Example: (paragraph)

These search results reproduce every example of the use of in the Guidelines, including all localised and translated versions. In some cases, the examples have been drawn from discussion of other elements in the Guidelines and illustrating the use of is not the main focus of the passage in question. In other cases, examples may be direct translations of each other, and hence identical from the perspective of their encoding.

1 The TEI Infrastructure
2 The TEI Header
3 Elements Available in All TEI Documents
4 Default Text Structure
5 Representation of Non-standard Characters and Glyphs
6 Verse
7 Performance Texts
8 Transcriptions of Speech
10 Manuscript Description
11 Representation of Primary Sources
13 Names, Dates, People, and Places
14 Tables, Formulæ, and Graphics
15 Language Corpora
16 Linking, Segmentation, and Alignment
17 Simple Analytic Mechanisms
18 Feature Structures
20 Non-hierarchical Structures
21 Certainty, Precision, and Responsibility
22 Documentation Elements
23 Using the TEI

1 The TEI Infrastructure

1.3.1.1.2 Language Indicators

The constitution declares <q>that no bill of attainder
or <term xml:lang="la">ex post facto</term> law shall be passed.</q>
...

1.3.1.1.3 Rendition Indicators

... Their motives <emph rend="italics">might</emph> be
pure and pious; but he was equally alarmed by his knowledge
of the ambitious <name rend="italics">Bohemond</name>, and
his ignorance of the Transalpine chiefs: ...

1.3.1.1.3 Rendition Indicators

<rendition xml:id="IT" scheme="css">font-style: italic</rendition>

<tagUsage gi="emph" render="#IT"/>
<tagUsage gi="hi" render="#IT"/>

2 The TEI Header

<teiHeader>
<fileDesc>
 <titleStmt>
 <title>Shakespeare: the first folio (1623) in electronic form</title>
 <author>Shakespeare, William (1564–1616)</author>
 <respStmt>
 <resp>Originally prepared by</resp>
 <name>Trevor Howard-Hill</name>
 </respStmt>
 <respStmt>
 <resp>Revised and edited by</resp>
 <name>Christine Avern-Carr</name>
 </respStmt>
 </titleStmt>
 <publicationStmt>
 <distributor>Oxford Text Archive</distributor>
 <address>
 <addrLine>13 Banbury Road, Oxford OX2 6NN, UK</addrLine>
 </address>
 <idno type="OTA">119</idno>
 <availability>
 Freely available on a non-commercial basis.
 </availability>
 <date when="1968">1968</date>
 </publicationStmt>
 <sourceDesc>
 <bibl>The first folio of Shakespeare, prepared by Charlton Hinman (The Norton Facsimile,
 1968)</bibl>
 </sourceDesc>
</fileDesc>
<encodingDesc>
 <projectDesc>
 Originally prepared for use in the production of a series of old-spelling
 concordances in 1968, this text was extensively checked and revised for use during the
 editing of the new Oxford Shakespeare (Wells and Taylor, 1989).
 </projectDesc>
 <editorialDecl>
 <correction>
 Turned letters are silently corrected.
 </correction>
 <normalization>
 Original spelling and typography is retained, except that long s and ligatured
 forms are not encoded.
 </normalization>
 </editorialDecl>
 <refsDecl xml:id="ASLREF">
 <cRefPattern
 matchPattern="(\S+) ([^.]+)\.(.*)"
 replacementPattern="#xpath(//div1[@n='$1']/div2/[@n='$2']//lb[@n='$3'])">
 A reference is created by assembling the following, in the reverse order as that
 listed here: <list>
 <item>the <att>n</att> value of the preceding <gi>lb</gi>
 </item>
 <item>a period</item>
 <item>the <att>n</att> value of the ancestor <gi>div2</gi>
 </item>
 <item>a space</item>
 <item>the <att>n</att> value of the parent <gi>div1</gi>
 </item>
 </list>
 
 </cRefPattern>
 </refsDecl>
</encodingDesc>
<revisionDesc>
 <list>
 <item>
 <date when="1989-04-12">12 Apr 89</date> Last checked by CAC</item>
 <item>
 <date when="1989-03-01">1 Mar 89</date> LB made new file</item>
 </list>
</revisionDesc>
</teiHeader>

<teiHeader>
<fileDesc>
 <titleStmt>
 <title>Taisho Tripitaka, Electronic version, No. 251 般若波羅蜜多心經</title>
 <respStmt>
 <resp>底本來源</resp>
 <name>大藏出版株式會社</name>
 </respStmt>
 <respStmt>
 <resp>電子版本製作</resp>
 <name>中華電子佛典協會</name>
 </respStmt>
 </titleStmt>
 <publicationStmt>
 <distributor>中華電子佛典協會</distributor>
 <address>
 <addrLine>11246 台北市北投區光明路276號4樓</addrLine>
 </address>
 <availability>
 本資料使用限定於非營利性用途，並需附上本標頭資訊。
 </availability>
 <date>1998年12月</date>
 </publicationStmt>
 <sourceDesc>
 <bibl>Taisho Tripitaka Vol. 08, Nr. 251 般若波羅蜜多心經</bibl>
 </sourceDesc>
</fileDesc>
<encodingDesc>
 <projectDesc>
 預備格式轉換
 </projectDesc>
</encodingDesc>
<revisionDesc>
 <list>
 <item>
 <date>19990721/18:35:54</date>CW以CBXML.BAT (99/6/30)轉換成XML</item>
 </list>
</revisionDesc>
</teiHeader>

<fileDesc>
<titleStmt>
 <title>The shortest possible TEI document</title>
</titleStmt>
<publicationStmt>
 Distributed as part of TEI P5
</publicationStmt>
<sourceDesc>
 No print source exists: this is an original digital text
</sourceDesc>
</fileDesc>

<editionStmt>
First edition, <date>Michaelmas Term, 1991.</date>

</editionStmt>

2.2.4 Publication, Distribution, etc.

<publicationStmt>
<publisher>Oxford University Press</publisher>
<pubPlace>Oxford</pubPlace>
<date>1989</date>
<idno type="ISBN">0-19-254705-4</idno>
<availability>
Copyright 1989, Oxford University Press
</availability>
</publicationStmt>

2.2.4 Publication, Distribution, etc.

<publicationStmt>
<publisher>Sigma Press</publisher>
<address>
 <addrLine>21 High Street,</addrLine>
 <addrLine>Wilmslow,</addrLine>
 <addrLine>Cheshire M24 3DF</addrLine>
</address>
<date>1991</date>
<distributor>Oxford Text Archive</distributor>
<idno type="ota">1256</idno>
<availability>
 Available with prior consent of depositor for
 purposes of academic research and teaching only.
</availability>
</publicationStmt>

<publicationStmt>
<publisher>大塊文化</publisher>
<pubPlace>台灣：台北</pubPlace>
<availability>
版權所有翻印必究
</availability>
<date when="1992">1992</date>
</publicationStmt>

<publicationStmt>
<publisher>Chadwyck Healey</publisher>
<pubPlace>Cambridge</pubPlace>
<availability>
Available under licence only
</availability>
<date when="1992">1992</date>
</publicationStmt>

<availability status="restricted">
Available for academic research purposes only.
</availability>
<availability status="free">
In the public domain
</availability>
<availability status="restricted">
Available under licence from the publishers.
</availability>

<availability status="restricted">
僅供學術研究使用
</availability>
<availability status="free">
用於公共領域
</availability>
<availability status="restricted">
需徵求出版商授權
</availability>

2.2.7 The Source Description

<sourceDesc>
Born digital.
</sourceDesc>

<sourceDesc>
無來源：以電腦可讀格式建立
</sourceDesc>

<sourceDesc>
Born digital: no previous source exists.
</sourceDesc>

<biblFull>
<titleStmt>
 <title>The Feminist Companion to Literature in English: women writers from the middle ages
 to the present</title>
 <author>Blain, Virginia</author>
 <author>Clements, Patricia</author>
 <author>Grundy, Isobel</author>
</titleStmt>
<editionStmt>
 <edition>UK edition</edition>
</editionStmt>
<extent>1231 pp</extent>
<publicationStmt>
 <publisher>Yale University Press</publisher>
 <pubPlace>New Haven and London</pubPlace>
 <date>1990</date>
</publicationStmt>
<sourceDesc>
 No source: this is an original work
</sourceDesc>
</biblFull>

<biblFull>
<titleStmt>
 <title>勘誤表：審視後的生命</title>
 <author>喬治．史坦納。</author>
</titleStmt>
<editionStmt>
 <edition>台灣地區繁中版本</edition>
</editionStmt>
<extent>208面</extent>
<publicationStmt>
 <publisher>行人出版社</publisher>
 <pubPlace>台北</pubPlace>
 <date>2007</date>
</publicationStmt>
<sourceDesc>
 譯自 Errata: An Examined Life (1997)
</sourceDesc>
</biblFull>

<encodingDesc>
Basic encoding, capturing lexical information only. All
hyphenation, punctuation, and variant spellings normalized. No
formatting or layout information preserved.
</encodingDesc>

2.3.1 The Project Description

<encodingDesc>
<projectDesc>
Texts collected for use in the
Claremont Shakespeare Clinic, June 1990.
</projectDesc>
</encodingDesc>

<projectDesc>
Texts collected for use in the Claremont Shakespeare Clinic, June 1990
</projectDesc>

<projectDesc>
文件收集於1990年7月，杭州杜甫詩作研討會使用
</projectDesc>

2.3.2 The Sampling Declaration

<samplingDecl>
Samples of 2000 words taken from the beginning of the text.
</samplingDecl>

2.3.2 The Sampling Declaration

<samplingDecl>
Text of stories only has been transcribed. Pull quotes, captions,
 and advertisements have been silently omitted. Any mathematical
 expressions requiring symbols not present in the ISOnum or ISOpub
 entity sets have been omitted, and their place marked with a GAP
 element.
</samplingDecl>

<samplingDecl>
Samples of up to 2000 words taken at random from the beginning, middle, or end of each
text identified as relevant by respondents.
</samplingDecl>

2.3.3 The Editorial Practices Declaration

<editorialDecl>
<segmentation>
 
 <gi>s</gi> elements mark orthographic sentences and
 are numbered sequentially
 within their parent <gi>div</gi> element
 
</segmentation>
<interpretation>
 The part of speech analysis applied throughout section 4 was
 added by hand and has not been checked.
</interpretation>
<correction>
 Errors in transcription controlled by using the
 WordPerfect spelling checker.
</correction>
<normalization source="http://szotar.sztaki.hu/webster/">
 All words converted to Modern American spelling following
 Websters 9th Collegiate dictionary.
</normalization>
<quotation marks="all" form="std">
 All opening quotation marks represented by entity reference
 <ident type="ge">odq</ident>; all closing quotation marks
 represented by entity reference <ident type="ge">cdq</ident>.
</quotation>
</editorialDecl>

