P5: TEIガイドライン

<l>The self-same moment I could pray</l>
<l>And from my neck so free</l>
<l>The albatross fell off, and sank</l>
<l>Like lead into the sea.
<note type="gloss" place="margin">The spell begins to break</note>
</l>

<lg>
<l>The self-same moment I could pray</l>
<l>And from my neck so free</l>
<l>The albatross fell off, and sank</l>
<l>Like lead into the sea.</l>
<note type="gloss" place="margin">The spell begins to break</note>
</lg>

Collections are ensembles of
distinct entities or objects of any sort.<note n="1" place="bottom">We
explain below why we use the uncommon term
<mentioned>collection</mentioned> instead of the expected
<mentioned>set</mentioned>. Our usage corresponds to the
<mentioned>aggregate</mentioned> of many mathematical writings and to
the sense of <mentioned>class</mentioned> found in older logical
writings.</note> The elements ...

<lg>

<note place="margin" resp="#STC" type="gloss">The spell begins to break</note>
<note place="foot" resp="#JLL">The turning point of the poem...</note>
</lg>

And yet it is not only
in the great line of Italian renaissance art, but even in the
painterly <note place="foot" type="gloss" resp="#MDMH">
<term xml:lang="de">Malerisch</term>. This word has, in the German, two
distinct meanings, one objective, a quality residing in the object,
the other subjective, a mode of apprehension and creation. To avoid
confusion, they have been distinguished in English as
<mentioned>picturesque</mentioned> and
<mentioned>painterly</mentioned> respectively.
</note> style of the
Dutch genre painters of the seventeenth century that drapery has this
psychological significance.

爾時王園精舍有比丘尼，名曰毘梨<note type="gloss">毘梨，秦言雄也。</note>時彼國人一切共為俱蜜頭星會

此片的膠片已不存在，但《明星月報》刊登的艾霞電影腳本大綱，仍可供我們咀嚼艾霞的創作旨趣。<note n="35" anchored="true"> 此時電影很少有完整的腳本，多是類似早期新劇的「幕表」
，也就是大綱，因為是默片，台詞也很簡單，主要依靠導演指示，演員臨場作戲。</note>從她的文字風格語主題特色裡，...

Mevorakh b. Saadya's mother, the matriarch of the
family during the second half of the eleventh century, <note n="126" anchored="true"> The
alleged mention of Judah Nagid's mother in a letter from 1071 is, in fact, a reference to
Judah's children; cf. above, nn. 111 and 54. </note> is well known from Geniza documents
published by Jacob Mann.

3.11.1 Elements of Bibliographic References

Mevorakh b. Saadya's
mother, the matriarch of the family during the second half of the
eleventh century, <note n="126" anchored="true"> The alleged
mention of Judah Nagid's mother in a letter from 1071 is, in fact,
a reference to Judah's children; cf. above, nn. 111 and
54. </note> is well known from Geniza documents published by Jacob
Mann.

<listBibl>
<head>Bibliography</head>
<biblStruct xml:id="NELSON80">
 <analytic>
 <author>Nelson, T. H.</author>
 <title>Replacing the printed word:
 a complete literary system.</title>
 </analytic>
 <monogr>
 <title>Information Processing '80: Proceedings of the IFIPS
 Congress, October 1980</title>
 <editor>Simon H. Lavington</editor>
 <imprint>
 <publisher>North-Holland</publisher>
 <pubPlace>Amsterdam</pubPlace>
 <date>1980</date>
 </imprint>
 <biblScope>pp 1013–23 </biblScope>
 </monogr>
 <note>Apparently a draft of section 4 of
 <title>Literary Machines</title>.</note>
</biblStruct>
<bibl xml:id="NELSON88">Ted Nelson: <title>Literary Machines</title>
 (privately published, 1987)</bibl>
<bibl xml:id="BAXTER88">
 <author>Baxter, Glen</author>
 <title>Glen Baxter His Life: the years of struggle</title>
 London: Thames and Hudson, 1988.
</bibl>
</listBibl>

