Encode a Primary Source TranscriptionMartin HolmesAuthorJanelle JenstadAuthor2013Zaqir ViraniAuthor2014Tye LandelsAuthorSarah MilliganAuthorLucas SimpsonAuthor2020Tye LandelsEncoderCameron ButtEncoderSarah MilliganCopy EditorData ManagerTye LandelsJunior ProgrammerJoey TakedaProgrammerMartin HolmesAssociate Project DirectorKim McLean-FianderProject DirectorJanelle JenstadThe Map of Early Modern Londonhttp://mapoflondon.uvic.ca/includes.xmlVictoria, BC, CanadaDepartment of EnglishP.O.Box 3070 STNC CSCUniversity of VictoriaVictoria, BCCanadaV8W 3W12016University of Victoria978-1-55058-519-3Janelle Jenstadlondon@uvic.ca
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TY - ELEC
A1 - Holmes, Martin
A1 - Jenstad, Janelle
A1 - Virani, Zaqir
A1 - Landels-Gruenewald, Tye
A1 - Milligan, Sarah
A1 - Simpson, Lucas
ED - Jenstad, Janelle
T1 - Encode a Primary Source Transcription
T2 - The Map of Early Modern London
ET - 6.6
PY - 2021
DA - 2021/06/30
CY - Victoria
PB - University of Victoria
LA - English
UR - https://mapoflondon.uvic.ca/edition/6.6/encoding_primary_sources.htm
UR - https://mapoflondon.uvic.ca/edition/6.6/xml/standalone/encoding_primary_sources.xml
ER - Holmes, MartinD., JanelleJenstad, ZaqirVirani, TyeLandels-Gruenewald, SarahMilligan, and LucasSimpson. Encode a Primary Source Transcription. The Map of Early Modern London, Edition 6.6, edited by JanelleJenstad, U of Victoria, 30 Jun. 2021, mapoflondon.uvic.ca/edition/6.6/encoding_primary_sources.htm.Holmes, MartinD., JanelleJenstad, ZaqirVirani, TyeLandels-Gruenewald, SarahMilligan, and LucasSimpson. Encode a Primary Source Transcription. The Map of Early Modern London, Edition 6.6. Ed. JanelleJenstad. Victoria: University of Victoria. Accessed June 30, 2021. mapoflondon.uvic.ca/edition/6.6/encoding_primary_sources.htm.Holmes, M.D., Jenstad, J., Virani, Z., Landels-Gruenewald, T., Milligan, S., & Simpson, L.2021. Encode a Primary Source Transcription. In J.Jenstad (Ed), The Map of Early Modern London (Edition 6.6). Victoria: University of Victoria. Retrieved from https://mapoflondon.uvic.ca/editions/6.6/encoding_primary_sources.htm.Lucas SimpsonLucasSimpson
LS
Research Assistant, 2018-present. Lucas Simpson is a student at the University of
Victoria.
Tracey El HajjTraceyEl Hajj
TEH
Junior Programmer 2018-2020. Research Associate 2020-2021. Tracey received her PhD from the Department of English at the University of Victoria in the field of Science and Technology Studies. Her research focuses on the algorhythmics of networked communications. She was a 2019-20 President’s Fellow in Research-Enriched Teaching at UVic, where she taught an advanced course on
Artificial Intelligence and Everyday Life. Tracey was also a member of the Linked Early Modern Drama Online team, between 2019 and 2021. Between 2020 and 2021, she was a fellow in residence at the Praxis Studio for Comparative Media Studies, where she investigated the relationships between artificial intelligence, creativity, health, and justice. As of July 2021, Tracey has moved into the alt-ac world for a term position, while also teaching in the English Department at the University of Victoria.
Joey TakedaJoeyTakeda
JT
Programmer, 2018-present. Junior Programmer, 2015-2017. Research Assistant, 2014-2017.
Joey Takeda was a graduate student at the University of British Columbia in the Department
of English (Science and Technology research stream). He completed his BA honours in English
(with a minor in Women’s Studies) at the University of Victoria in 2016. His primary
research interests included diasporic and indigenous Canadian and American literature,
critical theory, cultural studies, and the digital humanities.
Tye Landels-GruenewaldTyeLandels-Gruenewald
TLG
Data Manager, 2015-2016. Research Assistant, 2013-2015. Tye completed his undergraduate
honours degree in English at the University of Victoria in 2015.
Zaqir ViraniZaqirVirani
ZV
Research Assistant, 2013-2014. Zaqir Virani completed his MA at the University of Victoria
in April 2014. He received his BA from Simon Fraser University in 2012, and has worked as a
musician, producer, and author of short fiction. His research focused on the linkage of
sound and textual analysis software and the work of Samuel Beckett.
Cameron ButtCameronButt
CB
Research Assistant, 2012–2013. Cameron Butt completed his undergraduate honours degree in
English at the University of Victoria in 2013. He minored in French and has a keen interest
in Shakespeare, film, media studies, popular culture, and the geohumanities.
Sarah MilliganSarahMilligan
SM
Research Assistant, 2012-2014. MoEML Research Affiliate. Sarah Milligan completed her MA
at the University of Victoria in 2012 on the invalid persona in Elizabeth Barrett Browning’s
Sonnets from the Portuguese. She has also worked with the Internet Shakespeare
Editions and with Dr.
Alison Chapman on the Victorian Poetry Network, compiling an index of Victorian periodical
poetry.
