and dates (2018-2019).
Always include DOIs for digital objects that have them.
When citing early modern texts, always include the printer and the publisher (when
known).
Include URLs for digital resources.
Every citation must be complete and self-contained. Never use Ibid or any wording
or formatting (e.g., three dashes) that depends on the reader having read a previous
note or that depends on the presence of a preceding entry.
We include the authorʼs name in parenthetical citations, even if the authorʼs name
is obvious from context or mentioned in the prose.
When in doubt, ask Janelle and cc Mark. We may connect you directly with one of the
MoEML RAs, a wonderful team of bright, keen students who are currently revising the
MoEML Bibliography and the MoEML Praxis documentation.
If items you are citing are already in the Bibliography, the MoEML team would be glad
to have you check them for accuracy.
If you need to add items to the MoEML Bibliography, send a list to london@uvic.ca. The MoEML RAs will add them to the BIBL1.xml file for you and send you back a list
of mol:ids to cite.
All of the texts and critical paratexts will ultimately be encoded in LEMDOʼs customization
of TEI-XML P5. TEI is an XML-compliant markup language and community standard developed by the Text Encoding Initiative. TEI-XML is widely used for preparing digital editions. LEMDO has its own schema, which is a set of rules about which TEI elements we use and how to use them in the
context of MoEML. We have our own custom taxonomies for document types, people types,
place types, and so on.
If you would like to learn more about text encoding, the TEI offers a list of online resources and tutorials. Kevin S. Hawkinsʼ Gentle Introduction is a good place to start (Hawkins).
If you choose to edit and encode your text (as we hope you will), we have resources and tools to help you learn. If
you choose not to encode your text, the onus is on you to provide MoEMLʼs encoders
(all of them student RAs) with detailed instructions.
Whatʼs the difference between editing and encoding? There is actually a lot of overlap
between editing and encoding.
Editing
Encoding
is a critical act requiring deep understanding of the text
is a critical act requiring deep understanding of the text
interprets text
interprets text
produces a standardized text
wraps that standardized text in descriptive tags (tags are contained in pointy brackets)
produces a human-readable text
produces a text that is readable by humans and computers
often contains implicit encoding (e.g., italics)
says what something is (a title, a foreign word, a semantically-significant instance
of emphasis) and relies on processing to render those things as italic (or whatever
we decide)
uses carriage returns and indentation to indicate lines of verse
wraps
<l>
tags around lines of verse in order to say explicitly that a string of characters
is a line of verse
might use modern print conventions to reproduce some aspects of the witnesses
might use CSS to describe the features of the witnesses
relies on human readersʼ knowledge of print interface conventions to make connections
between font/placement of paratexts and meaning (e.g., recognizing footnotes because
they are the bottom of the page)
allows for multiple interfaces that might suppress, move, or present paratexts in
different ways
modifies language
codifies language
annotates in footnotes or endnotes
annotates within the text (using
<note>
element or anchors)
relies upon general knowledge or an earlier annotation/gloss to instruct the reader
on a subject
directs the user repeatedly back to the gloss through visible hyperlinking and underlying
encoding (xml:id)
captures information concerning the physical object it is editing in the critical
introduction; the date it was created, publisher, parties involved, et cetera., in the front matter; and the history of transmission in the introduction and/or
appendices
includes all relevant information pertaining to the object and its encoding in the
metadata
You will have three different production technologies at your disposal:
Word-processing applications. Microsoft Word produces .docx files. Open Office and Libre Office produce .odt files.
Google Drive. Use Google Drive to create Google Docs and share them with us. (Note
that we will not edit .docx and .odt files that you upload to Google Drive. If you use Google Drive to
share those types of files with us, we will download them, work with them in our own word-processing
applications, and send them back to you as email attachments, which means we might
not see any updates you make in Google Drive after we download the file.)
XML editing applications:
Oxygen XML Editor: We support and highly recommend Oxygen, an application that you download and install
on your computer. We are building plug-ins specifically for Oxygen that will allow
you to do your own encoding without having to see the pointy brackets if you donʼt
want to. You do not need to be proficient in XML or have any background to use Oxygen.
You can get a 30-day free trial of Oxygen to test the waters.
The Oxygen application has multiple interfaces (ways of looking at your XML file).