3.11.1 Elements of Bibliographic References

<list>
<head>Bibliography</head>
<item>
 <bibl xml:id="NEL80">
 <author>Nelson, T. H.</author>
 <title level="a">Replacing the printed word:
 a complete literary system.</title>
 <title level="m">Information Processing '80:
 Proceedings of the IFIPS Congress, October 1980</title>
 <editor>Simon H. Lavington</editor>
 <publisher>North-Holland</publisher>
 <pubPlace>Amsterdam</pubPlace>
 <date>1980</date>
 <biblScope>pp 1013–23
 </biblScope>
 <note>Apparently a draft of section 4 of
 <title>Literary Machines</title>.</note>
 </bibl>
</item>
<item>
 <bibl xml:id="NEL88">Ted Nelson: <title>Literary Machines</title>
 (privately published, 1987)</bibl>
</item>
<item>
 <bibl xml:id="BAX88">
 <author>Baxter, Glen</author>
 <title>Glen Baxter His Life: the years of struggle</title>
 London: Thames and Hudson, 1988.
 </bibl>
</item>
</list>

3.11.2.2 Authors, Titles, and Editors

<bibl>
<author>Lominadze, D. G.</author>
<title level="m">Cyclotron waves in plasma.</title>
<respStmt>
 <resp>translated by</resp>
 <name>A. N. Dellis;</name>
</respStmt>
<respStmt>
 <resp>edited by</resp>
 <name>S. M. Hamberger.</name>
</respStmt>
<edition>1st ed.</edition>
<pubPlace>Oxford:</pubPlace>
<publisher>Pergamon Press,</publisher>
<date>1981.</date>
<extent>206 p.</extent>
<title level="s">International series in natural philosophy.</title>
<note place="inline">Translation of:
<title xml:lang="ru" level="m">Ciklotronnye volny v plazme.</title>
</note>
</bibl>

3.11.2.2 Authors, Titles, and Editors

<biblStruct>
<monogr xml:lang="de">
 <title>Des Minnesangs Frühling</title>
 <note place="inline">Mit 1 Faksimile</note>
 <edition>36., neugestaltete und erweiterte Auflage</edition>
 <respStmt>
 <resp>Unter Benutzung der Ausgaben von <name>Karl
 Lachmann</name> und <name>Moriz Haupt</name>, <name>Friedrich
 Vogt</name> und <name>Carl von Kraus</name> bearbeitet von</resp>
 <name>Hugo Moser</name>
 <name>Helmut Tervooren</name>
 </respStmt>
 <imprint>
 <biblScope type="volume">I Texte</biblScope>
 <pubPlace>Stuttgart</pubPlace>
 <publisher>S. Hirzel Verlag</publisher>
 <date>1977</date>
 </imprint>
</monogr>
</biblStruct>

3.11.2.3 Imprint, Pagination, and Other Details

<biblStruct>
<monogr>
 <author>Hansen, W.</author>
 <title level="u">Creation of hierarchic text
 with a computer display</title>
 <note place="inline">Ph.D. dissertation</note>
 <imprint>
 <publisher>Dept. of Computer Science, Stanford Univ.</publisher>
 <pubPlace>Stanford, CA</pubPlace>
 <date when="1971-06">June 1971</date>
 </imprint>
</monogr>
</biblStruct>

3.11.2.3 Imprint, Pagination, and Other Details

<biblStruct>
<monogr>
 <author>Shirley, James</author>
 <title type="main">The gentlemen of Venice</title>
 <title type="subordinate">a tragi-comedie presented at the private
 house in Salisbury Court by Her Majesties servants</title>
 <note place="inline">[Microform]</note>
 <imprint>
 <pubPlace>London</pubPlace>
 <publisher>H. Moseley</publisher>
 <date>1655</date>
 </imprint>
 <extent>78 p.</extent>
</monogr>
<monogr>
 <imprint>
 <pubPlace>New York</pubPlace>
 <publisher>Readex Microprint</publisher>
 <date>1953</date>
 </imprint>
 <extent>1 microprint card, 23 x 15 cm.</extent>
</monogr>
<series>
 <title>Three centuries of drama: English, 1642–1700</title>
</series>
</biblStruct>

3.11.2.6 Notes and Other Additional Information

<bibl>
<author>Coombs, James H., Allen H. Renear,
 and Steven J. DeRose.</author>
<title level="a">Markup Systems and the Future of Scholarly
 Text Processing.</title>
<title level="j">Communications of the ACM</title>
<biblScope>30.11 (November 1987): 933–947.</biblScope>
<note>Classic polemic supporting descriptive over procedural
 markup in scholarly work.</note>
</bibl>