<editorialDecl>
<normalization>
 All words converted to Modern American spelling using
 Websters 9th Collegiate dictionary
 
</normalization>
<quotation marks="all" form="std">
 All opening quotation marks converted to “ all closing
 quotation marks converted to &cdq;.
</quotation>
</editorialDecl>

<editorialDecl>
<normalization>
 所有字皆轉換為源自Websters 9th Collegiate字典的現代美語拼法
</normalization>
<quotation marks="all" form="std">
所有的前括號都改成" 後括號都改成 "
</quotation>
</editorialDecl>

<correction>
Errors in transcription controlled by using the WordPerfect spelling checker, with a user
defined dictionary of 500 extra words taken from Chambers Twentieth Century
Dictionary.
</correction>

<correction>
抄寫錯誤由WordPerfect拼寫檢查系統控制，該系統使用Chambers Twentieth Century Dictionary裡內含之使用者自訂的500個詞條。
</correction>

<editorialDecl>
<normalization method="markup">
 Where both upper- and lower-case i, j, u, v, and vv have been normalized, to modern
 20th century typographical practice, the <gi>choice</gi> element has been used to
 enclose <gi>orig</gi> and <gi>reg</gi> elements giving the original and new values
 respectively. ... 
</normalization>
<normalization method="silent">
 Spacing between words and following punctuation has been regularized to zero spaces;
 spacing between words has been regularized to one space.
</normalization>
<normalization source="http://www.dict.sztaki.hu/webster">
 Spelling converted throughout to Modern American usage, based on Websters 9th
 Collegiate dictionary.
</normalization>
</editorialDecl>

<editorialDecl>
<normalization method="markup">
 當大寫與小寫的 i, j, u, v, 以及vv已經標準化，符合二十世紀現代印刷術，<gi>choice</gi>元素就用來包含 <gi>orig</gi> 還有
 <gi>reg</gi> 兩個元素，並賦予新的意義。… 
</normalization>
<normalization method="silent">
 字與字後的標點符號之間規定沒有空格；字與字間規定留一個空格。
</normalization>
<normalization source="http://www.dict.sztaki.hu/webster">
 拼字源於Websters 9th Collegiate字典的現代美語用法
</normalization>
</editorialDecl>

<quotation marks="none">
No quotation marks have been retained. Instead, the <att>rend</att> attribute on the
<gi>q</gi> element is used to specify what kinds of quotation mark was used, according
 to the following list: <list type="gloss">
 <label>dq</label>
 <item>double quotes, open and close</item>
 <label>sq</label>
 <item>single quotes, open and close</item>
 <label>dash</label>
 <item>long dash open, no close</item>
 <label>dg</label>
 <item>double guillemets, open and close</item>
 </list>

</quotation>

<quotation marks="none" form="rend">
不保留引號，改用元素<gi>q</gi>內的屬性<att>rend</att> 來區分引號的種類，種類如下：<list type="gloss">
 <label>dq</label>
 <item>雙引號，前後各一</item>
 <label>sq</label>
 <item>單引號，前後各一</item>
 <label>dash</label>
 <item>破折號，僅前面一個</item>
 <label>dg</label>
 <item>雙箭號，前後各一</item>
 </list>

</quotation>

<quotation marks="all" form="std">
保留所有引號，以合適的Unicode字形表示。
</quotation>

<quotation marks="all">
All quotation marks are retained in the text and are represented by appropriate Unicode
characters.
</quotation>

<hyphenation eol="some">
End-of-line hyphenation silently removed where appropriate
</hyphenation>

<hyphenation eol="some">
行末連字符號，必要時可以移除。
</hyphenation>

<segmentation>

<gi>s</gi> elements mark orthographic sentences and are numbered sequentially within
their parent <gi>div</gi> element 
</segmentation>

<gi>seg</gi> elements are used to mark functional constituents of various types within each
<gi>s</gi>; the typology used is defined by a <gi>taxonomy</gi> element in the corpus
header <gi>classDecl</gi>

<stdVals>
All integer numbers are left-filled with zeroes to 8 digits.
</stdVals>

<stdVals>
所有數字四捨五入至小數點第二位
</stdVals>

<interpretation>
The part of speech analysis applied throughout section 4 was added by hand and has not
been checked
</interpretation>

<interpretation>
第四節部份言說分析是手寫加上去的，尚未檢查。
</interpretation>

2.3.4.1 Rendition

<tagsDecl>
<rendition xml:id="style1">
 ... description of one default rendition here ...
</rendition>
<rendition xml:id="style2">
 ... description of another default rendition here ...
</rendition>
<namespace name="http://www.tei-c.org/ns/1.0">
 <tagUsage gi="p" render="#style1"> ... </tagUsage>
 <tagUsage gi="hi" render="#style2"> ... </tagUsage>
</namespace>
</tagsDecl>

This paragraph,mostly rendered in style1, contains a few words
<hi>rendered in style2</hi>

This paragraph is all rendered in style2
This is back to style1

2.3.5.1 Prose Method

<refsDecl>
The <att>n</att> attribute of each text in this corpus carries a
 unique identifying code for the whole text. The title of the text is
 held as the content of the first <gi>head</gi> element within each
 text. The <att>n</att> attribute on each <gi>div1</gi> and
<gi>div2</gi> contains the canonical reference for each such
 division, in the form 'XX.yyy', where XX is the book number in Roman
 numerals, and yyy the section number in arabic. Line breaks are
 marked by empty <gi>lb</gi> elements, each of which includes the
 through line number in Casaubon's edition as the value of its
<gi>n</gi> attribute.
The through line number and the text identifier uniquely identify
 any line. A canonical reference may be made up by concatenating the
<gi>n</gi> values from the <gi>text</gi>, <gi>div1</gi>, or
<gi>div2</gi> and calculating the line number within each part.
</refsDecl>

<refsDecl>
參照是將位於最高層級的<gi>div</gi>元素的屬性<att>n</att>值串聯起來，
其後跟著空格和續接的下一層級<gi>div</gi>，接著冒點，
然後是續接的下一(最低) 層級的<gi>div</gi>所組成。
</refsDecl>

<refsDecl>
References are made up by concatenating the value for the
<att>n</att> attribute on the highest level <gi>div</gi>
 element, followed by a space, followed by the sequential
 number of the next level <gi>div</gi> followed by a colon
 followed by the sequential number of the next (and lowest)
 level <gi>div</gi>.
</refsDecl>

<handNote scope="sole">
Written in insular phase II half-uncial with interlinear Old English gloss in an
Anglo-Saxon pointed minuscule.
</handNote>

<handNote scope="sole">
以類似小篆字體書寫，行間有以隸書寫成的古文字。
</handNote>

2.6 Minimal and Recommended Headers

<teiHeader>
<fileDesc>
 <titleStmt>
 <title>Common sense, a machine-readable transcript</title>
 <author>Paine, Thomas (1737-1809)</author>
 <respStmt>
 <resp>compiled by</resp>
 <name>Jon K Adams</name>
 </respStmt>
 </titleStmt>
 <editionStmt>
 <edition>
 <date>1986</date>
 </edition>
 </editionStmt>
 <publicationStmt>
 <distributor>Oxford Text Archive.</distributor>
 <address>
 <addrLine>Oxford University Computing Services,</addrLine>
 <addrLine>13 Banbury Road,</addrLine>
 <addrLine>Oxford OX2 6RB,</addrLine>
 <addrLine>UK</addrLine>
 </address>
 </publicationStmt>
 <notesStmt>
 <note>Brief notes on the text are in a
 supplementary file.</note>
 </notesStmt>
 <sourceDesc>
 <biblStruct>
 <monogr>
 <editor>Foner, Philip S.</editor>
 <title>The collected writings of Thomas Paine</title>
 <imprint>
 <pubPlace>New York</pubPlace>
 <publisher>Citadel Press</publisher>
 <date>1945</date>
 </imprint>
 </monogr>
 </biblStruct>
 </sourceDesc>
</fileDesc>
<encodingDesc>
 <samplingDecl>
 Editorial notes in the Foner edition have not
 been reproduced. 
 Blank lines and multiple blank spaces, including paragraph
 indents, have not been preserved. 
 </samplingDecl>
 <editorialDecl>
 <correction status="high" method="silent">
 The following errors
 in the Foner edition have been corrected:
 <list>
 <item>p. 13 l. 7 cotemporaries contemporaries </item>
 <item>p. 28 l. 26 [comma] [period] </item>
 <item>p. 84 l. 4 kin kind </item>
 <item>p. 95 l. 1 stuggle struggle </item>
 <item>p. 101 l. 4 certainy certainty </item>
 <item>p. 167 l. 6 than that </item>
 <item>p. 209 l. 24 publshed published </item>
 </list>
 
 </correction>
 <normalization>
 No normalization beyond that performed
 by Foner, if any. 
 </normalization>
 <quotation marks="all" form="std">
 All double quotation marks
 rendered with ", all single quotation marks with
 apostrophe. 
 </quotation>
 <hyphenation eol="none">
 Hyphenated words that appear at the
 end of the line in the Foner edition have been reformed.
 </hyphenation>
 <stdVals>
 The values of <att>when-iso</att> on the <gi>time</gi>
 element always end in the format <val>HH:MM</val> or
 <val>HH</val>; i.e., seconds, fractions thereof, and time
 zone designators are not present.
 </stdVals>
 <interpretation>
 Compound proper names are marked. 
 Dates are marked. 
 Italics are recorded without interpretation. 
 </interpretation>
 </editorialDecl>
 <classDecl>
 <taxonomy xml:id="lcsh">
 <bibl>Library of Congress Subject Headings</bibl>
 </taxonomy>
 <taxonomy xml:id="lc">
 <bibl>Library of Congress Classification</bibl>
 </taxonomy>
 </classDecl>
</encodingDesc>
<profileDesc>
 <creation>
 <date>1774</date>
 </creation>
 <langUsage>
 <language ident="en" usage="100">English.</language>
 </langUsage>
 <textClass>
 <keywords scheme="#lcsh">
 <list>
 <item>Political science</item>
 <item>United States -- Politics and government —
 Revolution, 1775-1783</item>
 </list>
 </keywords>
 <classCode scheme="#lc">JC 177</classCode>
 </textClass>
</profileDesc>
<revisionDesc>
 <change when="1996-01-22">
 <name>CMSMcQ</name> finished proofreading
 </change>
 <change when="1995-10-30">
 <name>L.B. </name> finished proofreading
 </change>
 <change notBefore="1995-07-04">
 <name>R.G. </name> finished data entry at end of term
 </change>
 <change notAfter="1995-01-01">
 <name>R.G. </name> began data entry before New Year 1995
 </change>
</revisionDesc>
</teiHeader>

3 Elements Available in All TEI Documents

3.1 Paragraphs

<body>
I fully appreciate Gen. Pope's splendid achievements with their
invaluable results; but you must know that Major Generalships in the
Regular Army, are not as plenty as blackberries.
</body>

3.1 Paragraphs

<head>SARAJEVO, Bosnia and Herzegovina, April 19</head>
Serbs seized more territory in this struggling new country today as
the United States Air Force ended a two-day airlift of humanitarian
aid into the capital, Sarajevo.
International relief workers called on European Community nations
to step up their humanitarian aid to the former Yugoslav republic,
in conjunction with new American aid flights if necessary.
A special envoy from the European Community, Colin Doyle, harshly
condemned the decision by Serbs to shell Sarajevo on Saturday night
during a visit to the Bosnian capital by a senior American official,
Deputy Assistant Secretary of State Ralph R. Johnson.
...