Kim McLean-FianderKimMcLean-Fiander
KMF
Director of Pedagogy and Outreach, 2015–present. Associate Project Director, 2015–present.
Assistant Project Director, 2013-2014. MoEML Research Fellow, 2013. Kim McLean-Fiander comes
to
The Map of Early Modern London from the Cultures of Knowledge
digital humanities project at the University of
Oxford, where she was the editor of Early Modern Letters Online, an open-access union
catalogue and editorial interface for correspondence from the sixteenth to eighteenth
centuries. She is currently Co-Director of a sister project to EMLO called Women’s Early Modern Letters Online (WEMLO). In the past, she held an internship with the
curator of manuscripts at the Folger Shakespeare
Library, completed a doctorate at Oxford on
paratext and early modern women writers, and worked a number of years for the Bodleian Libraries and as a freelance editor.
She has a passion for rare books and manuscripts as social and material artifacts, and is
interested in the development of digital resources that will improve access to these
materials while ensuring their ongoing preservation and conservation. An avid traveler, Kim
has always loved both London and maps, and so is particularly delighted to be able to bring
her early modern scholarly expertise to bear on the MoEML project.
Janelle JenstadJanelleJenstad
JJ
Janelle Jenstad is Associate Professor of English at the University of Victoria, Director
of
The Map of Early Modern London, and PI of Linked Early Modern Drama Online. She has taught at Queen’s University, the Summer
Academy at the Stratford Festival, the University of Windsor, and the University of
Victoria. With Jennifer Roberts-Smith and Mark Kaethler, she co-edited Shakespeare’s Language in Digital Media (Routledge). She has prepared a documentary edition of 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, Renaissance and
Reformation,Journal of Medieval and Early Modern Studies,
Early Modern Literary Studies, Elizabethan
Theatre, Shakespeare Bulletin: A Journal of Performance
Criticism, and The Silver Society Journal. Her book
chapters have appeared (or will appear) in Institutional Culture in Early
Modern Society (Brill, 2004), Shakespeare, Language and the Stage,
The Fifth Wall: Approaches to Shakespeare from Criticism, Performance and Theatre
Studies (Arden/Thomson Learning, 2005), Approaches to Teaching
Othello (Modern Language Association, 2005), Performing Maternity
in Early Modern England (Ashgate, 2007), New Directions in the
Geohumanities: Art, Text, and History at the Edge of Place (Routledge, 2011), Early
Modern Studies and the Digital Turn (Iter, 2016), Teaching Early Modern
English Literature from the Archives (MLA, 2015), Placing Names:
Enriching and Integrating Gazetteers (Indiana, 2016), Making
Things and Drawing Boundaries (Minnesota, 2017), and Rethinking
Shakespeare’s Source Study: Audiences, Authors, and Digital Technologies
(Routledge, 2018).
Martin D. HolmesMartinD.Holmes
MDH
Programmer at the University of Victoria Humanities Computing and Media Centre (HCMC).
Martin ported the MOL project from its original PHP incarnation to a pure eXist database
implementation in the fall of 2011. Since then, he has been lead programmer on the project
and has also been responsible for maintaining the project schemas. He was a co-applicant on
MoEML’s 2012 SSHRC Insight Grant.
EnvyEnvy
Personification of envy. Appears as an allegorical character in mayoral shows and Richard Johnson’s
Nine Worthies of London.
Born digital.McGann, Jerome J.The Textual Condition. Princeton Studies in
Culture/Power/History. Princeton: Princeton UP, 1991.
88-101. Print. Middleton, Thomas. The
Triumphs of Honour and Industry. London: Printed by Nicholas Okes, 1617.
STC 17899.w3schools.com. Refsnes Data. http://www.w3schools.com/.
Our editorial and encoding practices are documented in detail in the Praxis section of our website.
AuthorA person or
organization chiefly responsible for the intellectual or artistic content of a work, usually
printed text. This term may also be used when more than one person or body bears such
responsibility. MoEML uses the term author to designate a
contributor who is wholly or partly responsible for the original content of either a
born-digital document, such as an encyclopedia entry, or a primary source document, such as
a MoEML Library text.Data managerA person or organization responsible for managing databases or
other data sources.MoEML uses the term data manager to designate
contributors who maintain and manage our databases. They add and update the data sent to us
by external contributors or found by MoEML team members. They also monitor journals and
sources regularly to ensure that our databases are current.Markup editorA person or organization performing the coding of SGML, HTML, or
XML markup of metadata, text, etc.MoEML uses the code mrk both for the primary
encoder(s) and for the person who edits the encoding. MoEML’s normal workflow includes a
step whereby encoders check each other’s work. We use the term
encoder to designate the principal encoder, and markup
editor to designate the person who checks the encoding.Project directorA person or organization with primary responsibility for all
essential aspects of a project, or that manages a very large project that demands senior
level responsibility, or that has overall responsibility for managing projects, or provides
overall direction to a project manager.MoEML’s Project Director directs the intellectual and scholarly aspects of
the project, consults with the Advisory and Editorial Boards, and ensures the ongoing
funding of the project.ProgrammerA person or organization responsible for the creation and/or
maintenance of computer program design documents, source code, and machine-executable
digital files and supporting documentation.MoEML uses the term programmer to designate a person
or organization responsible for the creation and/or maintenance of computer program design
documents, source code, and machine-executable digital files and supporting
documentation.Research team headA person who directed or managed a research project.MoEML uses the terms research term head and
assistant project manager interchangeably.Copy editorMoEML uses the term copy editor to designate the
person who brings the document into conformity with MoEML stylistic and citational practice.