One interface allows you to highlight text and select tags from drop-down menus without
having to see the pointy brackets; this is called Author Mode in Oxygen. In this interface, the pointy brackets will be behind the scenes, so to speak, but youʼll be able to peek at them whenever you want to via the XML
view/interface (Editor Mode in Oxygen).
For what itʼs worth, everyone on the MoEML team prefers the Editor Mode. Once you
get the hang of encoding, youʼll want to see your tags and manipulate them yourself.
Ideally all of you will choose to prepare your modern texts as XML files, in the Oxygen
editing environment. You will be able to validate (i.e., check) your encoding with
the MoEML schema as you work. The schema offers a lot of hand-holding in the form of tips, reminders, explanations, and corrections as you work.
We will supply you with an XML file of the semi-diplomatic transcription that has
been slightly modernized (long s programmatically replaced with short s, for example)
and retains tags to place names (e.g., Cheapside) and characters (e.g., Janus) on
the MoEML site. You will be able to work with this file in Oxygen.
The MoEML team has left XML comments for you in the file. XML comments are readable
by humans, but ignored by the computer processor. These comments contain information
about other copies, observations we have made along the way, questions we raised among
ourselves but deferred to you, and notes about any transcription decisions that you
will want to confirm or overturn. Some of these comments are ready to be formalized
as commentary notes, if you see value therein.
Annotations and collations are keyed to the XML file of the modern-spelling text.
You can record them as XML comments in your XML file; You can also wait until the
MoEML team has processed the XML file of your modern-spelling text (i.e., checked
your tagging) and then create your collations and annotations XML files.
What if I don’t know how to encode but I want to learn? Great! Encoding really sharpens your thinking about the nature of text in general
and of the text you are encoding in particular. Everyone who has ever encoded a text
(including our undergraduate RAs at MoEML) bumps up against editorial challenges all
the time. If you can edit and encode, then you will be prompted by the schema to identify the structural components
of the text, tag entities, and add notes.
What if I don’t want to learn or don’t have time? Thatʼs okay! You can submit .docx or .odt files (or create a GoogleDocs file within
Drive) with careful and detailed instructions for the encoders. We can accommodate
some editors through our grant and provide trained MoEML encoders to any editors who
have the funds to pay.
We budgeted money in our current SSHRC grant (2018-2023) to have RAs fully encode
seven of the thirty-one modern editions (or to partially encode more than seven editions).
Mark and Janelle are adept in TEI and will try to stretch our SSHRC funds as far as
possible using our own labour and time. We will have to pass some work to student
encoders, however, and they have to be paid at UVic research assistant rates. Every
bit of tagging you can do yourself frees up grant money for other editors and other
grant-related activities.
If you can come up with funds from your own grant or from your institution, we are
happy to hire encoders at UVic to work directly with you at any point.
Our SSHRC grant will fund us through to the end of March 2023. Anything submitted
after that point must be encoded in TEI already, or submitted with enough funds for
us to do the encoding for you (about $1000 per edition, we estimate).
You can research previous scholarship, historical records, and other materials pertinent
to your show(s). In preparing this portion and acquiring a thorough understanding
of your show(s), you will want to read a generous selection from or all of the mayoral
shows from 1585-1639, particularly those by your author and/or for your livery company.
If we are already able to provide you with a high-resolution scan, you can consult
it in tandem with editions printed after 1639. If there are other extant copies, work
with us to order scans of them. We request that you not make individual requests to
libraries for scans, or at least that you consult with us first about the approach
most likely to benefit the anthology as a whole. We are already negotiating with all
the libraries on behalf of all of us. Emails from individuals might confuse the process.
Arber, Edward, ed. A Transcript of the Registers of the
Company of Stationers of London, 1554-1640
A.D. 3 vols. London,
1875.
Bergeron, David M.Stuart Civic Pageants and Textual
Performance.Renaissance
Quarterly 51.1 (1998):
163-183.
Bevington, David. Modern Spelling: The Hard Choices.Textual Performances: The Modern
Reproduction of Shakespeareʼs Drama. Ed.
Lukas Erne and Margaret
Jane Kidnie.
Cambridge: Cambridge
University Press, 2004. 143-157.
Blayney, Peter W.M.The Texts of King Lear and their Origins:
Volume 1 Nicholas Okes and the First Quarto.
Cambridge: Cambridge
University Press, 1982.
Finlayson, J. Caitlin, ed.
Two London Lord Mayorʼs Shows by
John Squire (1620) and John Taylor (1634).