3.1 Paragraphs

A fly built a castle, a tall and mighty castle.
There came to the castle the Crawling Louse. <q>Who,
 who's in the castle? Who, who's in your house?</q>
said the Crawling Louse. <q>I, I, the Languishing Fly.
 And who art thou?</q>
<q>I'm the Crawling Louse.</q>

Then came to the castle the Leaping Flea. <q>Who,
 who's in the castle?</q> said the Leaping Flea. <q>I,
 I, the Languishing Fly, and I, the Crawling Louse. And
 who art thou?</q>
<q>I'm the Leaping Flea.</q>

Then came to the castle the Mischievous Mosquito.
<q>Who, who's in the castle?</q> said the Mischievous
Mosquito. <q>I, I, the Languishing Fly, and I, the
 Crawling Louse, and I, the Leaping Flea. And who art
 thou?</q>
<q>I'm the Mischievous Mosquito.</q>

Hallgerd was outside. <q>There is blood on your axe,</q> she said. <q>What have you
done?</q>


<q>I have now arranged that you can be married a second time,</q> replied Thjostolf.


<q>Then you must mean that Thorvald is dead,</q> she said.


<q>Yes,</q> said Thjostolf. <q>And now you must think up some plan for me.</q>

我抬起頭，他打開了一扇窗戶，探出頭來。<q>先生？</q>


<q>你要去哪。葛里葉？</q>


<q>去藥劑師那裡，先生。太太要我去，替男孩拿點東西。</q>


<q>你能不能也替我拿點東西？</q>
ㄒㄒ


<q>當然能，先生。</q> 忽然間風好像沒那麼刺骨了。 <q>等一下，我把它寫下來。</q>

3.3.3 Quotation

<said>The Lord! The Lord! It is Sakya Muni himself,</said> the lama half
sobbed; and under his breath began the wonderful Buddhist
invocation:-<said>
 <quote>
 <l>To Him the Way — the Law — Apart —</l>
 <l>Whom Maya held beneath her heart</l>
 <l>Ananda's Lord — the Bodhisat</l>
 </quote>
 And He is here! The Most Excellent Law is here also. My
 pilgrimage is well begun. And what work! What work!</said>

3.3.3 Quotation

<div xml:id="mm01" type="chapter">
<head>Chapter 1</head>
<epigraph>
 <cit>
 <quote>
 <l>Since I can do no good because a woman</l>
 <l>Reach constantly at something that is near it.</l>
 </quote>
 <bibl>
 <title>The Maid's Tragedy</title>
 <author>Beaumont and Fletcher</author>
 </bibl>
 </cit>
</epigraph>
Miss Brooke had that kind of beauty which seems to be thrown into
 relief by poor dress...
</div>

<said>

<said>Our minstrel here will warm the old man's heart with song, dazzle him with jewels and
 gold</said>, a troublemaker simpered. <said>He'll trample on the Duke's camellias, spill
 his wine, and blunt his sword, and say his name begins with X, and in the end the Duke
 will say, <said>Take Saralinda, with my blessing, O lordly Prince of Rags and Tags, O
 rider of the sun!</said>
</said>

<said>

<said>一路下去，慢慢我發覺我和王一生之間，既開始有互相的信任和基於經驗的同情，又有各自的疑問。</said>
他總是問我與他認識之前是怎麼生活的，尤其是父母死後的兩年是怎麼混的。<said>我大略地告訴他，可他又特別在一些細節上詳細地打聽，主要是關於吃。例如講到有一次我一天沒有吃到東西，他就問：<said> 「一點兒都沒吃到嗎？」</said>
</said>

<said>

<said aloud="true" rend="pre(“) post(”)">嗯，</said>他耳邊傳來小小的聲音說： <said aloud="true" rend="pre(“) post(”)">有點難以決定，非常困難。很有勇氣、頭腦也不錯、有天份。喔！我的天啊！沒錯— 還有熱切證明自我的渴望，這真的很有趣。…
我應該把你分發到哪呢？</said>

哈利抓緊分類帽的邊緣想著：<said aloud="false" rend="italic">不要是史來哲林，千萬不要</said>。

<said>

<said aloud="true" rend="pre(“) post(”)">Hmmm</said>, said a small voice in his ear. <said aloud="true" rend="pre(“) post(”)">Difficult. Very difficult. Plenty of courage, I see.
 Not a bad mind either. there's talent, oh my goodness, yes — and a nice thirst to prove
 yourself, now that's interesting. … So where shall I put you?</said>

Harry gripped the edges of the stool and thought, <said aloud="false" rend="italic">Not
 Slytherin, not Slytherin</said>.

Lastly, That, upon his solemn oath to observe all the above
articles, the said man-mountain shall have a daily allowance of
meat and drink sufficient for the support of <choice>
 <sic>1724</sic>
 <corr>1728</corr>
</choice> of our subjects,
with free access to our royal person, and other marks of our
<choice>
 <orig>favour</orig>
 <reg>favor</reg>
</choice>.

清朝與日本為爭奪北韓半島控制權，爆發歷史上著名的甲午戰爭。發生於清光緒二十年，西元 <choice>
 <sic>1892</sic>
 <corr>1894</corr>
</choice>年，雙方水陸大戰，傷亡者<choice>
 <orig>衆</orig>
 <reg>眾</reg>
</choice>。

3.4.2 Regularization and Normalization

...how godly a <orig>dede</orig> it is to
<orig>overthrowe</orig> so wicked a race the
world may judge: for my part I <orig>thinke</orig>
there <orig>canot</orig> be a greater
<orig>sacryfice</orig> to God

3.4.2 Regularization and Normalization

...how godly a
<reg>deed</reg> it is to <reg>overthrow</reg> so wicked a race the
world may judge: for my part I <reg>think</reg>
there <reg>cannot</reg> be a greater
<reg>sacrifice</reg> to God.

3.4.2 Regularization and Normalization

...how godly a <choice>
 <orig>dede</orig>
 <reg>deed</reg>
</choice> it is to
<choice>
 <orig>overthrowe</orig>
 <reg>overthrow</reg>
</choice> so wicked a race the
world may judge: for my part I <choice>
 <orig>thinke</orig>
 <reg>think</reg>
</choice>
there <choice>
 <orig>canot</orig>
 <reg>cannot</reg>
</choice> be a greater
<choice>
 <orig>sacryfice</orig>
 <reg>sacrifice</reg>
</choice> to God.

3.4.3 Additions, Deletions, and Omissions

... and then <unclear reason="passing truck">marbled queen</unclear>...

<div>
<head>Rx</head>
500 mg <unclear reason="illegible">placebo</unclear>

</div>

3.5.1 Referring Strings

<q>My dear
<rs type="person">Mr. Bennet</rs>
</q>, said his lady to
him one day, <q>have you heard that <rs type="place">Netherfield Park</rs> is let at last?</q>

3.5.1 Referring Strings

Collectors of water-rents were appointed by the
<rs type="organization">Watering Committee</rs>.
They were paid a commission not exceeding four per
cent, and gave bond.

3.5.1 Referring Strings

It being one of the principles of the
<rs type="org">Circumlocution Office</rs> never, on any
account whatsoever, to give a straightforward answer,
<rs type="person">Mr Barnacle</rs> said, <q>Possibly.</q>

3.5.1 Referring Strings

<q>My dear <rs type="person">Mr. Bennet</rs>
</q>, said
<rs type="person">his lady</rs> to him one day ...

3.5.1 Referring Strings

<q>My dear <name type="person">Mr. Bennet</name>,</q> said <rs type="person">his lady</rs> to him one day,
<q>have you heard that <name type="place">Netherfield Park</name> is let at last?</q>

3.5.1 Referring Strings

<q>My dear <rs key="BENM1" type="person"> Mr. Bennet</rs>,</q> said <rs key="BENM2" type="person">his lady</rs> to him one day, <q>have you heard that <rs key="NETP1" type="place">Netherfield Park</rs> is let at
last?</q>

3.5.1 Referring Strings

<name key="VOM1" type="person">Mme. de Volanges</name> marie <rs key="VOM2">sa fille</rs>: c'est encore un secret;
mais elle m'en a fait part hier.

3.5.1 Referring Strings

<name key="LHR" type="airport">Heathrow</name>

3.5.1 Referring Strings

<name
ref="http://en.wikipedia.org/wiki/Heathrow_airport"
type="airport">Heathrow</name>

3.5.1 Referring Strings

My personal life during
the administration of <rs key="POJA1" type="person">Col. Polk
(<reg>Polk, James K.</reg>)</rs> has but poorly compensated me for the
suspended enjoyments and pursuits of private and professional
spheres

3.5.1 Referring Strings

<name key="WADLM1" type="person">
 <choice>
 <orig>Walter de la Mare</orig>
 <reg>de la Mare, Walter</reg>
 </choice>
</name>
was born at <name key="Ch1" type="place">Charlton</name>, in
<name key="KT1" type="county">Kent</name>, in 1873.

3.5.1 Referring Strings

<name type="place">Montaillou</name> is not a large parish.
At the time of the events which led to
<name type="person">Fournier<index>
<term>Benedict XII, Pope of Avignon (Jacques Fournier)</term>
</index>
</name>'s
investigations, the local population consisted of between 200 and 250 inhabitants.

3.5.3 Numbers and Measures

...the sum of
<measure type="currency">12s 6d</measure>...

<num>

I reached <num type="cardinal" value="21">twenty-one</num> on my <num type="ordinal" value="21">twenty-first</num> birthday... light travels at <num value="10E10">10<hi rend="sup">10</hi>
</num> cm per second.

<num>

在<num type="ordinal" value="21">第二十一</num>歲的生日那天，我變成<num type="cardinal" value="21">二十一</num>歲了... 光以每秒<num value="10E10">10<hi rend="sup">10</hi>
</num> 公分移動。

3.5.4 Dates and Times

Those five years —
<date from="1918" to="1923">1918 to 1923</date>
— had been, he suspected,
somehow very important.