Acceptable names for this role are copy editor, principal copy editor, secondary copy
editor, or copy editor of a particular section of text.Updated the section on line beginningsChanged s/he and his/her to they and their respectively.Correct mistakes in the page, such as spaces after and before tags in the text node.Added sourceDesc information for born-digital documents.Standardized respStmts for JENS1, MCFI1, and HOLM3 and added TAKE1 as Junior Programmer.Changed all instances of formwork to forme work.Added section on encoding last-word wraps under "Pass 3."Added XInclude for listPrefixDef in the header.Added table of @reason values for supplied text.Reorganized and uploaded entire “Pass 3” section.Revised and re-purposed documentation for encoding forme works from encode_mayoral.xml for use in encoding_primary_sources.xml.Added documentation for linking to EBBA facsimiles.Updated and added examples to section on illegibility.Changed document status to "published."Added global publicationStmt through XInclude.Added section on encoding misprinted text.Added section on encoding line breaks.Put change elements inside
revisionDesc into the correct (latest first) order.Added profileDesc containing document type
information expressed in catRef elements.Added content about workflow and about encoding
title pages.Created this file.Encode a Primary Source Transcription
As an encoder working on a primary source document, your main job is to represent the original source document as faithfully as possible. In other words, you are classifying different components of the document (front matter, body, back matter, title page, chapter, etc.), and describing how things appear (small-caps, italic, centre-aligned, and so on). The overriding concern here is to tell the truth. Transcribe the source text, tag it to represent its structure and components, and describe how it appears using CSS properties and values in the style attribute.
If you are encoding a primary source transcription from EEBO-TCP, refer to the instructions for preparing an EEBO transcription.
If you are encoding a semi-diplomaric primary source transcription for the MoEML Library, refer to the instructions for encoding a library text.
Encode your primary source text in six passes. Generally, you want to do the block-level elements first and then proceed to the inline elements (see w3schools.com). Most of our encoders check the transcription while they are encoding the block-level elements. While some variation in workflow is acceptable, you always want to anticipate the possibility (especially with long documents) that someone else may have to pick up where you have left off. Proceed as follows with primary documents:
Add mark-up to identify what Jerome McGann calls the linguistic codes
of the work (McGann 13). These codes include the content divisions in a work (title page, dedicatory
epistle, introduction, books, chapters, sections, tables, indices, colophon), the basic
organizational blocks within those divisions (paragraphs, stanzas, lines), and
illustrations. Open, rename, and save the appropriate template that will guide you
through this first pass. In this pass, you will encode the teiHeader, a process
described in the document Encode the
teiHeader in MoEML Files. Mark up the
literary codes in the text element as described in the template and below. Check transcription, make corrections, and supply gaps.Add mark-up to identify what McGann calls the bibliographical codes
of the work (McGann 13). These codes—functions of the way the printed book is produced—include
page breaks, line beginnings, running titles, hyphens, catchwords, and signature numbers. We
describe typographical features (italic letters, size of font, dropped caps) using the
style attribute on the appropriate element. If there is no appropriate element, we use the hi element with a style attribute (see more below). If the work you are encoding is light on toponyms and names,
you might want to add the MoEML place and name mark-up before you add the bibliographical mark-up.Add mark-up to identify those features of the work that pertain to the MoEML
mission. Those features include names of places (toponyms) and of people.If applicable, add musical notation. Though there are no documents in our current collection that feature musical notation, MoEML plans to add musical notation to future documents.Add mark-ups to conserve the styling of the primary source. In primary source transcriptions, we aim to conserve the original styling of the early modern printed book or manuscript being transcribed to the extent possible given Cascading Style Sheet (CSS) and browser standards.
encoding instructionsprimary source documentstranscriptionsdiplomatic transcriptionsliterary codesstructural mark-updocument structuretitle pagesdedicatory epistlebasicsbookschapterssections of a booktablesindexes / indicescolophonsparagraphsstanzaslines on the agas mapillustrations
Pass 1: Basic Document Structure
The primary division in your text is between the teiHeader and the
text. In the teiHeader, you
include all the document metadata (information about the
document). In the text, you include the entire transcription of the document
itself.
The text element is usually divided into three components:
<text>
<front>
<titlePage>
<!-- Front matter, such as title page, dedications, etc. -->
</titlePage>
</front>
<body>
<div type="chapter">
<!-- The body of the document. -->
</div>
</body>
<back>
<div type="colophon">
<!-- Back matter including indexes, appendices, etc. -->
</div>
</back>
</text>
We will look at each of these in turn.
encoding instructionsprimary source documentstranscriptionsdiplomatic transcriptionsliterary codesstructural mark-upfront matterparatexttitle pagestitlesdedicatory epistle
Encode the Front Matter
The front matter in a work includes the title page and other preliminaries. If the work
you are encoding includes a dedicatory epistle, a letter to the reader, an introduction,
a table, and/or a frontispiece, these paratexts belong in the head element. We
will work through the encoding of such front matter.