Collections XVII.
Oxford: Malone
Society, 2015.
75-110.
Gadd, Ian. The Use and Misuse of Early
English Books Online.Literature Compass 6
(2009): 680-692. DOI 10.1111/j.1741-4113.2009.00632.x.
Griffin, Andrew. Text, Performance, and
Multidisciplinarity: On a digital edition of King Leir.Shakespeareʼs Language in Digital Media:
Old Words, New Tools. Ed. Janelle
Jenstad, Mark Kaethler,
and Jennifer Roberts-Smith. New
York: Routledge,
2018. 84-104.
Hill, Tracey. Anthony Munday and Civic Culture: Theatre, History,
and Power in Early Modern London, 1580-
1633. Manchester:
Manchester University Press,
2004.
Hill, Tracey. Pageantry and Power.
Manchester:
Manchester University Press,
2010.
Hill, Tracey. Owners and Collectors of the Printed Books of the
Early Modern Lord Mayorsʼ Shows.Library and Information History
30.3 (2014): 151-171. doi: 10.1179/1758348914Z.
Jenstad, Janelle,
Peter Lichtenfels, and Lynn
Magnusson. Text and
Voice.Shakespeare Language
and the Stage. Ed. Lynette
Hunter and Peter
Lichtenfels. London:
Arden, 2005.
10-37.
Johnson, Paula. Jacobean Ephemera and the Immortal
Word.Renaissance
Drama 8 (1977): 51-71.
Kaethler, Mark. The Triumphs of Repetition: Living Places
in Early Modern Mayoral Shows.The London Journal 47.1 (2022):
68-84. doi: 10.1080/03058034.2021.1991605.
Kichuk, Diana. Metamorphosis: Remediation in Early English Books Online
(EEBO).Literary and Linguistic Computing
22.3 (2007): 291-303. DOI 10.1093/llc/fqm018.
Lancashire, Ian, and
Elisa Tersigni. Shakespeareʼs hard words, and our hard
senses.Shakespeareʼs
Language in Digital Media: Old Words, New
Tools. Ed. Janelle Jenstad,
Mark Kaethler, and Jennifer
Roberts-Smith. New
York: Routledge,
2018. 27-46.
Lodewyck, Laura A.Look with Thine Ears: Puns,
Wordplay, and Original Pronunciation in
Performance.Shakespeare
Bulletin 31.1 (2013):
41-61.
Mandell, Laura. Breaking the Book: Print Humanities in the
Digital Age. Malden:
Wiley-Blackwell,
2015.
Mulcaster, Richard. The First Part of the Alimentary Which
Entreated Chiefly of the Right Writing of our
English Tonge.London:
Thomas Vautroullier,
1582. STC 18250.
Neville, Sarah. Rethinking Scholarly Commentary in the Age
of Google: Some Preliminary Meditations on Digital
Editions.Textual
Cultures 12.1 (2019): 1-26.
DOI: 10.14434/textual.v12i1.27152.
OED: The Oxford English
Dictionary. 2nd ed.
Oxford: Oxford
UP, 1989.
Paster, Gail Kern. The Idea of the City in the Age of
Shakespeare. Athens:
University of Georgia Press,
1986.
Robertson, Jean, and
D.J. Gordon, eds. Collections, Vol. III: A Calendar of Dramatic
Records in the Books of the Livery Companies of
London, 1485–1640.
Oxford: Malone
Society, 1954.
Robertson, Jean, and
D.J. Gordon, eds. Collections, Vol. V: A Calendar of Dramatic Records
in the Books of the London Clothworkers’ Company
(Addenda to Collections III).
Oxford: Malone
Society, 1959-1960.
Smith, Bruce R.The Acoustic World of Early Modern
England. Chicago:
Chicago UP,
1999. WSB aaa979.
Steggle, Matthew. The Cruces of Measure for
Measure and EEBO-TCP.The Review of English Studies
65.270 (2014): 439-455.
Taylor, Gary. Thomas Middleton, The Spanish Gypsy, and
Collaborative Authorship.Words that Count: Essays on Early Modern Authorship
in Honor of MacDonald P. Jackson. Ed.
Brian Boyd.
Newark: University of
Delaware Press, 2004.
241-273.
Taylor, Gary and John
Lavagnino, eds. Thomas
Middleton: The Collected Works.