3.5.4 Dates and Times

The Eddic poems are preserved in a unique
manuscript (Codex Regius 2365) from <date notBefore="1250" notAfter="1300">the second half of the thirteenth
century</date>, and <title>Hervarar
saga</title> dates from <date when="1300">around 1300</date>.

3.6 Simple Links and Cross-References

For an introduction
to the use of links in general, see <ptr target="#SA"/>; for the
complete XPointer specification, see <ptr
target="http://www.w3.org/TR/xptr-framework/"/>,
<ptr target="http://www.w3.org/TR/xptr-element/"/>,
<ptr target="http://www.w3.org/TR/xptr-xmlns/"/>, and
<ptr
target="http://www.w3.org/TR/xptr-xpointer/#xpointer(id('chum')/quote)"/>;
for a discussion of TEI schemes for XPointer, see
<ptr target="#SATS"/>.

<list>

我們二人謹定于2008年7月3日正午十二時，在台北舉行結婚典禮，寫下海誓山盟，終身遵守，在婚姻路上，共同經營，災難病情，互相扶持，永不分離。并就下列事項，立下承諾，即令滄海化為桑田，桑田再變為滄海，也要攜手共進，相親相愛，直到白頭。<list type="simple">
 <item>我們宣誓：從結婚這一天開始，不但成為夫妻，互相敬愛，分擔對方的快樂和憂愁，也同時成為朋友，而且是諍友，互相勉勵，互相規勸，互相批評。</item>
 <item>我們領悟：愉快的共同生活，全靠心靈溝通，所以，我們一定善用言語，不僅表達愛心、關心，也使彼此藉語言加深了解，一起成長。絕不粗聲叱責，絕不用肢體代替言語，絕不允許發生婚姻暴力。 </item>
 <item>我們認知：家庭與事業是夫妻共同經營的果實，夫妻對家庭的貢獻等值，在家庭內或社會上，價值完全相同，社會工作薪俸無論多少，家務工作的薪俸都與其相同。</item>
 <item>我們同意：將來我們有子女，管教上如果有不同的意見，甚至尖銳對立的意見，一定要克制自己，去請教專家，絕不把孩子當成實現自己希望的工具，也絕不用孩子來炫耀自己。 </item>
 <item>我們認為：一夫一妻制，是社會安定的磐石，是孩子們成長最安全的溫床，我們喜愛并尊重這種制度，并用事實和行動，維護它的尊嚴。</item>
 <item>我們警惕：婚姻生活并不多彩多姿，它不但平凡，而且瑣碎，如果不滋養珍惜，容易使生命憔悴，心靈粗俗，所以生活之中，我們一定保持適度的假期，與孩子一起長大。</item>
 <item>我們謹記：我們孝敬自己的父母，也孝敬對方的父母，不僅是回報養育之恩，也是培養自己人格的完整，為我們的下一代立下榜樣。 </item>
 <item>我們了解：我們將來會老，所以，我們從結婚這一天，就培養專業之外的其它藝朮興趣，如書、畫、音樂，使我們生命永遠充實燦爛。 </item>
</list>

<list>

These decrees, most blessed Pope Hadrian, we propounded in the public council ... and they
confirmed them in our hand in your stead with the sign of the Holy Cross, and afterwards
inscribed with a careful pen on the paper of this page, affixing thus the sign of the Holy
Cross. <list type="simple">
 <item>I, Eanbald, by the grace of God archbishop of the holy church of York, have
 subscribed to the pious and catholic validity of this document with the sign of the Holy
 Cross.</item>
 <item>I, Ælfwold, king of the people across the Humber, consenting have subscribed with
 the sign of the Holy Cross.</item>
 <item>I, Tilberht, prelate of the church of Hexham, rejoicing have subscribed with the
 sign of the Holy Cross.</item>
 <item>I, Higbald, bishop of the church of Lindisfarne, obeying have subscribed with the
 sign of the Holy Cross.</item>
 <item>I, Ethelbert, bishop of Candida Casa, suppliant, have subscribed with thef sign of
 the Holy Cross.</item>
 <item>I, Ealdwulf, bishop of the church of Mayo, have subscribed with devout will.</item>
 <item>I, Æthelwine, bishop, have subscribed through delegates.</item>
 <item>I, Sicga, patrician, have subscribed with serene mind with the sign of the Holy
 Cross.</item>
</list>

<head>

<div1 n="I" type="book">
<head>In the name of Christ here begins the first book of the ecclesiastical history of
 Georgius Florentinus, known as Gregory, Bishop of Tours.</head>
<list>
 <head>Chapter-Headings</head>
</list>
<div2 type="section">
 <head>In the name of Christ here begins Book I of the history.</head>
 Proposing as I do ...
 From the Passion of our Lord until the death of Saint Martin four hundred and twelve
 years passed.
 <trailer>Here ends the first Book, which covers five thousand, five hundred and ninety-six
 years from the beginning of the world down to the death of Saint Martin.</trailer>
</div2>
</div1>

<head>

<div1 n="I" type="book">
<head>三國演義</head>
<list>
 <head>各回標題</head>
</list>
<div2 type="section">
 <head>第一回宴桃園豪杰三結義斬黃巾英雄首立功</head>
 滾滾長江東逝水，浪花淘盡英雄。是非成敗轉頭空。青山依舊在，几度夕陽紅。白發漁樵江渚上，慣看秋月春風。一壺濁酒喜相逢。古今多少事，都付笑談中。
 話說天下大勢，分久必合，合久必分。周末七國分爭，并入于秦。...
 <trailer>三人救了董卓回寨。卓問三人現居何職。玄德曰：白身。...畢竟董卓性命如何，且听下文分解。</trailer>
</div2>
</div1>

3.8.2.2 Auto-generated indexes

The students understand procedures for Arabic lemmatisation
<index>
<term>Lemmatization, Arabic</term>
</index>and are beginning to build parsers.

3.8.2.2 Auto-generated indexes

We now turn to the
topic of Arabic lemmatisation
<index spanTo="#ALAMEND">
<term>Lemmatization, Arabic</term>
</index> concerning which it is important to note .....


and now we can build our parser.<anchor xml:id="ALAMEND"/>

3.8.2.2 Auto-generated indexes

The @ operator
<index>
<term sortKey="0000">@</term>
</index> precedes an
attribute name

3.8.2.2 Auto-generated indexes

<char xml:id="PrinceGlyph">

</char>
The Artist formerly known as Prince <index>
 <term sortKey="Prince">
 <g ref="#PrinceGlyph"/>
 </term>
</index>...

3.8.2.2 Auto-generated indexes

Sir John Ashford
<index indexName="INDEX-PERSONS">
 <term>Ashford, John</term>
</index> was,
coincidentally, born in
<index indexName="INDEX-PLACES">
 <term>Ashford
 (Kent)</term>
</index>Ashford...

3.8.2.2 Auto-generated indexes

The students understand procedures for Arabic lemmatisation
<index>
 <term>lemmatization</term>
 <index>
 <term>arabic</term>
 </index>
</index>
...

3.9 Graphics and other non-textual components

These were the four lines I moved in
through my first, second, third, and
fourth volumes. -- In the fifth volume
I have been very good, -- the precise
line I have described in it being this :
<graphic url="zigzag2.png" mimeType="image/png"/>
By which it appears, that except at the
curve, marked A. where I took a trip
to Navarre, -- and the indented curve B.
which is the short airing when I was
there with the Lady Baussiere and her
page, -- I have not taken the least frisk
...

3.10.2 Creating New Reference Systems

3.10.3 Milestone Elements

3.10.3 Milestone Elements

<pb>

... <pb n="145" ed="ed2"/>
 ... <pb n="283" ed="ed1"/>
 ...

3.10.4 Declaring Reference Systems

<teiHeader>
<fileDesc>

</fileDesc>
<encodingDesc>
 <refsDecl>
 <cRefPattern
 matchPattern="([^ ]+) ([0-9]+)\.([0-9]+)\.([0-9]+)"
 replacementPattern="#xpath(//div1[@n='$1']/div2[@n='$2']/div3[@n='$3']/l[@n='$4']">
 A canonical reference is assembled with
 <list>
 <item>the name of the <label>work</label>: the
 <att>n</att> of a <gi>div1</gi>,</item>
 <item>a space,</item>
 <item>the number of the <label>book</label>: the
 <att>n</att> of a child <gi>div2</gi>,</item>
 <item>a full stop</item>
 <item>the number of the <label>poem</label>: the
 <att>n</att> of a child <gi>div3</gi>,</item>
 <item>the line number: the <att>n</att> value of a
 child <gi>l</gi>
 </item>
 </list>
 
 </cRefPattern>
 <cRefPattern
 matchPattern="([^ ]+) ([0-9]+)\.([0-9]+)"
 replacementPattern="#xpath(//div1[@n='$1']/div2[@n='$2']/div3[@n='$3']">
 Same as above, but without the last component (full
 stop followed by the <gi>l</gi>'s <att>n</att>.
 </cRefPattern>
 <cRefPattern
 matchPattern="([^ ]+) ([0-9]+)"
 replacementPattern="#xpath(//div1[@n='$1']/div2[@n='$2']">
 Same as above, but without the poem component (full
 stop followed by the <gi>div3</gi>'s <att>n</att>.
 </cRefPattern>
 </refsDecl>
</encodingDesc>
</teiHeader>

3.10.4 Declaring Reference Systems

<refsDecl>
Standard references to work, book, poem, and line may be
constructed from the milestone tags in the text.
</refsDecl>

3.11.1 Elements of Bibliographic References

A book which had a great influence on him
was <bibl>Tufte's <title>Envisioning
Information</title>
</bibl>, although he may
never have actually read it.

3.11.1 Elements of Bibliographic References

A book which had a great influence on him
was Tufte's <title>Envisioning Information</title>,
although he may never have actually read it.