7 Performance Texts

7.1.2 Prologues and Epilogues

<sp>
<speaker>Prospero</speaker>
<l part="Y">I'll deliver all,</l>
<l>And promise you calm seas, auspicious gales,</l>
<l>Be free and fare thou well. <stage type="exit">Exit Ariel</stage>
Please you, draw near. <stage type="exit">Exeunt all but Prospero</stage>
<note place="margin">Epilogue</note>
</l>
<l>Now my charms are all o'erthrown,</l>
<l>And what strength I have's mine own</l>
<l>As you from crimes would pardoned be,</l>
<l>Let your indulgence set me free.</l>
</sp>
<stage type="mix">He awaits applause, then exit.</stage>

7.1.3 Records of Performances

<performance>
<head>Death of a Salesman</head>
A New Play by Arthur Miller
Staged by Elia Kazan
<castList>
 <head>Cast</head>
 <note rend="small type flush left" place="inline">(in order of appearance)</note>
 <castItem>
 <role>Willy Loman</role>
 <actor>Lee J. Cobb</actor>
 </castItem>
 <castItem>
 <role>Linda</role>
 <actor>Mildred Dunnock</actor>
 </castItem>
 <castItem>
 <role>Biff</role>
 <actor>Arthur Kennedy</actor>
 </castItem>
 <castItem>
 <role>Happy</role>
 <actor>Cameron Mitchell</actor>
 </castItem>

</castList>
The setting and lighting were designed by
<name>Jo Mielziner</name>.
The incidental music was composed by <name>Alex North</name>.
The costumes were designed by <name>Julia Sze</name>.
Presented by <name rend="unmarked">Kermit Bloomgarden</name>
 and <name rend="unmarked">Walter Fried</name> at the
<rs type="place">Morosco Theatre in New York</rs> on
<date when="1949-02-10">February 10, 1949</date>.
</performance>

8 Transcriptions of Speech

8.2 Documenting the Source of Transcribed Speech

<recording type="audio" dur="P10M">
<equipment>
 Recorded from FM Radio to digital tape
</equipment>
<broadcast>
 <bibl>
 <title>Interview on foreign policy</title>
 <author>BBC Radio 5</author>
 <respStmt>
 <resp>interviewer</resp>
 <name>Robin Day</name>
 </respStmt>
 <respStmt>
 <resp>interviewee</resp>
 <name>Margaret Thatcher</name>
 </respStmt>
 <series>
 <title>The World Tonight</title>
 </series>
 <note>First broadcast on <date when="1989-11-27">27 Nov 1989</date>
 </note>
 </bibl>
</broadcast>
</recording>

<recording type="audio" dur="P10M">
<equipment>
 將FM廣播重錄成數位磁帶
</equipment>
<broadcast>
 <bibl>
 <title>鬼話連篇</title>
 <author>中國廣播公司</author>
 <respStmt>
 <resp>男主持人</resp>
 <name>司馬中原</name>
 </respStmt>
 <respStmt>
 <resp>女主持人</resp>
 <name>常勤芬</name>
 </respStmt>
 <series>
 <title>鬼吹燈</title>
 </series>
 <note>首播於<date when="1989-11-27">1989年11月27日</date>
 </note>
 </bibl>
</broadcast>
</recording>

<recording type="audio" dur="P10M">
<equipment>
 Recorded from FM Radio to digital tape
</equipment>
<broadcast>
 <bibl>
 <title>Interview on foreign policy</title>
 <author>BBC Radio 5</author>
 <respStmt>
 <resp>interviewer</resp>
 <name>Robin Day</name>
 </respStmt>
 <respStmt>
 <resp>interviewee</resp>
 <name>Margaret Thatcher</name>
 </respStmt>
 <series>
 <title>The World Tonight</title>
 </series>
 <note>First broadcast on
 <date when="1989-11-27">27 Nov 89</date>
 </note>
 </bibl>
</broadcast>
</recording>

8.4.4 Prosody

<div n="Lod E-03" type="exchange">
<note>C is with a friend</note>

 <unclear>Excuse me<g ref="#lf"/>
 </unclear>
 <pause/> You dont have some
 aesthetic<g ref="#short"/>
 <pause/>
 <unclear>specially on early</unclear>
 aesthetics terminology <g ref="#lr"/>