Encode a Title Page
encoding instructionsprimary source documentstranscriptionsdiplomatic transcriptionsliterary codesstructural mark-upfront matterparatexttitle pagestitlessubtitlesalternate titlesdescriptions in titlesimprintpublishersprintersdatesdate of publicationdates of documentsplaces of publicationruled lines in a bookprinter’s ornamentswoodblock figures
For our front matter, we’ll use the encoding of a title page in the short document
called The Cold Year. You can see the original page on
the EEBO site.
In our first pass through the text, we transcribe the text and tag the components of
the title page. We use the titlePage tag to enclose everything. This is a
specialized tag with a small number of child elements. (See the TEI
documentation on titlePage for more information.) Here is our first
pass:
<front>
<pb facs="http://eebo.chadwyck.com/fetchimage?vid=21023&page=1&width=1200"/>
<titlePage>
<docTitle>
<titlePart>THE COLD YEAR.</titlePart>
</docTitle>
<docDate>
<date when-custom="1615" calendar="mol:julianSic" datingMethod="mol:julianSic">1615</date>
</docDate>
<docTitle>
<titlePart type="sub">A deepe Snow: In which <lb/>Men and Carrell haue
perished, <lb/>To the generall loſſe of Farmers, Graſiers, Huſ<lb type="hyphenInWord"/>bandmen, and all ſorts of people in the Coun<lb type="hyphenInWord"/> trie, and no leſſe hurtfull to Citizens.</titlePart>
<titlePart type="desc">Written Dialogue-wife, in a plaine familiar talke
betweene a <lb/>London Shop-keeper, and a North-Country man. <lb/>In which,
the Reader ſhall finde many <lb/>thinges for his profit.</titlePart>
</docTitle>
<figure>
<figDesc>Woodcut illustration of citizens and animals in the snow.</figDesc>
</figure>
<docImprint>Imprinted at London by W.W. for Thomas Langley <lb/>in Iuie lane
where they are to be ſold.<date when-custom="1615" calendar="mol:julianSic" datingMethod="mol:julianSic">1615</date>.</docImprint>
</titlePage>
</front>
First, note that the front element begins with a page-break, and the
pb tag points to the EEBO page-image using our special URI scheme with the
prefix moleebo. This is documented elsewhere. After the page-break comes the
titlePage element, and this is the only other component of the front.
Inside titlePage are these elements: docTitledocDatefiguredocImprint In any given title page, these may occur in almost any order, although it’s
most likely that the titles will appear near the top, and the imprint information near
the bottom. There are many other elements that may appear in a title page, including
imprimatur, epigraph, byline and docAuthor, but
these do not happen to appear here.
Notice that inside the docTitle, there are titlePart elements. Most
title pages (especially from this period) have a multiplicity of title components,
which we can distinguish by means of the type attribute, which can take the
values alt, desc, main, part or
sub. Also note that lb tags are necessary both within and
between titlePart elements; because different types of title may share the
same line, these cannot be block elements, so line beginnings must be explicit.
encoding instructionsprimary source documentstranscriptionsdiplomatic transcriptionsliterary codesstructural mark-upbody contentmain textlinguistic codesproseverselines of verse
Encode the Main Text in the Work
The main text of the work goes in the body element within text.
We use the div element to identify the structural divisions within the main
text. A div can have a type attribute. It can also have an
xml:id attribute.
When you are encoding transcriptions of primary sources, give the div an type. Most of the time, the transcriber or project director will give you the value for the type attribute. Some of these values will be recognizable to you as the
building blocks of the genre you happen to be encoding (chapter, book). Some of these
values are custom mol:values that we have created (e.g., for the mayoral shows).
<div type="dedication" id="stow_1598_dedication">
<head>TO THE RIGHT Honorable, the Lord Mayor of the <ref target="mol:LOND5">Citie of London</ref>, to the communaltie,
and <hi>Citizens of the ſame, <name ref="mol:STOW6">Iohn Stow</name> Citizen, wiſheth long health and
felicitie</hi>.</head>
</div>
In addition to div elements, all text within the body element should
be properly encoded using TEI tags. Groups of prose should
be tagged using the p element. Verse should be tagged using lg element
for the group of lines, with the l element wrapped around each line. In certain
cases, it may be necessary to use Cascading Style Language [CSS] to describe uniquely styled phrases or
clauses.
encoding instructionsprimary source documentstranscriptionsdiplomatic transcriptionsliterary codesstructural mark-upback matterparatextpostscriptstable of contentscolophons
Encode the Back Matter
Most of the primary works in the MoEML library do not have
back matter. Use the back element only for postscripts, tables of contents,
colophons, and material that is clearly secondary to the main text of the work.
encoding instructionsprimary source documentstranscriptionsdiplomatic transcriptionsinterpolationssupplied charactersgaps in primary sources
Pass 2: Interpolations and Supplied Characters (Gaps)
When transcribing, editors may come across illegible characters for various reasons.
For example: the page has been cropped or the leaf is damaged;the film, scan, photo, or facsimile is unclear;there is ink bleedthrough from the type on the other side of leaf;there is un-inked or over-inked type.These missing characters need to be represented in our transcriptions if
possible. Attempt to decipher them and mark them up with the supplied element
using the resp, evidence, source and reason attributes.