<div>
<meeting>Ninth International Conference on Middle High German Textual Criticism, Aachen,
 June 1998.</meeting>
<list type="attendance">
 <head>List of Participants</head>
 <item>
 <persName>...</persName>
 </item>
 <item>
 <persName>...</persName>
 </item>

</list>
...
</div>

<div>
<meeting>2007第三屆亞太藝術教育國際研討會</meeting>
<list type="參與者">
 <head>與會者名單</head>
 <item>
 <persName>馬桂順 </persName>
 </item>
 <item>
 <persName>仲瀨律久</persName>
 </item>

</list>
...
</div>

3.12.2 Core Tags for Drama

<div2 n="I.2" type="scene">
<head>Scene 2.</head>
<stage type="setting">Peachum, Filch.</stage>
<sp>
 <speaker>FILCH.</speaker>
 Sir, Black Moll hath sent word her Trial comes on in
 the Afternoon, and she hopes you will order Matters
 so as to bring her off.
</sp>
<sp>
 <speaker>PEACHUM.</speaker>
 Why, she may plead her Belly at worst; to my
 Knowledge she hath taken care of that Security.
 But, as the Wench is very active and industrious,
 you may satisfy her that I'll soften the Evidence.
</sp>
<sp>
 <speaker>FILCH.</speaker>
 Tom Gagg, sir, is found guilty.
</sp>
</div2>

3.12.2 Core Tags for Drama

<div1 n="I" type="act">
<div2 n="1" type="scene">
 <head rend="italic">Actus primus, Scena prima.</head>
 <stage rend="italic" type="setting">A tempestuous
 noise of Thunder and Lightning heard: Enter
 a Ship-master, and a Boteswaine.</stage>
 <sp>
 <speaker>Master.</speaker>
 Bote-swaine.
 </sp>
 <sp>
 <speaker>Botes.</speaker>
 Heere Master: What cheere?
 </sp>
 <sp>
 <speaker>Mast.</speaker>
 Good: Speake to th' Mariners: fall
 too't, yarely, or we run our selues a ground,
 bestirre, bestirre. <stage type="move">Exit.</stage>
 
 </sp>
 <stage type="move">Enter Mariners.</stage>
 <sp>
 <speaker>Botes.</speaker>
 Heigh my hearts, cheerely, cheerely my harts: yare,
 yare: Take in the toppe-sale: Tend to th' Masters whistle:
 Blow till thou burst thy winde, if roome e-nough.
 </sp>
</div2>
</div1>

3.12.2 Core Tags for Drama

<sp>
<speaker>The reverend Doctor Opimiam</speaker>
I do not think I have named a single unpresentable fish.
</sp>
<sp>
<speaker>Mr Gryll</speaker>
Bream, Doctor: there is not much to be said for bream.
</sp>
<sp>
<speaker>The Reverend Doctor Opimiam</speaker>
On the contrary, sir, I think there is much to be said for him.
In the first place ...
Fish, Miss Gryll — I could discourse to you on fish by the
hour: but for the present I will forbear ...
</sp>

3.12.2 Core Tags for Drama

<sp>
<speaker>Lord Curryfin</speaker>
<stage>(after a pause).</stage>

<q>Mass</q> as the second grave-digger says
in <title>Hamlet</title>, <q>I cannot tell.</q>

</sp>
A chorus of laughter dissolved the sitting.

<sp>

<sp>
<speaker>The reverend Doctor Opimiam</speaker>
I do not think I have named a single unpresentable fish.
</sp>
<sp>
<speaker>Mr Gryll</speaker>
Bream, Doctor: there is not much to be said for bream.
</sp>
<sp>
<speaker>The Reverend Doctor Opimiam</speaker>
On the contrary, sir, I think there is much to be said for him. In the first place....
Fish, Miss Gryll — I could discourse to you on fish by the hour: but for the present I
will forbear...
</sp>

<sp>

<sp>
<speaker>祝英台</speaker>
我就是英台。三年前我想出外求學，故而改扮男裝，不期与梁兄相遇，三載同窗多蒙照顧，英台感激不盡。
</sp>
<sp>
<speaker>梁山伯</speaker>
賢弟，哦，念書的時候，咱們是兄弟相稱，如今你這樣的打扮，我該稱你賢弟呢，還是…… 
</sp>
<sp>
<speaker>祝英台</speaker>
讀書時節我是女扮男裝，理該兄弟相稱，如今不妨改稱兄妹。
</sp>

<sp who="#ni #rsa">
<speaker>Nancy and Robert</speaker>
<stage type="delivery">(speaking simultaneously)</stage>
The future? ...
</sp>
<list type="speakers">
<item xml:id="ni"/>
<item xml:id="rsa"/>
</list>

<sp who="#zh-tw_ni #zh-tw_rsa">
<speaker>梁山伯與祝英台t</speaker>
<stage type="演講或歌唱">（同時)</stage>
梁山伯與祝英台，生不成雙死不分，生不成雙死不分。
</sp>
<list type="speakers">
<item xml:id="zh-tw_ni"/>
<item xml:id="zh-tw_rsa"/>
</list>

4 Default Text Structure

<TEI>

<TEI>
<teiHeader>
 <fileDesc>
 <titleStmt>
 <title>The shortest TEI Document Imaginable</title>
 </titleStmt>
 <publicationStmt>
 First published as part of TEI P2.
 </publicationStmt>
 <sourceDesc>
 No source: this is an original work.
 </sourceDesc>
 </fileDesc>
</teiHeader>
<text>
 <body>
 This is about the shortest TEI document imaginable.
 </body>
</text>
</TEI>

<TEI>

<TEI>
<teiHeader>
 <fileDesc>
 <titleStmt>
 <title>TEI中文指引</title>
 </titleStmt>
 <publicationStmt>
 將與TEI 中文在地化計劃等文件一同出版
 </publicationStmt>
 <sourceDesc>
 譯自TEI P5 英文指引
 </sourceDesc>
 </fileDesc>
</teiHeader>
<text>
 <body>
 這是TEI P5的中文指引...
 </body>
</text>
</TEI>

<TEI>
<teiHeader/>
<text>
 <body>
 <div type="scene">
 <sp>
 Hush, the players begin...
 </sp>
 <floatingText type="pwp">
 <body>
 <div type="act">
 <sp>
 <l>In Athens our tale takes place ....</l>
 </sp>

 </div>
 </body>
 </floatingText>
 <sp>
 Now that the play is finished ...
 </sp>
 </div>
 </body>
</text>
</TEI>

<TEI>
<teiHeader/>
<text>
 <body>
 <div type="scene">
 <sp>
 快點，演員開始了...
 </sp>
 <floatingText type="pwp">
 <body>
 <div type="act">
 <sp>
 <l>故事開始於雅典...</l>
 </sp>

 </div>
 </body>
 </floatingText>
 <sp>
 戲劇結束...
 </sp>
 </div>
 </body>
</text>
</TEI>

<div>

<body>
<div type="part">
 <head>Fallacies of Authority</head>
 The subject of which is Authority in various shapes, and the object, to repress all
 exercise of the reasoning faculty.
 <div n="1" type="chapter">
 <head>The Nature of Authority</head>
 With reference to any proposed measures having for their object the greatest
 happiness of the greatest number....
 <div n="1.1" type="section">
 <head>Analysis of Authority</head>
 What on any given occasion is the legitimate weight or influence to be attached to
 authority ... 
 </div>
 <div n="1.2" type="section">
 <head>Appeal to Authority, in What Cases Fallacious.</head>
 Reference to authority is open to the charge of fallacy when... 
 </div>
 </div>
</div>
</body>

<div>

<body>
<div type="part">
 <head>對話的喧囂：巴赫汀文化理論述評</head>
 本書以中國人的觀點，介紹巴赫汀的一生志業。深入淺出、引證周詳。尤其面對海峽兩岸劇變中的政治、文化思潮，巴赫汀從對話到喧嘩的理論，更具有深刻的歷史意義，發人省思。
 <div n="1" type="chapter">
 <head>引言：巴赫汀對話論—轉型期的文化理論</head>
 文化轉型期的文藝理論，一般都呈現著特別關注文藝之外的歷史社會環境的傾向。不過，這種關注在二十世紀之前的文論中，大致上均以一種文藝內在規律語歷史社會語境二元對立的面貌出現。...
 <div n="1.1" type="section">
 <head>眾聲喧嘩：轉型期的文化理論</head>
 當代西方文論對巴赫汀思想的看法迥異，見仁見智。有強調其「對話性」的，有看重他的「複調小說」理論的，也有語言學、符號學、哲學和美學的不同角度來解釋巴赫汀的。...
 
 </div>
 <div n="1.2" type="section">
 <head>哲學建構論語對話美學</head>
 眾聲喧嘩的文化理論形成於二○年代末和三○年代，是巴赫汀思想成熟階段的結晶。... 
 </div>
 </div>
</div>
</body>

<div1>

<div1 xml:id="levi" n="I" type="part">
<head>Part I: Of Man </head>
<div2 xml:id="levi1" n="1" type="chapter">
<head>Chap. I. Of Sense </head>
Concerning the Thoughts of man... 
</div2>
</div1>
<div1 xml:id="levii" n="II" type="part">
<head>Part II: Of Common-Wealth</head>
</div1>

<div1>

<div1 xml:id="zh-tw_levi" n="I" type="part">
<head>第一部：陰錯陽差</head>
<div2 xml:id="zh-tw_levi1" n="1" type="chapter">
<head>第一章</head>
乾隆年間，北京。紫薇帶著丫頭金瑣，來到北京已經快一個月了。.. 
</div2>
</div1>
<div1 xml:id="zh-tw_levii" n="II" type="part">
<head>第二部: 水深火熱</head>
</div1>

<div2>

<div1 n="2" type="part">
<head>The Second Partition:
 The Cure of Melancholy</head>
<div2 n="2.1" type="section">
 <div3 n="2.1.1" type="member">
 <div4 n="2.1.1.1" type="subsection">
 <head>Unlawful Cures rejected.</head>
 Inveterate melancholy, howsoever it may seem to
 be a continuate, inexorable disease, hard to be
 cured, accompanying them to their graves most part
 (as <ref target="#a">Montanus</ref> observes), yet many
 times it may be helped...
 