 No<g ref="#lf"/>
 <pause/>No<g ref="#lf"/>
 <gap extent="2 beats"/> I'm
 afraid<g ref="#lf"/>

 No<g ref="#lr"/>
 <unclear>Well</unclear> thanks<g ref="#lr"/>
 <pause/> Oh<g ref="#short"/>
 <unclear>you couldnt<g ref="#short"/> can we</unclear> kind of<g ref="#long"/>
 <pause/>I mean ask you to order it for us<g ref="#long"/>
 <g ref="#fr"/>

 Yes<g ref="#fr"/> if you know the title<g ref="#lf"/> Yeah<g ref="#lf"/>


 <gap extent="4 beats"/>

 Yes thats fine. <unclear>just as soon as it comes in we'll send
 you a postcard<g ref="#lf"/>
 </unclear>

<listPerson>
 <person xml:id="cwn">
 Customer WN
 </person>
 <person xml:id="aj">
 Assistant K
 </person>
</listPerson>
</div>

9 Dictionaries

9.3.3.2 Translation Equivalents

<entry type="foreign">
<form>
 <orth>havdalah</orth>
 <orth>havdoloh</orth>
</form>
<usg type="dom">Judaism</usg>
<def>the ceremony marking the end of the sabbath or of a festival,
 including the blessings over wine, candles and spices.</def>
<cit type="translation" xml:lang="en">
 <note>literally</note>
 <quote>separation</quote>
</cit>
</entry>

9.3.5.4 Notes within Entries

<entry>
<form type="contr">
 <orth>ain't</orth>
 <pron>eInt</pron>
</form>
<usg type="reg">Not standard</usg>
<form type="full">
 <lbl>contraction of</lbl>
 <orth>am not</orth>
 <orth>is not</orth>
 <orth>are not</orth>
 <orth>have not</orth>
 <orth>has not</orth>
</form>
<cit type="example">
 <quote>I ain't seen it.</quote>
</cit>
<note type="usage">Although the interrogative form <mentioned>ain't
 I?</mentioned> would be a natural contraction of <mentioned>am I
 not?</mentioned>, it is generally avoided in spoken English and
 never used in formal English.</note>
</entry>

10 Manuscript Description

<msItem>
<locusGrp>
 <locus from="13" to="26">Bl. 13--26</locus>
 <locus from="37" to="58">37--58</locus>
 <locus from="82" to="96">82--96</locus>
</locusGrp>
<note>Stücke von Daniel Ecklin’s Reise ins h. Land</note>
</msItem>

10.4 The Manuscript Identifier

<msIdentifier>
<msName xml:lang="la">Codex Suprasliensis</msName>
<altIdentifier type="partial">
 <settlement>Ljubljana</settlement>
 <repository>Narodna in univerzitetna knjiznica</repository>
 <idno>MS Kopitar 2</idno>
 <note>Contains ff. 10 to 42 only</note>
</altIdentifier>
<altIdentifier type="partial">
 <settlement>Warszawa</settlement>
 <repository>Biblioteka Narodowa</repository>
 <idno>BO 3.201</idno>
</altIdentifier>
<altIdentifier type="partial">
 <settlement>Sankt-Peterburg</settlement>
 <repository>Rossiiskaia natsional'naia biblioteka</repository>
 <idno>Q.p.I.72</idno>
</altIdentifier>
</msIdentifier>

10.6 Intellectual Content

<msContents>
<msItem n="1">
 <locus>fols. 5r -7v</locus>
 <title>An ABC</title>
 <bibl>
 <title>IMEV</title>
 <biblScope>239</biblScope>
 </bibl>
</msItem>
<msItem n="2">
 <locus>fols. 7v -8v</locus>
 <title xml:lang="fr">Lenvoy de Chaucer a Scogan</title>
 <bibl>
 <title>IMEV</title>
 <biblScope>3747</biblScope>
 </bibl>
</msItem>
<msItem n="3">
 <locus>fol. 8v</locus>
 <title>Truth</title>
 <bibl>
 <title>IMEV</title>
 <biblScope>809</biblScope>
 </bibl>
</msItem>
<msItem n="4">
 <locus>fols. 8v-10v</locus>
 <title>Birds Praise of Love</title>
 <bibl>
 <title>IMEV</title>
 <biblScope>1506</biblScope>
 </bibl>
</msItem>
<msItem n="5">
 <locus>fols. 10v -11v</locus>
 <title xml:lang="la">De amico ad amicam</title>
 <title xml:lang="la">Responcio</title>
 <bibl>
 <title>IMEV</title>
 <biblScope>16 & 19</biblScope>
 </bibl>
</msItem>
<msItem n="6">
 <locus>fols. 14r-126v</locus>
 <title>Troilus and Criseyde</title>
 <note>Bk. 1:71-Bk. 5:1701, with additional losses due to
 mutilation throughout</note>
</msItem>
</msContents>