For the resp attribute, give your MoEML xml:id. For the
reason attribute, choose a value from the following table that explains why the text was illegible:
Value
Explanation
bleedthrough
Heavy type on reverse side of page obscures text.
broken-type
Type appears malformed or fractured.
damage
There is dirt on the page, tearing, etc.
error-in-original
Illegibility resulting from misprint/typesetting error.
faded-ink
Illegibility resulting from faded ink on the page.
gap-in-inking
Type not sufficiently inked.
gap-in-transcription
Gap in transcribed material. Use only when facsimiles are unavailable.
ink-smudged
Smudging dating from the original print process.
lost-folio
Gap resulting from missing sheet of paper.
omitted-in-original
Gap resulting from typsetting error (i.e., no type where there should be).
original-cropped
Original page has been cut in a way that removes part of the text.
scan-cropped
Facsimile photograph does not include the whole page.
scan-unclear
Facsimile photograph is not clear, out-of-focus, etc.
unclear
Fallback value to be used if there is not a more precise value.
Once you have chosen an appropriate value for the reason attrribute choose an appropriate value for the evidence attribute: if your interpolation
is based purely on context, then choose internal; if it is based on an external
source such as another edition, then choose external, and use the source attribute to supply
a mol:uri link to the xml:id for that source in our bibliography.
Finally, add an editorial
note with a prose explanation, including another resp element identifying you as
the author of the note.
Here is an example of how to properly use the supplied element:
<p>Expecting <supplied resp="mol:JENS1" reason="gap-in-inking" evidence="internal">e<note type="editorial" resp="mol:JENS1">Gap in inking: missing letter obvious from context.</note></supplied>uery day</p>
The transcribers for EEBO-TCP have been cautious and have left gaps where they were
uncertain of a reading. Those transcribers are not early modernists; we can often supply
the gaps simply by consulting the page images and exercising our better knowledge of
early modern texts. We can also consult other editions of a text to see the choices
other editors have made. When we supply text that has been omitted from an EEBO-TCP
transcription but is clear enough in the page-image to be transcribed without further investigation,
we do not use the supplied element. We are not doing an edition of the EEBO-TCP
transcription, so their omissions due to error or caution are not pertinent.
However, sometimes even MoEML editors cannot decipher missing characters. In this case, the self-closing gap element should be used with the attribute reason. This reason attribute has all the same values as the reason attribute for supplied.
For example:
<p>Who ſ<gap reason="faded-ink"/>ted with my dull variety</p>
Editors may also encounter misprinted text in primary source documents. For example,
the following passage from Thomas Middleton’s
The Triumphs of Honour
and Industry in which her in the text proper is misprinted as
het: On the toppe of the Caſtle, Honor manifeſted by a faire
Starre in his hand, Religion with a Temple on het head, Piety with an
Altar, Commiſeration with a melting or burning Heart (sig. C1r; emphasis added).
When encoding this passage, we must mark up and, if possible, fix this misprinting. Tag
the misprinted text using the sic element. If you can confidently interpolate
the misprinted text, nest the tagged text string inside a second choice tag.
Within this choice tag, add your interpolation and tag using the corr
element with a resp attribute. The value of this resp attribute
should be your xml:id. The passage would therefore be marked up as such:
<p>On the toppe of the
Caſtle, Honor manifeſted by a faire Starre in his hand, Religion with a Temple on
<choice><sic>het</sic><corr resp="mol:VIRA1">her</corr></choice> head, Piety with
an Altar, Commiſeration with a melting or burning Heart.</p>
Suppose, however, that the encoder could not confidently interpolate the misprinted
text. In such an instance, they would simply tag the misprinted text using the
sic element: <p>On
the toppe of the Caſtle, Honor manifeſted by a faire Starre in his hand, Religion with
a Temple on <sic>het</sic> head, Piety with an Altar, Commiſeration with a melting or
burning Heart.</p>
Once you have encoded the basic structure of the work and its linguistic codes, then you
will go back and add mark-up to indicate how the text is disposed in the physical space of
the book. Your mark-up tells the truth about the material book that is the documentary
witness for our edition.
Encode Line Breaks and Hyphens
encoding instructionsprimary source documentstranscriptionsdiplomatic transcriptionsbibliographical codesmaterial bookline breakshyphensline-leading quotation marks and commas
Use a self-closing lb element to indicate where
line breaks occur in the front matter, main text, and back matter
of a work. For example, consider the following address from the dedicatory epistle of
Thomas Dekker’s
Troia-Nova Triumphans, or London
Triumphing:
To the Deſeruer of all thoſe Honors,which the Cuſtomary Rites of this
Day,And the generall Loue of this City beſtow vponhim; Sir Iohn
Svvinerton, Knight, LordMaior of the renowmed Cityof London.
sig. A2v
To transcribe the lineation of this passage in XML, we must include a self-closing
lb element after every line of text:
<p><lb/>To the Deſeruer of all thoſe Honors,<lb/>
which the Cuſtomary Rites of this Day,<lb/>
And the generall Loue of this City beſtow vpon<lb/>
him; Sir Iohn Svvinerton, Knight, Lord<lb/>
Maior of the renowmed City<lb/>
of London.</p>
Line beginnings in early modern primary sources often occur in the middle of words. In such
instances, the line beginning is preceded by a hyphen, which signifies to the reader that
the word continues on the next line. Because semantically significant hyphens also appear in
early modern texts, as in compound adjectives and hyphenated nouns, we must determine whether the hyphens
at the end of lines are compositorial (added by the compositor to indicate that the word continues on the next compositorial line)
or semantic (intrinsic to a compound word).