 </div4>
 </div3>
</div2>
<div2 n="2.2" type="section">
 <div3 n="2.2.1" type="member">
 <head>Sect. II. Memb. I</head>
 
 </div3>
</div2>
<div2 n="2.3" type="section">
 <div3 n="2.3.1" type="member">
 <head>Sect. III. Memb. I</head>
 
 </div3>
</div2>
</div1>

<div2>

<div1 n="3" type="part">
<head>第三章：對話性—文化理論的基石</head>
<div2 n="3.1" type="section">
 <div3 n="3.1.1" type="member">
 <div4 n="3.1.1.1" type="subsection">
 <head>歷史、社會與佛洛伊德主義</head>
 《述評》開宗明義，運用歷史唯物主義的觀點，批判佛洛伊德主義的反歷史和反社會傾向。巴赫汀指出... 
 </div4>
 </div3>
</div2>
<div2 n="3.2" type="section">
 <div3 n="3.2.1" type="member">
 <head>打破內在/外在、主觀/客觀的二元對立</head>
 在二○年代的蘇聯文藝界，...
 </div3>
</div2>
<div2 n="3.3" type="section">
 <div3 n="3.3.1" type="member">
 <head>建立馬克思主義和社會學詩學</head>
 《社會學詩學》是巴赫汀對話美學的一個目標，...
 </div3>
</div2>
</div1>

<div3>

<div2 n="2.2" type="section">
<div3 n="2.2.1" type="member">
 <head>Sect. II. Memb. I</head>
 
</div3>
<div3 n="2.2.2" type="member">
 <head>Memb. II Retention and Evacuation rectified.</head>
 
</div3>
<div3 n="2.2.3" type="member">
 <head>Memb. III Ayr rectified. With a digression of the Ayr.</head>
 
</div3>
</div2>

<div3>

<div2 n="3.2" type="section">
<div3 n="3.2.1" type="member">
 <head>打破內在/外在、主觀/客觀的二元對立</head>
 在二○年代的蘇聯文藝界，...
</div3>
<div3 n="3.2.2" type="member">
 <head>交流：藝術話語與生活話語的共性</head>
 林林總總的文理理論圍繞著作者、作品和讀者的關係問題，...
</div3>
<div3 n="2.2.3" type="member">
 <head>言談和音調</head>
 在這裡，巴赫汀為言談做了一個大膽的定義：...
</div3>
</div2>

<div4>

<div3 n="2.2.1" type="member">
<head>Sect. II. Memb. I</head>
<div4 n="2.2.1.1" type="subsection">
 <head>Subsect I. — Dyet rectified in substance.</head>
 Diet, <term xml:lang="grc">diaitotiku</term>, <term xml:lang="la">victus</term> or
 living 
</div4>
<div4 n="2.2.2.1" type="subsection">
 <head>Subsect II. — Dyet rectified in quantity.</head>
 Man alone, saith Cardan, eates and drinks without appetite, and useth all his pleasures
 without necessity 
</div4>
</div3>

<div4>

<div3 n="3.2.1" type="member">
<head>打破內在/外在、主觀/客觀的二元對立</head>
<div4 n="3.2.1.1" type="subsection">
 <head>薩庫林的《文學研究的社會學方法》</head>
 薩庫林把藝術史和文學史的發展分成兩個部份：內在與因果部份。...
</div4>
<div4 n="3.2.2.1" type="subsection">
 <head>美的本質</head>
 五○至六○年代在中國大陸進行的美學大辯論，一個核心的問題就是美的本質問題。...
</div4>
</div3>

<div6>

<div2 type="chapter">
<head>Recipes</head>
<head>Chapter VI.</head>
<div3>
 <head>Fruit and vegetable soups</head>
 ...
 <div4>
 <head>Stocks for all kinds of soups</head>
 <div5 type="recipe">
 <head>Apple soup</head>
 <div6>
 <head>Ingredients</head>
 <list>
 <item>2 lbs. of good boiling apples,</item>
 <item>3/4 teaspoonful of white pepper,</item>
 <item>6 cloves,</item>
 <item>cayenne or ginger to taste,</item>
 <item>3 quarts of medium stock</item>
 </list>
 </div6>
 <div6>
 <head>Mode</head>
 Peel and quarter the apples taking out their cores; put them into
 the stock, stew them gently till tender, Rub the whole through a
 strainer, add the seasoning. give it one boil up, and serve.
 </div6>
 <div6>
 <head>Time</head>
 1 hour.
 </div6>
 <div6>
 <head>Average cost</head>
 per quart, 1s.
 </div6>
 <div6>
 <head>Seasonable</head>
 from September to December.
 </div6>
 <div6>
 <head>Sufficient</head>
 for 10 persons
 </div6>
 <div6>
 <head>The apple</head>
 This useful fruit is mentioned in Holy Writ; and Homer describes it
 as valuable in his time... As a food, the apple cannot be considered
 to rank high, as more than the half of it consists of water, and
 the rest of its properties are not the most nourishing. It is
 however a useful adjunct to other kinds of food, and, when cooked, is
 esteemed as slightly laxative.
 </div6>
 </div5>
 <div5 type="recipe">
 <head>Artichoke (Jerusalem) soup</head>
 ...
 </div5>

 </div4>
</div3>
</div2>

<div7>

<div2 type="chapter">
<head>Recipes</head>
<head>Chapter VI.</head>
<div3>
 <head>Fruit and vegetable soups</head>
 ...
 <div4>
 <head>Stocks for all kinds of soups</head>
 <div5 type="recipe">
 <head>Asparagus soup</head>
 <div6 type="altRecipe">
 <head>I.</head>
 <div7>
 <head>Ingredients</head>
 <list>
 <item> ...</item>
 </list>
 </div7>
 <div7>
 <head>Mode</head>
 Put the beef, cut into pieces and rolled in flour, into a
 stewpan...
 </div7>

 </div6>
 <div6 type="altRecipe">
 <head>II.</head>
 <div7>
 <head>Ingredients</head>
 <list>
 <item> ...</item>
 </list>
 </div7>
 <div7>
 <head>Mode</head>
 Boil the peas, and rub them through a sieve; add the gravy...
 </div7>
 </div6>
 </div5>
 </div4>
</div3>
</div2>

<front>

<divGen type="toc"/>
<div>
<head>Preface</head>
 ... 
</div>
</front>

4.1.3 Numbered or Un-numbered?

<div1 type="book" n="I" xml:id="JA0100">
<head>Book I.</head>
<div2 type="chapter" n="1" xml:id="JA0101">
 <head>Of writing lives in general, and particularly of Pamela, with a word
 by the bye of Colley Cibber and others.</head>
 It is a trite but true observation, that examples work more forcibly on
 the mind than precepts: ... 

</div2>
<div2 type="chapter" n="2" xml:id="JA0102">
 <head>Of Mr. Joseph Andrews, his birth, parentage, education, and great
 endowments; with a word or two concerning ancestors.</head>
 Mr. Joseph Andrews, the hero of our ensuing history, was esteemed to
 be the only son of Gaffar and Gammar Andrews, and brother to the
 illustrious Pamela, whose virtue is at present so famous ... 

</div2>

<trailer>The end of the first Book</trailer>
</div1>
<div1 type="book" n="II" xml:id="JA0200">
<head>Book II</head>
<div2 type="chapter" n="1" xml:id="JA0201">
 <head>Of divisions in authors</head>
 There are certain mysteries or secrets in all trades, from the highest
 to the lowest, from that of <term>prime-ministering</term>, to this of
 <term>authoring</term>, which are seldom discovered unless to members of
 the same calling ... 
 I will dismiss this chapter with the following observation: that it
 becomes an author generally to divide a book, as it does a butcher to
 joint his meat, for such assistance is of great help to both the reader
 and the carver. And now having indulged myself a little I will endeavour
 to indulge the curiosity of my reader, who is no doubt impatient to know
 what he will find in the subsequent chapters of this book.
</div2>
<div2 type="chapter" n="2" xml:id="JA0202">
 <head>A surprising instance of Mr. Adams's short memory, with the
 unfortunate consequences which it brought on Joseph.
 </head>
 Mr. Adams and Joseph were now ready to depart different ways ... 
</div2>
</div1>

4.1.3 Numbered or Un-numbered?

4.1.3 Numbered or Un-numbered?

4.1.3 Numbered or Un-numbered?

4.1.3 Numbered or Un-numbered?

4.1.4 Partial and Composite Divisions

4.1.4 Partial and Composite Divisions

4.1.4 Partial and Composite Divisions

<div1 type="storylist" org="composite">
<head>News in brief</head>
<div2 type="story">
 <head>Police deny <soCalled>losing</soCalled> bomb</head>
 Scotland Yard yesterday denied claims in the Sunday
 Express that anti-terrorist officers trailing an IRA van
 loaded with explosives in north London had lost track of
 it 10 days ago.
</div2>
<div2 type="story">
 <head>Hotel blaze</head>
 Nearly 200 guests were evacuated before dawn
 yesterday after fire broke out at the Scandic
 Crown hotel in the Royal Mile, Edinburgh.
</div2>
<div2 type="story">
 <head>Test match split</head>
 Test Match Special next summer will be split
 between Radio 5 and Radio 3, after protests this
 year that it disrupted Radio 3's music schedule.
</div2>
</div1>

4.2.1 Headings and Trailers

<div1 n="Etym">
<head>Etymology</head>
<head>(Supplied by a late consumptive usher to a
 grammar school)</head>
The pale Usher — threadbare in coat, heart,
 body and brain; I see him now. He was ever
 dusting his old lexicons and grammars, ...
</div1>

4.2.1 Headings and Trailers

<div type="story">
<head rend="underlined" type="sub">President pledges safeguards for 2,400 British
troops in Bosnia</head>
<head rend="scream" type="main">Major agrees to enforced no-fly zone</head>
<byline>By George Jones, Political Editor, in Washington</byline>
Greater Western intervention in the conflict in
former Yugoslavia was pledged by President Bush ...
</div>

4.2.1 Headings and Trailers

<div type="book" n="I">
<head>In the name of Christ here begins the
 first book of the ecclesiastical history of Georgius Florentinus,
 known as Gregory, Bishop of Tours.</head>
<div>
 <head>Chapter Headings</head>
 <list>

 </list>
</div>
<div>
 <head>In the name of Christ here begins Book I of the history.</head>
 Proposing as I do ...
 From the Passion of our Lord until the death of Saint Martin four
 hundred and twelve years passed.
 <trailer>Here ends the first Book, which covers five thousand, five
 hundred and ninety-six years from the beginning of the world down
 to the death of Saint Martin.</trailer>
</div>
</div>

4.2.2 Openers and Closers

<div type="preface">
<head>To Henry Hope.</head>
It is not because this volume was conceived and partly
 executed amid the glades and galleries of the Deepdene,
 that I have inscribed it with your name. ... I shall find a
 reflex to their efforts in your own generous spirit and
 enlightened mind.

