Civitatis Amor: Annotations
Water-Bayly
Water Bailiff
Mr.
Master
loud sounding
Two words. Sounding instruments played loudly.
His majesty
Helpful to read as: To his majesty, … it seemed fittest
i.e., King James. The syntax is inverted in this sentence and
His majestyis in the dative case.
London. / Neptune!
In Q1,
Londonis on a separate line. This edition re-lineates all instances of these separations between character names and their first lines to turn character names into speech prefixes.
this
these
retained
thisfrom Q1 which is normal early modern grammar.
two rivers
i.e., Thamesis and Dee
(lord treasurer)
In previous editions, this and subsequent titles are separated by commas and semi-colons.
This edition opts for a more modern bracket.
middest
middle
Middle … Izord
Punctuation in the lists change throughout editorial history. Q1 uses commas to separate
the names. Nichols stylizes the list into three columns, one for each name. Dyce,
Bullen, and Bergeron use dashes to separate the names. This edition standardizes on
a modern colon to separate place names from person names.
other
others (plural)
say
A light fabric. (OED, 3rd ed. 1.a. n. .)
In this instance the fabric is red which is worth noting because say is
commonly green in colour.(OED, 3rd ed. 1.a. n..)
paty
Chiefly Heraldry. Of a cross: (formerly) having splayed ends (obsolete); (subsequently) having limbs which are almost triangular, being very narrow where they meet and widening out towards the extremities, so that the whole resembles a square.(OED, 3rd ed. pattée. adj.
Tho. Middleton.
Dyce and Bullen (who quotes Dyce) speculate, on the basis of Middleton’s name appearing
at the end of this section, that the following section was not written by Middleton
The Works of Thomas Middleton, vol. 5 p. 257 Civitatis Amor, vol. 7 p. 277.
purple robes
Purple is a significant colour because of sumptuary laws that only allowed certain
social classes to wear certain colours; in Elizabethan sumptuary laws, purple was
reserved for earls, knights of the garter, and people above that rank (Baldwin 228). Although the sumptuary laws were repealed in 1603 (Baldwin 248), they had a residual hold on peopleʼs social understandings.
pursuivants of arms
a junior heraldic officer attendant on a herald or nobleman(OED, 3rd ed. 1.a. n.)
uprising
getting out of bed
revested
to clothe, apparel, attire (literal and figurative) Also: to dress again, reclothe, esp. ritually or ceremonially.(OED, 3rd ed. 1.1.b. v.)
mantles
cloaks
arson
a saddle-bow; … either two curved wooden or metal pieces fixed to the front and rear of a saddle to give the rider greater stability. (Obsolete).(OED, 3rd ed. 1. n.)
style
To name or address with honorific titles; to honour with a title. (Obsolete).(OED, 3rd ed. 2. v.) The proclamation of the king’s many titles and of the prince’s new titles (Prince of Wales, Duke of Cornwall, Earl of Chester, etc.)
before
in front of
moving wood
Possibly an allusion to Birnam wood in 5.5 of Macbeth. Shakespeare and Middleton collaborated on Macbeth and it was written for King James, the father of Charles. Civitatis Amor is a celebration for Charles that acknowledges his father as his creator.
lady’s voice
London’s voice. Neptune tells Thamesis to be quiet so everyone can hear London.
Neptune. / Sound—On—
Neptune. / Sound! On!
Neptune orders the Tritons to resume their sounding (i.e., noise or music) and then
to move forward. The dashes after the two imperative verbs are a seventeenth-century
typographical convention indicating that an action occurs.
The typography of this line is unusual; it is set neither as a stage direction nor
as a speech. This edition, following Dyce, Bullen, and Bergeron, chooses to treat
the line as a speech prefix and speech. See General Introduction for a detailed analysis of this textual crux.
At this point, Neptune waves his mace. In Sp2, Neptune has commanded the Tritons to
Be silent, ’til we wave our silver mace.
knights of the Bath
These men were made knights on the occasion of Charles’ installation. It was customary
during the reigns of Henry IV to Charles II to
create a certain number of knights during royal occasions of great brilliance(Encyclopedia Brittanica).
running at the ring
The action of riding on horseback, typically at a quick pace, and esp. in a race or tournament; racing; jousting.(OED, 3rd ed. 1.i.2.a. n.)
Letters Patents
an open letter or document…issued by a monarch or government to record a contract, authorize or command an action, or confer a privilege, right, office, title, or peroperty.(OED, 3rd ed. 1.1.a. n.)
I
the first-person pronoun carries over from The Order and Solemnity, written by Samuel Daniel. Presumably, the
Iis Daniel’s authorial voice coming through.
Prosopography
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.
Mahayla Galliford
Assistant project manager, 2024-present; research assistant, encoder, and remediator,
2021-present. Mahayla Galliford (she/her) graduated with a BA (Hons) English from
the University of Victoria in 2024. Mahayla’s undergraduate research explored early
modern stage directions and civic water pageantry. She continues her studies through
the UVic English master’s program and focuses on editing and encoding girls’ manuscript
writing in collaboration with 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.
Thomas Middleton
Bibliography
Baldwin, Frances Elizabeth. Sumptuary Legislation and Personal Regulation in England. Baltimore: Johns Hopkins Press, 1926.
Bullen, A.H., ed.
Civitatis Amor. Vol. 7.
New York: AMS Press Inc., 1964.
Dyce, Alexander, ed. The Works of Thomas Middleton.
Vol. 5. London: Edward
Lumley, 1840.
OED: The Oxford English Dictionary. 3rd ed. Oxford: Oxford University Press, 2022.
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.
University of Victoria (UVIC1)
https://www.uvic.ca/Metadata
| Authority title | Civitatis Amor: Annotations |
| Type of text | Annotation |
| Publisher | University of Victoria on the Linked Early Modern Drama Online Platform |
| Series | Digital Renaissance Editions |
| Source |
Annotations prepared by Mahayla Galliford to accompany her modern text of Civitatis Amor.
|
| Editorial declaration | Edited according to the DRE Editorial Guidelines and using Canadian spelling |
| Edition | Released with LEMDO Editions for Peer Review 0.1.4 |
| Sponsor(s) |
LEMDO WebsiteLEMDO’s own website, published at lemdo.uvic.ca, is generated using the same technology that builds all the anthologies.
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| Encoding description | Encoded in TEI P5 according to the LEMDO Customization and Encoding Guidelines |
| Document status | draft |
| Funder(s) | Social Sciences and Humanities Research Council of Canada |
| License/availability |
Intellectual copyright in this edition is held by the editor, Mahayla Galliford. The critical paratexts, including these
Annotations,are licensed under a CC BY-NC_ND 4.0 license, which means that they are freely downloadable without permission under the following conditions: (1) credit must be given to the editor, DRE, 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 the editor, DRE, and LEMDO. This license allows for pedagogical use of the critical paratexts in the classroom. |