<msContents>
<msItem n="1">
 <locus>fols. 5r-7v</locus>
 <title>An ABC</title>
 <bibl>
 <title>IMEV</title>
 <biblScope>239</biblScope>
 </bibl>
</msItem>
<msItem n="2">
 <locus>fols. 7v-8v</locus>
 <title xml:lang="FR">Lenvoy de Chaucer a Scogan</title>
 <bibl>
 <title>IMEV</title>
 <biblScope>3747</biblScope>
 </bibl>
</msItem>
<msItem n="3">
 <locus>fol. 8v</locus>
 <title>Truth</title>
 <bibl>
 <title>IMEV</title>
 <biblScope>809</biblScope>
 </bibl>
</msItem>
<msItem n="4">
 <locus>fols. 8v-10v</locus>
 <title>Birds Praise of Love</title>
 <bibl>
 <title>IMEV</title>
 <biblScope>1506</biblScope>
 </bibl>
</msItem>
<msItem n="5">
 <locus>fols. 10v-11v</locus>
 <title xml:lang="LA">De amico ad amicam</title>
 <title xml:lang="LA">Responcio</title>
 <bibl>
 <title>IMEV</title>
 <biblScope>16 & 19</biblScope>
 </bibl>
</msItem>
<msItem n="6">
 <locus>fols. 14r-126v</locus>
 <title>Troilus and Criseyde</title>
 <note>Bk. 1:71-Bk. 5:1701, with additional losses due to mutilation throughout</note>
</msItem>
</msContents>

10.9.2 Surrogates

<surrogates>

 <bibl>
 <title type="gmd">microfilm (master)</title>
 <idno>G.neg. 160</idno> n.d.</bibl>
 <bibl>
 <title type="gmd">microfilm (archive)</title>
 <idno>G.pos. 186</idno> n.d.</bibl>
 <bibl>
 <title type="gmd">b/w prints</title>
 <idno>AM 795 4to</idno>
 <date when="1999-01-27">27 January 1999</date>
 <note>copy of G.pos. 186</note>
 </bibl>
 <bibl>
 <title type="gmd">b/w prints</title>
 <idno>reg.nr. 75</idno>
 <date when="1999-01-25">25 January 1999</date>
 <note>photographs of the spine, outside covers, stitching etc.</note>
 </bibl>

</surrogates>

11 Representation of Primary Sources

11.3.2 Abbreviation and Expansion

<note target="#exp01">The stroke added to the final d could signify the
plural ending (-es, -is, -ys>) but the singular <hi rend="it">good</hi> was used with the meaning <q>property</q>,
<q>wealth</q>, at this time (v. examples quoted in OED, sb. Good,
C. 7, b, c, d and 8 spec.)</note>

11.3.3 Correction and Conjecture

Telle me also, to what conclusioun
Were membres maad, of generacioun
And of so parfit wis a
<choice xml:id="corr117">
<sic>wight</sic>
<corr>wright</corr>
</choice>
ywroght?


<note target="#corr117">This emendation of the Hengwrt copy text,
based on a Latin source and on the reading of three late
and usually unauthoritative manuscripts, was proposed
by E. Talbot Donaldson in <bibl>
<title>Speculum</title> 40 (1965)
626–33.</bibl>
</note>

11.3.3 Correction and Conjecture

<note target="#sic-1 #sic-2">Substitution of a more familiar word which resembles
graphically what the scribe should be copying but which does not make
sense in the context.</note>

12 Critical Apparatus

12.1.2 Readings

<l n="2207a">syððan Beowulfe
<note resp="#Kl" place="app">Fol. 179a <mentioned>beowulfe</mentioned>.
 Folio 179, with the last page (Fol. 198b), is the worst part of the
 entire MS. It has been freshened up by a later hand, but not always
 correctly. Information on doubtful readings is in the notes of
 Zupitza and Chambers.</note>
</l>
<l n="2207b">brade rice</l>