<closer>
 <signed xml:lang="el">D.</signed>
 <dateline>Grosvenor Gate, May-Day, 1844</dateline>
</closer>
</div>

4.2.2 Openers and Closers

<div type="narrative" n="6">
<head>Sixth Narrative</head>
<head>contributed by Sergeant Cuff</head>
<div type="fragment" n="6.1">
 <opener>
 <dateline>
 <name type="place">Dorking, Surrey,</name>
 <date>July 30th, 1849</date>
 </dateline>
 <salute>To <name>Franklin Blake, Esq.</name> Sir, —</salute>
 </opener>
 I beg to apologize for the delay that has occurred in the
 production of the Report, with which I engaged to furnish you.
 I have waited to make it a complete Report ...
 <closer>
 <salute>I have the honour to remain, dear sir, your
 obedient servant </salute>
 <signed>
 <name>RICHARD CUFF</name> (late sergeant in the
 Detective Force, Scotland Yard, London). </signed>
 </closer>
</div>
</div>

4.2.2 Openers and Closers

<div type="letter" n="14">
<head>Letter XIV: Miss Clarissa Harlowe to Miss Howe</head>
<opener>
 <dateline>Thursday evening, March 2.</dateline>
</opener>
On Hannah's depositing my long letter ...
An interruption obliges me to conclude myself
 in some hurry, as well as fright, what I must ever be,
<closer>
 <salute>Yours more than my own,</salute>
 <signed>Clarissa Harlowe</signed>
</closer>
</div>

4.2.3 Arguments, Epigraphs, and Postscripts

<div type="chap" n="6">
<argument>
 Kingston — Instructive remarks on early English history
 — Instructive observations on carved oak and life in general
 — Sad case of Stivvings, junior — Musings on antiquity
 — I forget that I am steering — Interesting result
 — Hampton Court Maze — Harris as a guide.
</argument>
It was a glorious morning, late spring or early summer, as you
 care to take it ...
</div>

4.2.3 Arguments, Epigraphs, and Postscripts

<div type="chap" n="6">
<argument>
 <list type="inline">
 <item>Kingston</item>
 <item>Instructive remarks on early English history</item>
 <item>Instructive observations on carved oak and life in
 general</item>
 <item>Sad case of Stivvings, junior</item>
 <item>Musings on antiquity</item>
 <item>I forget that I am steering</item>
 <item>Interesting result</item>
 <item>Hampton Court Maze</item>
 <item>Harris as a guide.</item>
 </list>
</argument>
It was a glorious morning, late spring or early summer, as you
 care to take it ...
</div>

4.2.3 Arguments, Epigraphs, and Postscripts

<div n="19" type="chap">
<head>Chapter 19</head>
<epigraph>
 <cit>
 <quote>I pity the man who can travel
 from Dan to Beersheba, and say <q>'Tis all
 barren;</q> and so is all the world to him
 who will not cultivate the fruits it offers.
 </quote>
 <bibl>Sterne: Sentimental Journey.</bibl>
 </cit>
</epigraph>
To say that Deronda was romantic would be to
 misrepresent him: but under his calm and somewhat
 self-repressed exterior ...
</div>

4.2.3 Arguments, Epigraphs, and Postscripts

<div type="letter">
<opener>
 <dateline>
 <placeName>Newport</placeName>
 <date when="1761-05-27">May ye 27th 1761</date>
 </dateline>
 <salute>Gentlemen</salute>
</opener>
Capt Stoddard's Business
<lb/>calling him to Providence, have
<lb/>got him to look at Hopkins brigantine
<lb/>& if can agree to Purchase her, shall
<lb/>be much oblig'd for your further
<lb/>assistance herein, & will acquiesce with
<lb/>whatever you & he shall Contract
<lb/>for — I Thank you for your
<lb/>
 <unclear>Line</unclear> respecting the brigantine & Beg
<lb/>leave to Recommend the Bearer
<lb/>to you for your advice & Friendship
<lb/>in this matter
<closer>
 <salute>I am your most humble servant</salute>
 <signed>Joseph Wanton Jr</signed>
</closer>
<postscript>
 <label>P.S.</label>
 I have Mollases, Sugar,
 <lb/>Coffee & Rum, which
 <lb/>will Exchange with you
 <lb/>for Candles or Oyl
</postscript>
</div>

<div type="chapter">
 自己想吃人，又怕被別人吃了，都用著疑心极深的眼光，面面相覷。…… 
<closer>
 <dateline>
 <name type="place">南京</name>
 <date>1918–1919</date>
 </dateline>
</closer>
</div>

<div type="chapter">

 and his heart was going like mad and yes I said yes I will Yes.
<closer>
 <dateline>
 <name type="place">Trieste-Zürich-Paris,</name>
 <date>1914–1921</date>
 </dateline>
</closer>
</div>

<argument>
Monte Video — Maldonado — Excursion
 to R Polanco — Lazo and Bolas — Partridges —
 Absence of Trees — Deer — Capybara, or River Hog —
 Tucutuco — Molothrus, cuckoo-like habits — Tyrant
 Flycatcher — Mocking-bird — Carrion Hawks —
 Tubes formed by Lightning — House struck
</argument>

<argument>
自我與他者的關係— 個體感性存在—共有性—交流性—同時性— 責任感/回應性—亦此亦彼—你中有我、我中有你—同時共存——非非此即彼—非你死我活—視域剩餘—外在性—超在性
</argument>

<opener>
<dateline>
<name type="place">杭州西湖</name>
<date>2008年4月1日</date>
</dateline>
<salute>親愛的小張：</salute>
</opener>
很抱歉，我今天有事無法赴約，希望您能諒解...

<opener>
<dateline>
<name type="place">Great Marlborough Street</name>
<date>November 11, 1848</date>
</dateline>
<salute>My dear Sir,</salute>
</opener>
I am sorry to say that absence from town and other circumstances have prevented me from
earlier enquiring...

<div type="letter">
 perhaps you will favour me with a sight of it when convenient.
<closer>
<salute>I remain, &c. &c.</salute>
<signed>H. Colburn</signed>
</closer>
</div>

<div type="letter">
 不久，我們就能再見面。
<closer>
<salute>祝事事順心</salute>
<signed>謝甯</signed>
</closer>
</div>

<div type="chapter">

 and his heart was going like mad and yes I said yes I will Yes.
<closer>
 <dateline>
 <name type="place">Trieste-Zürich-Paris,</name>
 <date>1914–1921</date>
 </dateline>
</closer>
</div>

<div type="letter">
<opener>
 <dateline>
 <placeName>Rimaone</placeName>
 <date when="2006-11-21">21 Nov 06</date>
 </dateline>
 <salute>Dear Susan,</salute>
</opener>
Thank you very much for the assistance splitting those
 logs. I'm sorry about the misunderstanding as to the size of
 the task. I really was not asking for help, only to borrow the
 axe. Hope you had fun in any case.
<closer>
 <salute>Sincerely yours,</salute>
 <signed>Seymour</signed>
</closer>
<postscript>
 <label>P.S.</label>
 The collision occured on <date when="2001-07-06">06 Jul 01</date>.
</postscript>
</div>

<div type="letter">
<opener>
 <dateline>
 <date when="1911-03-26">辛亥三月二十六</date>
 </dateline>
 <salute>意映卿卿如晤：</salute>
</opener>
吾今以此書與汝永別矣！吾作此書，淚珠和筆墨齊下，不能竟書，而欲擱筆！又恐汝不察吾衷，謂吾忍舍汝而死，謂吾不知汝之不欲吾死也，故遂忍悲為汝言之。...
<closer>
 <signed>夜四鼓<name>意洞</name>手書</signed>
</closer>
</div>

4.3.1 Grouped Texts

<TEI>
<teiHeader>

</teiHeader>
<text>
 <front>
 <docTitle>
 <titlePart> The Adventures of Sherlock Holmes
 </titlePart>
 </docTitle>
 <docImprint>First published in <title>The Strand</title>
 between July 1891 and December 1892</docImprint>

 </front>
 <group>
 <text>
 <front>
 <head rend="italic">Adventures of Sherlock
 Holmes</head>
 <docTitle>
 <titlePart>Adventure I. —</titlePart>
 <titlePart>A Scandal in Bohemia</titlePart>
 </docTitle>
 <byline>By A. Conan Doyle.</byline>
 </front>
 <body>
 To Sherlock Holmes she is always
 <emph>the</emph> woman. ... 

 </body>
 </text>
 <text>
 <front>
 <head rend="italic">Adventures of Sherlock Holmes</head>
 <docTitle>
 <titlePart>Adventure II. —</titlePart>
 <titlePart>The Red-Headed League</titlePart>
 </docTitle>
 <byline>By A. Conan Doyle.</byline>
 </front>
 <body>

 </body>
 </text>
 <text>
 <front>
 <head rend="italic">Adventures of Sherlock Holmes</head>
 <docTitle>
 <titlePart>Adventure XII. —</titlePart>
 <titlePart>The Adventure of the Copper Beeches</titlePart>
 </docTitle>
 <byline>By A. Conan Doyle.</byline>
 </front>
 <body>
 
 <q>To the man who loves art for its
 own sake,</q> remarked Sherlock Holmes ...




 ... she is now the head of a private school
 at Walsall, where I believe that she has
 met with considerable success.
 </body>
 </text>

 </group>
</text>

</TEI>

4.3.1 Grouped Texts

<text>
<front>
 <titlePage>
 <docTitle>
 <titlePart>The poems of Richard Crashaw</titlePart>
 </docTitle>
 <byline>Edited by J.R. Tutin</byline>
 </titlePage>
 <div type="preface">
 <head>Editor's Note</head>
 A few words are necessary ... 
 </div>
</front>
<group>
 <text>
 <front>
 <titlePage>
 <docTitle>
 <titlePart>Steps to the Temple, Sacred Poems</titlePart>
 </docTitle>
 </titlePage>
 <div type="address">
 <head>The Preface to the Reader</head>
 Learned Reader, The Author's friend will not usurp much
 upon thy eye ... 
 </div>
 </front>
 <group>
 <text>
 <front>
 <docTitle>
 <titlePart>Sospetto D'Herode</titlePart>
 </docTitle>
 </front>
 <body>
 <div1 type="book" n="Herod I">
 <head>Libro Primo</head>
 <epigraph>
 <l>Casting the times with their strong signs</l>
 </epigraph>
 <lg n="I.1" type="stanza">
 <l>Muse! now the servant of soft loves no more</l>
 <l>Hate is thy theme and Herod whose unblest</l>
 <l>Hand (O, what dares not jealous greatness?) tore</l>
 <l>A thousand sweet babes from their mothers' breast,</l>
 <l>The blooms of martyrdom ...</l>
 </lg>
 </div1>
 </body>
 </text>
 <text>
 <front>
 <docTitle>
 <titlePart>The Tear</titlePart>
 </docTitle>
 </front>
 <body>
 <lg n="I">
 <l>What bright soft thing is this</l>
 <l>Sweet Mary, thy fair eyes' expense?</l>
 </lg>
 </body>
 </text>

 </group>
 <back>

 </back>
 </text>
 <text>

 <front/>
 <group>
 <text/>
 <text/>

 </group>
 </text>
 <text>

 <group>
 <text/>
 <text/>

 </group>
 </text>
</group>
<back>

</back>
</text>

4.3.1 Grouped Texts

<div n="2" type="chap">
<head>Extracts</head>
<head>(Supplied by a sub-sub-Librarian)</head>
It will be seen that this mere painstaking burrower and
 grubworm of a poor devil of a Sub-Sub appears to have gone
 through the long Vaticans and street-stalls of the earth,
 picking up whatever random allusions to whales he could
 anyways find ...
 Here ye strike but splintered hearts together – there,
 ye shall strike unsplinterable glasses!