Oxford: Oxford
University Press, 2007.
Wayne, Valerie. Beyond the OED loop: Digital resources and
the Arden 3 Cymbeline.Shakespeareʼs Language in Digital Media: Old Words,
New Tools. Ed. Janelle
Jenstad, Mark Kaethler,
and Jennifer Roberts-Smith. New
York: Routledge,
2018. 13-26.
Wells, Stanley W. and
Gary Taylor. Modernizing Shakespeare’s Spelling: With Three
Studies of the Text of Henry
V. Oxford
Shakespeare Studies.
Oxford: Oxford
UP, 1979. WSB as264.
Wells, Stanley. Old and Modern Spelling.Re-Editing Shakespeare for the Modern
Reader. Oxford:
Clarendon Press,
1984. 5-31.
We have adapted this list from the forthcoming Digital Renaissance Editions/New Internet Shakespeare Editions Editorial Guidelines, which were in turn
based on the Internet Shakespeare Editions Editorial Guidelines, which were in turn developed from
those prepared by David Bevington for the Revels Plays.
Reading
Modernize or retain as follows
a (meaning he)
ʼa
accompt
account
anʼt (meaning “if it”)
anʼt (but add a gloss)
a piece
apiece
arch-bishop
archbishop
burthen
burden
chymical
chemical
curtsey
curtsy
dazle
dazzle
diamant(e)
diamond
enow
enough
lanthorn
lantern
leftenant
lieutenant
musicke
music
neer (meaning “never”)
neʼer
onely
only
oʼre
oʼer
Rumor (a character in several shows)
Rumour
shewes
shows
shipwrack
shipwreck
toʼth
to thʼ
Tryumphes
triumphs
Vertue
Virtue
Visecount
viscount (capitalize if followed by a proper name)
Notes
1.Note that we can never assume that a pageant bookʼs speeches were performed as written
(or were performed at all, in some cases). Likewise, as Gail Kern Paster notes, the
acoustics would have varied depending upon where a member of the crowd or train was
situated (Paster 139).↑
Prosopography
Amogha Lakshmi Halepuram Sridhar
Research Assistant, 2021-present. Amogha Lakshmi Halepuram Sridhar is a fourth-year
student at University of Victoria, studying English and History. Her research interests
include Early Modern Theatre and adaptations, water pageantry, decolonialist writing,
and Modernist poetry.
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.
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.
Mark Kaethler
Mark Kaethler is Department Chair, Arts, at Medicine Hat College; Assistant Director,
Mayoral Shows, with MoEML; and Assistant Director for LEMDO. They are the author of
Thomas Middleton and the Plural Politics of Jacobean Drama (De Gruyter, 2021) and a co-editor with Jennifer Roberts-Smith and Janelle Jenstad
of Shakespeare’s Language in Digital Media: Old Words, New Tools (Routledge, 2018). Their work has appeared in The London Journal, Early Theatre, Literature Compass, Digital Studies/Le Champe Numérique, and Journal of the Text Encoding Initiative, as well as in several edited collections.
Mark’s research interests include early modern literature’s intersections with politics;
digital media and humanities; textual editing; game studies; cognitive science; and
ecocriticism.
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 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.
Rylyn Christensen
Rylyn Christensen is an English major at the University of Victoria.
Bibliography
Alexander, W.J.Heywoodʼs Dramatic Works. 6 vols.
London: John
Pearson, 1874.
Arber, Edward, ed. A Transcript of the Registers of the
Company of Stationers of London, 1554-1640
A.D. 3 vols. London,
1875.
Bergeron, David M.English Civic Pageantry, 1558-1642.
Tucson, AZ: Medieval
and Renaissance Texts and Studies,
2003.
Bergeron, David M.Pageants and Entertainments of Anthony
Munday: A Critical Edition. New
York: Garland,
1985.
Bergeron, David M.Stuart Civic Pageants and Textual
Performance.Renaissance
Quarterly 51.1 (1998):
163-183.
Bergeron, David M.Thomas Heywoodʼs Pageants: A Critical
Edition. New York:
Garland,
1986.
Bevington, David. Modern Spelling: The Hard Choices.Textual Performances: The Modern
Reproduction of Shakespeareʼs Drama. Ed.
Lukas Erne and Margaret
Jane Kidnie.
Cambridge: Cambridge
University Press, 2004. 143-157.