12.3 Using Apparatus Elements in Transcriptions

Virginite is grete
<app>
<rdg resp="#ES">perfecti<am>
<g ref="#ii"/>
</am>
</rdg>
<rdg xml:id="f105" resp="#FJF">perfectio<ex>u</ex>n</rdg>
<rdg xml:id="r105" resp="#PGR">perfectiou<ex>n</ex>
</rdg>
</app>

<note target="#r105 #f105">Furnivall's expansion implies that the bar
is an abbreviation for 'u'. There are no certain instances of
this mark as an abbreviation for 'u' in these manuscripts and it is
widely used as an abbreviation for 'n'. Ruggiers' expansion is to
be accepted.</note>

13 Names, Dates, People, and Places

<place xml:id="ROMA">
<placeName>Rome</placeName>

<climate>
 <ab>
 <table>
 <head>24-hr Average Temperature</head>
 <row>
 <cell/>
 <cell role="label">Jan</cell>
 <cell role="label">Jun</cell>
 <cell role="label">Dec</cell>
 </row>
 <row>
 <cell role="label">°C</cell>
 <cell role="data">7.1</cell>
 <cell role="data">21.7</cell>
 <cell role="data">8.3</cell>
 </row>
 <row>
 <cell role="label">°F</cell>
 <cell role="data">44.8</cell>
 <cell role="data">71.1</cell>
 <cell role="data">46.9</cell>
 </row>
 </table>
 </ab>
 <note>Taken from <bibl>
 <abbr>GHCN 2 Beta</abbr>: The Global Historical Climatology Network,
 version 2 beta, 1904 months between 1811 and 1980. <ptr
 target="http://www.worldclimate.com/cgi-bin/data.pl?ref=N41E012+1202+0004058G2"/>
 </bibl>
 </note>
</climate>
</place>

16 Linking, Segmentation, and Alignment

<l>(Diff'rent our parties, but with equal grace</l>
<l>The Goddess smiles on Whig and Tory race,</l>
<l>
<note type="imitation" place="bottom" anchored="false">
 <bibl>Virg. Æn. 10.</bibl>
 <quote>
 <l>Tros Rutulusve fuat; nullo discrimine habebo.</l>
 <l>—— Rex Jupiter omnibus idem.</l>
 </quote>
</note>'Tis the same rope at sev'ral ends they twist,
</l>
<l>To Dulness, Ridpath is as dear as Mist)</l>

<l>(Diff'rent our parties, but with equal grace</l>
<l>The Goddess smiles on Whig and Tory race,
<ptr rend="unmarked" target="#note3.284"/>
</l>
<l>'Tis the same rope at sev'ral ends they twist,</l>
<l>To Dulness, Ridpath is as dear as Mist)</l>
<note
 xml:id="note3.284"
 type="imitation"
 place="bottom"
 anchored="false">
<bibl>Virg. Æn. 10.</bibl>
<quote>
 <l>Tros Rutulusve fuat; nullo discrimine habebo.</l>
 <l>—— Rex Jupiter omnibus idem.</l>
</quote>
</note>

<note
 type="imitation"
 place="bottom"
 anchored="false"
 target="#l3.284">
<ref rend="sc" target="#l3.284">Verse 283–84.
<quote>
 <l>——. With equal grace</l>
 <l>Our Goddess smiles on Whig and Tory race.</l>
 </quote>
</ref>
<bibl>Virg. Æn. 10.</bibl>
<quote>
 <l>Tros Rutulusve fuat; nullo discrimine habebo.</l>
 <l>—— Rex Jupiter omnibus idem. </l>
</quote>
</note>

<note
 xml:id="n3.284"
 type="imitation"
 place="bottom"
 anchored="false">
<ref rend="sc" target="#l3.284">Verse 283–84.
<quote>
 <l>——. With equal grace</l>
 <l>Our Goddess smiles on Whig and Tory race.</l>
 </quote>
</ref>
<bibl>Virg. Æn. 10.</bibl>
<quote>
 <l>Tros Rutulusve fuat; nullo discrimine habebo.</l>
 <l>—— Rex Jupiter omnibus idem. </l>
</quote>
</note>
<link targets="#n3.284 #l3.284"/>