End-of-line hyphens present four different encoding scenarios:
A single, non-hyphenated word split over two compositorial lines without a compositorial hyphen:
In this case, higher should have a hyphen to indicate that the linebreak does not also indicate a space
between two different words. Normally, a linebreak without a hyphen functions semantically as a space, so we need to designate
for the processor that the encoded linebreak should not function as a space. We make such a designation by using the rend attribute with
hidden value.
May pole high<lb rend="hidden"/>er than theSemantic hyphen that the compositor does set with the punctuation piece:
Note here the difficulty in distinguishing compositorial from semantic hyphens. One could argue that the word
with the hyphen is really one word (i.e., Blackfryers) that happens to be broken between two
compositorial lines, in which case the hyphen would be compositorial. However, because instances of hyphenated Blacke-Fryers
unbroken by a linebreak appear elsewhere in the the text, we conclude that this is a semantic rather than compositorial hyphen, and therefore the
hyphen character should be
encoded as follows:
The <ref target="mol:BLAC8">Blacke-<lb/>Fryers</ref>ref calledCompositorial suppression of a semantic hyphen that would normally be part of the word. In this case,
encode a simple line break with no hyphens and attributes.Compositorial hyphen that serves only to split a single, non-hyphenated word over two compositorial lines:
Because the hyphen is only placed at the linebreak to indicate that Barons is a single word,
encode the hyphen with the type=hyphenInWord attribute and value as follows:
Maior and Ba<lb type="hyphenInWord"/>rons of this
Note that lb elements are not considered to be white space between the text they separate. If
a space would be between the two letters separated by a linebreak, include whitespace after the lb in your XML.
If there is no space, as in the hyphenated cases discussed above, do not include a space in the XML.
Hyphens may also occur in catchwords at the bottom of a page. These are not actually
line beginnings since often the word appears in full on the following page. In these cases, simply transcribe the hyphen character.
You will also occasionally see instances like this:
in which a multiline quotation is signalled by the use of
quotation marks or commas (more commonly the latter, as shown
in this example). The quotation should of course be tagged with a q
element, but the use of these punctuation marks should also be encoded using
the pc element immediately following each line-beginning (lb)
element, as follows (other tagging has been removed for clarity):
<lb/><pc type="lineQ">,,</pc>of England, ſendeth gréeting to the
Sheriffes & all his miniſters,
<lb/><pc type="lineQ">,,</pc>as alſo to all his louing ſubiects,
French and Engliſh of London,
<lb/><pc type="lineQ">,,</pc>Know ye that I haue granted to God
Use a self-closing pb element to indicate where page breaks occur in the front matter, main text, and back matter of a work. For example, look at MoEML’s diplomatic transcription of Anthony Munday’s Metropolis Coronota, in which page breaks are marked by a horizontal line. These digital page breaks reproduce the material page breaks observed in the EEBO fascimiles of the original pageant book. To reproduce the pagenation of the pageant book in XML, we inserted a self-closing pb element wherever page breaks occurred. For example,
<p><lb/>Ere we returne to ground agen,
<lb/>Seeing iolly Christmas drawes ſo neere,
<lb/>When as our ſeruice may appeare,
<lb/>Of much more merit then as now,
<lb/>Which doth no larger ſcope allow,</p>
<pb/>
<p><lb/>Then that which is already done;
<lb/>Your loue, my Lord, ſo much hath won
<lb/>Vpon the Fryer and his Compeeres,
<lb/>As we could wiſh to liue whole yeeres,
<lb/>To yeeld you pleaſure and delight,
<lb/>Be it by day, or be it by night.</p>
Note that, if you are encoding a transcription based on facsimiles (page-images) from either Early English Books Online (EEBO) or the English Broadside Ballad Archive (EBBA), you should provide links to the facsimiles for users to access. Note that EEBO is behind a pay-wall, so only some users will be able to access the links. Alternatively, EBBA is open-source, meaning that all users will be able to access the links.
encoding instructionsprimary source documentstranscriptionsdiplomatic transcriptionsbibliographical codesmaterial bookfacsimilesEEBOEarly English Books Onlinemoleebo
Link to Facsimiles in EEBO
Each facsimile in EEBO has been assigned a document identifier and a page number (note that the page numbers assigned to the facsimiles will almost invariably differ from the material book’s page numbers). You can determine the document identifier and the page number of any given facsimile by analyzing the http:// address. For example, consider this facsimile of Anthony Munday’s Metropolis Coronata, which has an http:// address of http://eebo.chadwyck.com/fetchimage?vid=13311&page=3. Its document identifier is 13311 and its page number is 3.
To link to an EEBO facsimile, add a facs attribute to the pb element immediately preceding the content depicted in the facsimile. The value of the facs attribute should contain in sequence:
the prefix moleebo:, meaning MoEML link to EEBOthe document identifier assigned to the facsimilea pipe character (|)the page number assigned to the facsimile
The following example demonstrates how to encode a link to the aforementioned facsimile of
Whenever you insert a pb element, link it to the appropriate facsimile in this way. In most cases you will have two pb elements pointing to the same facsimile because EEBO displays a two-page spread in each facsimile.
encoding instructionsprimary source documentstranscriptionsdiplomatic transcriptionsbibliographical codesmaterial bookfacsimilesEBBAEnglish Broadside Ballad Archivemolebba
Link to Facsimiles in EBBA
Unlike EEBO, each facsimile in EBBA has been assigned only a document identifier. Page numbers are not necessary because each facsimile depicts an entire broadside ballad (document) in one image. You can determine the document identifier for a given facsimile by analyzing its http:// address. For example, consider this facsimile of ballad entitled London’s Praise, or, the Glory of the City, which has an http:// address of http://ebba.english.ucsb.edu/ballad/22002/image. Its document identifier is 22002.
