User Guide

Para1The Queenʼs Men Editions anthology uses the LEMDO interface with custom colours, logos, and menus.

General Site Navigation

Para2These are some actions that you can take at any time:
Click the Queenʼs Men Editions logo at the top of any page in the anthology to go to the site homepage.
QME logo
Click the Go button beside the search bar to go to our Endings-compliant Static Search page. This page allows you to search based on document history, document types, early modern book formats, editorial treatments, and types of literary work. You can also type search terms directly into the search bar and then filter your results.
Search bar with a Go button beside it
Click the buttons in the top navigation bar to see drop-down menus that link to anthology pages and editions. Note that the arrow beside each button points downwards when the drop-down menu is closed and points upwards when the drop-down menu is open.
Navigation bar from the QME website
Click on the menu with three horizontal stripes (the hamburger menu) at the top left of each page to access the side navigation bar (see QME Site Tools: Side Navigation Bar).
The QME hamburger menu button; a red square with three horizontal stripes

QME Site Tools: Side Navigation Bar

Para3The side navigation bar gives you access to information and functionality that can enhance your engagement with any page on the QME site. To access the side navigation bar, click on the menu with three horizontal stripes (the hamburger menu) at the top left of each page:
The QME side navigation bar button; a red square with three horizontal stripes
. To close the menu and give yourself more space on your screen, click on the exit “X” icon:
The QME side navigation bar closing button; a red square with a white X on it.
Para4There are four tabs within the navigation bar: Content, Credits, Tools, and About.


Para5The side navigation bar opens by default to the Content pane, which contains the table of contents for the HMTL page that you are on. If you are looking at a modern edition, it will list all of the scenes and allow you to navigate directly to any scene of interest. In addition, you can access the character list for the play by clicking on Characters. The character list will appear on the right side of the page. Editorial notes about characters are indicated by a plus sign to the left of the characterʼs name. Click the plus sign to see the note. The plus sign will turn into a minus sign when you do this; click the minus sign to hide the note.


Para6The Credits tab provides information about all of the key contributors to the work visible on and underlying each of the HTML pages.


Para7When you are viewing modern editions, you can choose to turn annotation and collation indicators on or off by selecting the Tools menu in the side navigation bar. Click the checkbox beside Display annotations, Display collations, or both to turn annotation and collation indicators on and off. They will both, by default, be on when you first open any modern text. For more information about how to use our annotations and collations, see Annotations and Collation.


Para8The About menu gives you access to metadata for each page (title, publisher, author, etc.) and allows you to see the open-access XML markup that underlies each HTML page.

Find QME Content

Performance Editions and Production Records

Navigation bar from the QME website with drop down buttons for About, Performance Editions, Production Records, and Contexts
The Performance Editions and Production Records menu items on the top navigation bar of this website provide two primary ways to access the Queenʼs Men plays on this site. The Performance Editions menu opens a wide range of resources. Here you will find old-spelling texts and modernized texts of the plays integrated with the production records. The performance editions include introductions, supplementary materials, and the commentary written by the textual and performance editors.
Para10Production Records takes you directly to video of the research productions of the plays. Taking this route, you can choose to watch the play in performance first and read the playtext later.
Para11If you wish to read the text without commentary and without viewing the production videos, open the modernized text in the Performance Edition, and access the Tools menu in the side navigation bar to turn off annotations and collations (see Tools). Alternatively, read the old-spelling text, a transcription of the playtext as it was first published in book format.


Para12Each of our published editions has a general introduction providing an overview of the play. In a separate textual introduction, the editor of each play sets out the bibliographical history of the text. These introductions are particular to the play in question, but they often gesture to other plays to draw connections and encourage further reading.
Para13You can find these text-specific introductions on each playʼs edition page, which are linked from our list of published editions.

Modernized Texts

Para14To read a modern text of a play, navigate to that playʼs edition landing page, which you can find by clicking on the dropdown menu for Performance Editions and selecting the play that you are interested in. Doing so will bring you to the editionʼs landing page. You can also navigate to the edition landing pages from our list of published editions. You will find the modern text in the Playtexts section.
Para15The literary divisions used in modern texts for this anthology are scenes and speeches. Each scene and speech in our published modern texts has a stable URL, which you can find by clicking the scene or speech number in the left margin of the modern text Site page. You can also navigate to scenes by opening the menu at the top-left of the page, selecting Content, and clicking on the scene to which you want to navigate.
Para16The modernized texts on this site include our editorsʼ annotations and collations, which are accessed through clickable links.