Blayney, Peter W.M.The Texts of King Lear and their Origins:
Volume 1 Nicholas Okes and the First Quarto.
Cambridge: Cambridge
University Press, 1982.
Bourus, Terri, ed. A Midsummer Nightʼs Dream. By
William Shakespeare. The New Oxford Shakespeare. Ed.
Gary Taylor, John
Jowett, Terri Bourus, and
Gabriel Egan.
Oxford: Oxford
UP, 2016. 1083-1134. WSB
aaag2304.
Bowers, Fredson, ed. The Dramatic Works of Thomas
Dekker, 4 vols. London:
Cambridge University Press,
1964.
Bullen, Arthur Henry, ed.
The Works of Thomas
Middleton. 8 vols.
London: J.C.
Nimno, 1885.
CED: The Canadian English Dictionary. 2nd ed. Ed. Katherine Barber.
Oxford: Oxford
UP, 2004.
Einsohn, Amy. The Copyeditorʼs Handbook. 7th ed.
Berkeley: U of
California P, 2011.
Fairholt, Frederick W., ed.
Lord Mayorsʼ Pageants: Being
Collections Towards a History of These Annual
Celebrations. 2 vols. Percy
Society, 1843.
Finlayson, J. Caitlin, ed.
Two London Lord Mayorʼs Shows by
John Squire (1620) and John Taylor (1634).
Collections XVII.
Oxford: Malone
Society, 2015.
75-110.
Gadd, Ian. The Use and Misuse of Early
English Books Online.Literature Compass 6
(2009): 680-692. DOI 10.1111/j.1741-4113.2009.00632.x.
Griffin, Andrew. Text, Performance, and
Multidisciplinarity: On a digital edition of King Leir.Shakespeareʼs Language in Digital Media:
Old Words, New Tools. Ed. Janelle
Jenstad, Mark Kaethler,
and Jennifer Roberts-Smith. New
York: Routledge,
2018. 84-104.
Gunby, David, David
Carnegie, and MacDonald P.
Jackson, eds. The Works of
John Webster: An Old-Spelling Critical
Edition. 3 vols.
Cambridge: Cambridge
University Press, 2007.
Hazlitt, William Carew, ed.
The Dramatic Works of John
Webster. Vol. 3.
London: Reeves &
Turner, 1897.
Hill, Tracey. Anthony Munday and Civic Culture: Theatre, History,
and Power in Early Modern London, 1580-
1633. Manchester:
Manchester University Press,
2004.
Hill, Tracey. Owners and Collectors of the Printed Books of the
Early Modern Lord Mayorsʼ Shows.Library and Information History
30.3 (2014): 151-171. doi: 10.1179/1758348914Z.
Hill, Tracey. Pageantry and Power.
Manchester:
Manchester University Press,
2010.
Jenstad, Janelle,
Peter Lichtenfels, and Lynn
Magnusson. Text and
Voice.Shakespeare Language
and the Stage. Ed. Lynette
Hunter and Peter
Lichtenfels. London:
Arden, 2005.
10-37.
Johnson, Paula. Jacobean Ephemera and the Immortal
Word.Renaissance
Drama 8 (1977): 51-71.
Kaethler, Mark. The Triumphs of Repetition: Living Places
in Early Modern Mayoral Shows.The London Journal 47.1 (2022):
68-84. doi: 10.1080/03058034.2021.1991605.
Kichuk, Diana. Metamorphosis: Remediation in Early English Books Online
(EEBO).Literary and Linguistic Computing
22.3 (2007): 291-303. DOI 10.1093/llc/fqm018.
Kinney, Arthur F., ed. The
Triumphs of Re-United Britannia. By
Anthony Munday. Renaissance Drama: An Anthology of Plays and
Entertainments. 2nd ed.
Toronto:
Wiley,
2005.
Lancashire, Ian, and
Elisa Tersigni. Shakespeareʼs hard words, and our hard
senses.Shakespeareʼs
Language in Digital Media: Old Words, New
Tools. Ed. Janelle Jenstad,
Mark Kaethler, and Jennifer
Roberts-Smith. New
York: Routledge,
2018. 27-46.
Lodewyck, Laura A.Look with Thine Ears: Puns,
Wordplay, and Original Pronunciation in
Performance.Shakespeare
Bulletin 31.1 (2013):
41-61.
Lucas, F.L., ed. The Complete Works of John
Webster. London:
Chatto & Windus,
1927.