To link to an EBBA facsimile, add a facs attribute to the pb element immediately preceding the content depicted in the facsimile. The value of the facs attribute should contain the prefix molebba:, meaning MoEML link to EBBA, followed by the document identifier assigned to the facsimile.
The following example demonstrates how to encode a link to the aforementioned facsimile of
London’s Praise, or, the Glory of the City:
<pb facs="http://ebba.english.ucsb.edu/ballad/22002"/>
Because broadside ballads were printed in two pages on a single broadside sheet, most transcriptions of broadside ballads will require two pb elements that both link to the same EBBA facsimile.
Encode Forme Works
encoding instructionsprimary source documentstranscriptionsdiplomatic transcriptionsformworks / formeworks / forme worksheadersfooters
Most pages in early modern books will include text in both the head margin and bottom margin of the page. This text is often repeated on multiple pages because some of it remains in the form when the rest of the type is dumped out. We call this kind of text forme works, and it includes running titles, page numbers, signature numbers, and catchwords. Tag this content using the fw element with type and style attributes assigned to unique values for running titles, signatures, and catchwords. The mayoral pageant books usually do not include page numbers. Note that forme works text must be transcribed and checked for each page on which it is found. Do not assume it will be the same on every page.
Most early modern books will have running titles atop each page of textual content. Tag each running title using the fw element and a type attribute with a value of header. Add also a style attribute with CSS values to indicate where the running title appears; for example, a style attribute with a value of text-align: center indicates that the running title is centered. Note that you are not indicating how we want the transcription to be rendered; you are describing how it appears in the primary source that you are transcribing. You might think of your styling as descriptive CSS rather than prescriptive CSS.
Signatures
encoding instructionsprimary source documentstranscriptionsdiplomatic transcriptionsformworks / formeworks / forme worksfooterssignatures in books
Most early modern books will also have signatures in the forme works at the bottom of the recto side of some leaves (usually the first three leaves in a gathering of four). Tag each signature using the fw element and a type attribute with a value of signature. You are transcribing the signature exactly as it appears in the source, not extrapolating a signature for citation purposes. For example, the first leaf in the B gathering is usually signed B. (For citation purposes, we would extrapolate the information B1r if we were quoting text found on the recto side of that leaf.) In most instances, you will also want to include a style attribute with a value of text-align: center so that the signature will be placed in the centre of the footer.
<fw type="signature" style="text-align: center;">
A 3
</fw>
Most early modern books will also have catchwords in the forme works at the bottom of each book page. A catchword anticipates the first word of the following page. Tag each catchword using the fw element and a type attribute with a value of catchword. In most instances, you will also want to include a style attribute with a value of text-align: right so that the catchword will be placed in the right-hand corner of the footer.
Encode Forme Works in Longer Texts
encoding instructionsprimary source documentstranscriptionsdiplomatic transcriptionsformworks / formeworks / forme worksfooterspage numbersrunning headerssignaturescatchwords
Since forme works are by nature similarly laid-out and
formatted throughout a text, when you are encoding a longer
text, it makes sense to use rendition elements in
the header to control the appearance of them, rather than
repeating the same style settings on page after
page. This section shows a worked example of how to use
rendition and its selector attribute
to describe the appearance of forme works in a Stow 1598
text.
One advantage of using rendition is that the
encoded transcription is much less cluttered by CSS. The
following example shows the encoding of the top-of-page
forme works on a verso and a recto page:
There are two things to note:
The items are encoded in the order in which
they appear on the page; so for a verso, the page
number appears first since it’s in the top left,
and for a recto, it appears after the running header
because it’s in the top right.
No CSS is needed, because the layout and
appearance will be handled using rendition
elements in the header.
This is how those rendition elements will appear.
First, the running header, which is the simplest:
Often, when using a rendition element, we
point to it from an element in the text using the rendition
attribute. But here we don’t need to do that; instead, we can use
the selector attribute to point from the rendition
to all the elements in the text to which it applies. The content
of selector is a CSS selector, which basically
says all fw elements which have type=header.
The CSS then centers the text, sets its size and family, and overrides
any text-indent value it might have inherited from its ancestors. It
also provides a margin-bottom value to separate it from the
following text on the page.
Next, we need to style the top-left and top-right page numbers
respectively:
This rendition selects page numbers which are at the top
left (i.e. verso page numbers) and styles them appropriately. The key
value is margin-bottom: -1em. This ensures that the page
number is pulled down onto the same line as the running header that
follows it.
For the recto page number, we have to do the reverse:
Here, we set the margin-top to -2.5em in order to pull the page-number
up onto the same level as the running header; note that the running header
has a margin-bottom of 1em, and its font-size is large, so the negative
value has to be higher than for the verso page-number.