Para17Editors have added annotations to the modern-spelling editions of each play.
Para18In QME there are two types of notes—textual notes and performance notes. Textual notes may include:
Glosses (notes that give a short description of a term).
Commentary (discussion of the meaning of the text).
Textual notes (notes about editorial decisions).
Pedagogical notes (notes offering teaching tips and strategies).
Lexical notes (discussion of the etymology, meaning, and/or prevalence of a word).
Lineation notes (discussion of lineation and related editorial decisions).
Performance notes may include discussion of the choices made in the research production of the plays, such as:
Character choices by the actors.
Blocking (the arrangement of characters on the stage).
The productionʼs research on the staging practices of the Queenʼs Men.
Commentary on the process and staging in relation to the politics of Elizabethan England and our modern politics.
Interpretive choices made in relation to stage directions present or absent in the texts.
Para19Annotations on a string of text that is one full verse line long or longer are indicated by vertical lines to the left of the text. Click on the vertical line to view the annotation. Annotations on a string of text that are shorter than one verse line are indicated by horizontal underlines. Click on the annotated text or the underline to view the annotation. Spans of text with more than one annotation on them are indicated with a double underline. Click on the annotated text or the double underline to view all annotations on that string of text. Annotations will appear in a window on the right side of the page.


Para20A collation is indicated by a small red symbol with diverging arrows inside of a circle. (A collation is a record of how the text differs across copies and has changed over time.) Click on this symbol and the collation details will appear on the right side of the page.

Old-Spelling Texts

Para21Old-spelling texts are transcribed versions of early modern playbooks. We recommend juxtaposing modern and old-spelling texts in the classroom for lessons on editorial practice, book history, and bibliography.
Para22The divisions used for old-spelling texts in this anthology are pages and speeches, which correspond with page divisions and speeches in the witnesses (i.e., sources) used for each edition. Each page and speech has a stable URL. You can navigate to pages by opening the menu at the top-left of the page, selecting Content, and clicking on the editorial signature number for the page to which you want to navigate.
Para23You can also find facsimile images of the transcribed text some old-spelling texts. To view full-sized facsimile images, click on the thumbnail image beside each page beginning in the text.

Site Accessibility

Para24If you are using a screen reader and are interested in early modern punctuation practices, we recommend adjusting your screen readerʼs settings to read most or all punctuation aloud when reading semi-diplomatic transcriptions.


Para25This anthology uses stable URLs for pages and entities. This practice means that the URLs for our online pages do not change and that you can expect links to pages on the QME website to be long-lasting. Furthermore, you can digitally cite specific scenes, speeches, sections, and paragraphs by using the URL for that scene, speech, section, or paragraph.
Para26You can access the URL for scenes and sections by opening the table of contents in the side navigation bar, clicking on the scene or section of interest, and copying the URL from your browserʼs search bar. You can also access section URLs by clicking on the pilcrow (¶) on the left of the section header and copying the URL from your browserʼs search bar. You can access the URL for speeches and paragraphs by clicking on the speech or paragraph number on the left side of the HTML page and copying the URL from your browserʼs search bar.
Para27 For information on citing from the QME website, see Citing this Website.

Information Architecture

Para28 The About menu and Introduction to the Site page take you to pages about the QME project, including an overview of the Queen’s Men and their plays as a rationale for the website. It gives acknowledgements to professors and students who helped in the project that is being completed by this website, and it lists (with links to short biographies) the editorial board, the advisory board, contributors, and editors on the site.
Para29 The Performance Editions menu and landing page take you to the peer-reviewed editions of QME plays, fully annotated with performance links and notes.
Para30 The Production Records menu and landing page take you to the material archives of modern productions, research about historical performance, and production histories. It will include footage or links to film footage, photographs of performances, props, sets, costumes, and any special effects. It will include both historical and modern practices.
Para31 The Contexts menu takes you to other sources connected to QM plays: a history of the Queenʼs Men, a bibliography of sources used in the creation of the editions, biographies of the QM actors, teaching resources, and links to other resources such as the English Broadside Ballads Archive at UCSB.


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

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.

Peter Cockett

Peter Cockett is an associate professor in the Theatre and Film Studies at McMaster University. He is the general editor (performance), and technical co-ordinating editor of Queen’s Men Editions. He was the stage director for the Shakespeare and the Queen’s Men project (SQM), directing King Leir, The Famous Victories of Henry V, and Friar Bacon and Friar Bungay (2006) and he is the performance editor for our editions of those plays. The process behind those productions is documented in depth on his website Performing the Queen’s Men. Also featured on this site are his PAR productions of Clyomon and Clamydes (2009) and Three Ladies of London (2014). For the PLS, the University of Toronto’s Medieval and Renaissance Players, he has directed the Digby Mary Magdalene (2003) and the double bill of George Peele’s The Old Wives Tale and the Chester Antichrist (2004). He also directed An Experiment in Elizabethan Comedy (2005) for the SQM project and Inside Out: The Persistence of Allegory (2008) in collaboration with Alan Dessen. Peter is a professional actor and director with numerous stage and screen credits. He can be contacted at



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.