Mandell, Laura. Breaking the Book: Print Humanities in the
Digital Age. Malden:
Wiley-Blackwell,
2015.
Mulcaster, Richard. The First Part of the Alimentary Which
Entreated Chiefly of the Right Writing of our
English Tonge.London:
Thomas Vautroullier,
1582. STC 18250.
Neville, Sarah. Rethinking Scholarly Commentary in the Age
of Google: Some Preliminary Meditations on Digital
Editions.Textual
Cultures 12.1 (2019): 1-26.
DOI: 10.14434/textual.v12i1.27152.
OED: The Oxford English
Dictionary. 2nd ed.
Oxford: Oxford
UP, 1989.
Paster, Gail Kern. The Idea of the City in the Age of
Shakespeare. Athens:
University of Georgia Press,
1986.
Robertson, Jean, and
D.J. Gordon, eds. Collections, Vol. III: A Calendar of Dramatic
Records in the Books of the Livery Companies of
London, 1485–1640.
Oxford: Malone
Society, 1954.
Robertson, Jean, and
D.J. Gordon, eds. Collections, Vol. V: A Calendar of Dramatic Records
in the Books of the London Clothworkers’ Company
(Addenda to Collections III).
Oxford: Malone
Society, 1959-1960.
Sayle, R.T.D., ed. Lord Mayorsʼ Pageants of the Merchant
Taylorsʼ Company in the 15th, 16th, & 17th
Centuries. London:
The Eastern Press,
1931.
Smith, Bruce R.The Acoustic World of Early Modern
England. Chicago:
Chicago UP,
1999. WSB aaa979.
Steggle, Matthew. The Cruces of Measure for
Measure and EEBO-TCP.The Review of English Studies
65.270 (2014): 439-455.
Taylor, Gary and John
Lavagnino, eds. Thomas
Middleton and Early Modern Textual Culture: A
Companion to the Collected Works.
London: Oxford
University Press, 2007. WSB aau454.
Taylor, Gary and John
Lavagnino, eds. Thomas
Middleton: The Collected Works.
Oxford: Oxford
University Press, 2007.
Taylor, Gary. Thomas Middleton, The Spanish Gypsy, and
Collaborative Authorship.Words that Count: Essays on Early Modern Authorship
in Honor of MacDonald P. Jackson. Ed.
Brian Boyd.
Newark: University of
Delaware Press, 2004.
241-273.
Wayne, Valerie. Beyond the OED loop: Digital resources and
the Arden 3 Cymbeline.Shakespeareʼs Language in Digital Media: Old Words,
New Tools. Ed. Janelle
Jenstad, Mark Kaethler,
and Jennifer Roberts-Smith. New
York: Routledge,
2018. 13-26.
Wells, Stanley W. and
Gary Taylor. Modernizing Shakespeare’s Spelling: With Three
Studies of the Text of Henry
V. Oxford
Shakespeare Studies.
Oxford: Oxford
UP, 1979. WSB as264.
Wells, Stanley. Old and Modern Spelling.Re-Editing Shakespeare for the Modern
Reader. Oxford:
Clarendon Press,
1984. 5-31.
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.
MoEML Mayoral Shows (MOMS1)
The MoMS General Editors are Mark Kaethler and Janelle Jenstad. The team includes
SSHRC-funded research assistants. Peer review is coordinated by the General Editors
but conducted by other editors and external scholars.
Metadata
Authority title
MoMS Editorial Guidelines
Type of text
Documentation
Short title
Guidelines
Publisher
The Map of Early Modern London on the Linked Early Modern Drama Online Platform
Series
MoEML Mayoral Shows anthology
Source
These guidelines were written by Mark Kaethler and Janelle Jenstad. Circulated to the MoMS editors in July 2019. Encoded in 2021. Revised in 2022.
Editorial declaration
n/a
Edition
Released with MoEML Mayoral Shows 1.0
Encoding description
Encoded in TEI P5 according to the LEMDO Encoding Guidelines.
Document status
published
Licence/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, MoMS, and LEMDO in any subsequent use of the files and/or data;
(2) the content cannot be adapted or repurposed (except for quotations for the purposes
of academic review and citation); and (3) commercial uses are not permitted without
the knowledge and consent of MoMS, the editor, and LEMDO. This license allows for
pedagogical use of the critical paratexts in the classroom.