We can take the same approach for signatures and catchwords. Here
the situation is slightly different because catchwords appear on almost
every page, but signatures do not. This is the approach:
<!-- In the header: -->
<rendition scheme="css" id="stow_1598_orders_catchword" selector="fw[type='catchword']">
display: block;
text-align: right;
text-indent: 0;
</rendition>
<rendition scheme="css" id="stow_1598_orders_signature" selector="fw[type='signature']">
display: block;
text-align: center;
text-indent: 0;
</rendition>
<!-- In the text: -->
<fw type="signature">F</fw>
<fw type="catchword" style="margin-top: -1em;">ſayings</fw>
Notice that we add a local margin-top value to the
catchword to pull it up onto the same line as the
signature. This is only necessary when the signature
exists, so we don’t put it in the rendition;
we just add it when we need it.
The printer of primary source may occasionally wrap the last word in a line onto the white space near the right-margin of the next line. For example, observe how the printer of Thomas Middleton’s
The Triumphs of Truth (1613) formats the following two lines:
Enuy Learne now to ſcorne thy Inferiours, thoſe moſt loue (thee,And wiſh to eate their Hearts, that ſit aboue thee.sig. B3r
The wrapped word is not a forme work, so it requires a different encoding practice. To encode a last-word wrap, tag the last word in the line using a hi element with a style attribute. In most cases, the value associated with the style element should be position: relative; top: 1em; left: -2.5em;. This CSS value essentially means relative to the element’s normal position, put the element 1em lower, and 2.5em to the left. The previous Middleton passage should therefore be encoded in TEI-XML as follows:
<lg style="margin-left: 3em; font-style: italic;">
<l><name style="font-style: normal;" ref="mol:ENVY1">Enuy</name> Learne now to ſcorne thy Inferiours, thoſe moſt loue <hi style="position: relative; top: 1em; left: -2.5em;">(thee,</hi></l>
<l>And wiſh to eate their Hearts, that ſit aboue thee.</l>
</lg>
Finally, you need to tag all dates, names, and toponyms. To encode dates, see the instructions at Encoding
Dates.To encode names of people, see the instructions at Markup (Tagging) and Pulling Data from Databases.To encode toponyms (names of places), see the instructions at Markup (Tagging) and Pulling Data from Databases.
In primary source transcriptions, we aim to conserve the original styling of the early modern printed book or manuscript being transcribed to the extent possible given Cascading Style Sheet (CSS) and browser standards.
Apply Style to Document Margins
encoding instructionsprimary source documentstranscriptionsdiplomatic transcriptionstext stylesconservationCSScascading style sheetsmargins in documents
The presentation of margins in our diplomatic transcriptions of primary sources happen at three levels:
In the text element at the beginning of the document.As a margin-left value under the style attribute of the p and lg elements, as well as their subsidiaries.As a text-indent value under the style attribute of the block level elements for a single indent.
The properties defined in the text element constrain the width of the presented document. Consider the text element in LOVE8.xml (Thomas Middleton’s
The Triumphs of Love and Antiquity), for example:
<text style="width: 28em; padding-left: 5em; padding-right: 5em;">
</text>
Using the measurement of twenty-eight em (an em being a correlative sizing—one em in a twelve point typeface would be twelve points), we limit the width of LOVE8.xml. This is then centred with padding-left and padding-right so that the document is not flush left on the MoEML site. With this higher-order margin creation in effect, further lower-level margins work inwards from these definitions. Essentially, the margins ordered in the text element create the outline of the physical page, and further margins create the difference between page-edge and text as it appears throughout the document.
Throughout the document a range of margins are both possible and present, hence the need for lower orders of encoding. Margin creation at the page level is impractical because our document hierarchy is conceptual (chapters, sections, paragraphs etc.) rather than page-based, so there is no page container. Therefore we opt for margin creation at the block level: paragraphs and line groups. The following set of p elements in LOVE8.xml serves as an example:
<p style="margin-left: 3em;">Harts, 6. Bucks, and a Tun of Wine, to make mer<lb type="hyphenInWord"/>ily, and
this Noble feaſt was kept at <ref target="mol:DRAP2">Drapers Hall</ref>. <lb/>An 1463.
<name>Q. <hi style="font-style: italic;">Elizabeth Grey</hi></name>, his Wife, Daughter
to <lb/>to <name><hi style="font-style: italic;">Richard, Wooduile</hi>, Earle <hi style="font-style: italic;">Rivers</hi></name>, & to the Dutcheſſe <lb/>of
Bedford, ſhe was Mother to the Lord Grey of <lb/>Ruthen, that in his time was Margueſſe
Dorſet.</p>
<p style="margin-left: 3em; text-indent: 1em;"><name ref="mol:RICH3">K. <hi style="font-style: italic;">Richard</hi> the 3</name>. Brother to <name ref="mol:EDWA6"><hi style="font-style: italic;">Edward</hi> 4</name>. D. of <lb/><hi style="font-style: italic;">Gloceſter</hi>, and the House of <hi style="font-style: italic;">Yorke</hi>.</p>
You will notice the lack of styling attributes for the right margin. We define the left side for lower-order styling, but the right is defined negatively by the left definitions and the initial mark-up in the text element. When additional margins are needed within pre-defined block elements, continue to use margin-left. Remember that this compounds across levels, so that a paragraph with a margin of two em within a div defined with a four em margin will have a final offset of six em.
For longer primary source documents with consistent styling, such as
A Survey of London, we use rendition elements
to declare CSS values that we can reuse throughout a document. For instructions, please see
Use the rendition Element and rendition Attribute.