 <cit>
 <quote>And God created great whales.</quote>
 <bibl>Genesis</bibl>
 </cit>
 <cit>
 <quote>
 <l>Leviathan maketh a path to shine after him;</l>
 <l>One would think the deep to be hoary.</l>
 </quote>
 <bibl>Job</bibl>
 </cit>
 <cit>
 <quote>By art is created that great Leviathan,
 called a Commonwealth or State — (in Latin,
 <mentioned xml:lang="la">civitas</mentioned>), which
 is but an artificial man.</quote>
 <bibl>Opening sentence of Hobbes's Leviathan</bibl>
 </cit>

</div>

4.3.2 Floating Texts

Galecia one Evening setting alone in her Chamber by a clear Fire,
and a clean Hearth ... reflected on the Providence of our
All-wise and Gracious Creator.... 
She was thus ruminating, when a Gentleman enter'd the Room, the
Door being a jar... calling for a Candle, she beg'd a thousand
Pardons, engaged him to sit down, and let her know, what had so long
conceal'd him from her Correspondence.

<pb n="5"/>
<floatingText>
<body>
 <head>The Story of <hi>Captain Manly</hi>
 </head>
 Dear Galecia, said he, though you partly know the loose, or rather
 lewd Life that I led in my Youth; yet I can't forbear relating part of
 it to you by way of Abhorrence...


 I had lost and spent all I had in the World; in which I verified the
 Old Proverb, That a Rolling Stone never gathers Moss,
 
</body>
</floatingText>
<pb n="37"/>

4.3.2 Floating Texts

The Gentleman having finish'd his Story, Galecia waited on him to
the Stairs-head; and at her return, casting her Eyes on the Table, she
saw lying there an old dirty rumpled Book, and found in it the
following story: 
<floatingText>
<body>
 IN the time of the Holy War when
 Christians from all parts went into the Holy Land to oppose the Turks;
 Amongst these there was a certain English Knight...

 The King graciously pardoned the Knight; Richard was kindly receiv'd
 into his Convent, and all things went on in good order: But from hence
 came the Proverb, We must not strike <hi>Robert</hi> for
 <hi>Richard.</hi>
 
</body>
</floatingText>
<pb n="43"/>
By this time Galecia's Maid brought up her Supper; after which she
cast her Eyes again on the foresaid little Book, where she found the
following Story, which she read through before she went to bed.

<floatingText>
<body>
 <head>The Cause of the Moors Overrunning
 <hi>Spain</hi>
 </head>
 King ———— of Spain at his Death, committed the Government of his
 Kingdom to his Brother Don ——— till his little Son should come of
 Age ...
 Thus the little Story ended, without telling what Misery
 befel the King and Kingdom, by the Moors, who over ran the Country for
 many Years after. To which, we may well apply the Proverb,
 <quote>
 <l>Who drives the Devil's Stages,</l>
 <l>Deserves the Devil's Wages</l>
 </quote>
 
</body>
</floatingText>
The reading this Trifle of a Story detained Galecia from her Rest
beyond her usual Hour; for she slept so sound the next Morning, that
she did not rise, till a Lady's Footman came to tell her, that his
Lady and another or two were coming to breakfast with her...

4.5 Front Matter

<div type="dedication">
To my parents, Ida and Max Fish
</div>
<div type="preface">
<head>Preface</head>
The answer this book gives to its title question is <q>there is
 and there isn't</q>.
Chapters 1–12 have been previously published in the
 following journals and collections:
<list>
 <item>chapters 1 and 3 in <title>New literary History</title>
 </item>
 <item>chapter 10 in <title>Boundary II</title> (1980)</item>
 </list>.
 I am grateful for permission to reprint.
<signed>S.F.</signed>
</div>

4.5 Front Matter

<front>
<div1 type="incipit">
 Here bygynniþ a book of contemplacyon, þe whiche
 is clepyd <title>þE CLOWDE OF VNKNOWYNG</title>,
 in þe whiche a soule is onyd wiþ GOD.
</div1>
<div1 type="prayer">
 <head>Here biginneþ þe preyer on þe prologe.</head>
 God, unto whom alle hertes ben open, & unto whome alle wille
 spekiþ, & unto whom no priue þing is hid: I beseche
 þee so for to clense þe entent of myn hert wiþ þe
 unspekable 3ift of þi grace, þat I may parfiteliche
 loue þee & worþilich preise þee. Amen.
</div1>
<div1 type="preface">
 <head>Here biginneþ þe prolog.</head>
 In þe name of þe Fader & of þe Sone &
 of þe Holy Goost.
 I charge þee & I beseeche þee, wiþ as moche
 power & vertewe as þe bonde of charite is sufficient
 to suffre, what-so-euer þou be þat þis book schalt
 haue in possession ...
</div1>
<div1 type="contents">
 <head>Here biginneþ a table of þe chapitres.</head>
 <list>
 <label>þe first chapitre </label>
 <item>Of foure degrees of Cristen mens leuing; & of þe
 cours of his cleping þat þis book was maad vnto.</item>
 <label>þe secound chapitre</label>
 <item>A schort stering to meeknes & to þe werk of þis
 book</item>
 <label>þe fiue and seuenti chapitre</label>
 <item>Of somme certein tokenes bi þe whiche a man may proue
 wheþer he be clepid of God to worche in þis werk.</item>
 </list>
 <trailer>& here eendeþ þe table of þe chapitres.</trailer>
</div1>
</front>

<titlePage>
<docTitle>
 <titlePart type="main">THOMAS OF Reading.</titlePart>
 <titlePart type="alt">OR, The sixe worthy yeomen of the West.</titlePart>
</docTitle>
<docEdition>Now the fourth time corrected and enlarged</docEdition>
<byline>By T.D.</byline>
<figure>
 <head>TP</head>
 Thou shalt labor till thou returne to duste
 <figDesc>Printers Ornament used by TP</figDesc>
</figure>
<docImprint>Printed at <name type="place">London</name> for <name>T.P.</name>
 <date>1612.</date>
</docImprint>
</titlePage>

<titlePage>
<docTitle>
 <titlePart type="main">紅樓夢</titlePart>
 <titlePart type="alt">又名石頭記</titlePart>
</docTitle>
<docEdition>清乾隆四十九年甲辰（1784年）夢覺主人序本正式題為《紅樓夢》，在此之前，此書一般都題為《石頭記》。</docEdition>
<byline>曹雪芹</byline>
<figure>
 <head>HL</head>
 紅樓夢圖詠
 <figDesc>清光緒刊本的《紅樓夢》插圖，改琦畫。</figDesc>
</figure>
<docImprint>最早的抄本出現於清朝乾隆中期的 <date>甲戌年（1754年）。</date>
</docImprint>
</titlePage>

<front>

<front>
<epigraph>
 <quote>Nam Sibyllam quidem Cumis ego ipse oculis meis
 vidi in ampulla pendere, et cum illi pueri dicerent:
 <q xml:lang="grc">Sibylla ti weleis</q>; respondebat
 illa: <q xml:lang="grc">apowanein welo.</q>
 </quote>
</epigraph>
<div type="dedication">
 For Ezra Pound <q xml:lang="it">il miglior fabbro.</q>
 
</div>
</front>

<front>

<front>
<epigraph>
<quote>小燕子其實也無所愛，只是沉浸在朦朧而飄忽的夏夜夢里罷了。 </quote>
</epigraph>
<div type="dedication">
《憶》第三十五首
</div>
</front>

<front>

<front>
<div type="dedication">
 聲明啟事
</div>
<div type="preface">
 <head>作者聲明</head>
 書中所有情節內容皆為虛構，若有雷同，純屬巧合。
</div>
</front>

<front>

<front>
<div type="dedication">
 To our three selves
</div>
<div type="preface">
 <head>Author's Note</head>
 All the characters in this book are purely imaginary, and if the
 author has used names that may suggest a reference to living persons
 she has done so inadvertently.
 ...
</div>
</front>

4.7 Back Matter

<back>
<div type="letter">
 <head>A letter written to his wife, founde with this booke
 after his death.</head>
 The remembrance of the many wrongs offred thee, and thy
 unreproued vertues, adde greater sorrow to my miserable state,
 than I can utter or thou conceiue. ...
 ... yet trust I in the world to come to find mercie, by the
 merites of my Saiuour to whom I commend thee, and commit
 my soule.
 <signed>Thy repentant husband for his disloyaltie,
 <name>Robert Greene.</name>
 </signed>
 <epigraph xml:lang="la">
 Faelicem fuisse infaustum
 </epigraph>
 <trailer>FINIS</trailer>
</div>
</back>

4.7 Back Matter

<back>
<div type="corrigenda">
 <head>Addenda</head>
 <salute xml:lang="la">M. Scriblerus Lectori</salute>
 Once more, gentle reader I appeal unto thee, from the shameful
 ignorance of the Editor, by whom Our own Specimen of
 <name>Virgil</name> hath been mangled in such miserable manner, that
 scarce without tears can we behold it. At the very entrance, Instead
 of <q xml:lang="gr">προλεγομενα</q>, lo!
 <q xml:lang="gr">προλεγωμενα</q> with an Omega!
 and in the same line <q xml:lang="la">consulâs</q> with a circumflex!
 In the next page thou findest <q xml:lang="la">leviter perlabere</q>,
 which his ignorance took to be the infinitive mood of
 <q xml:lang="la">perlabor</q> but ought to be
 <q xml:lang="la">perlabi</q> ... Wipe away all these
 monsters, Reader, with thy quill.
</div>
</back>

<back>

<back>
<div1 type="appendix">
 <head>The Golden Dream or, the Ingenuous Confession</head>
 To shew the Depravity of human Nature 
</div1>
<div1 type="epistle">
 <head>A letter from the Printer, which he desires may be inserted</head>
 <salute>Sir.</salute>
 I have done with your Copy, so you may return it to the Vatican, if you please 
</div1>
<div1 type="advert">
 <head>The Books usually read by the Scholars of Mrs Two-Shoes are these and are sold at Mr
 Newbery's at the Bible and Sun in St Paul's Church-yard.</head>
 <list>
 <item n="1">The Christmas Box, Price 1d.</item>
 <item n="2">The History of Giles Gingerbread, 1d.</item>
 <item n="42">A Curious Collection of Travels, selected from the Writers of all Nations,
 10 Vol, Pr. bound 1l.</item>
 </list>
</div1>
<div1 type="advert">
 <head>
 <hi rend="center">By the KING's Royal Patent,</hi> Are sold by J. NEWBERY, at the
 Bible and Sun in St. Paul's Church-Yard.</head>
 <list>
 <item n="1">Dr. James's Powders for Fevers, the Small-Pox, Measles, Colds, &c.
 2s. 6d</item>
 <item n="2">Dr. Hooper's Female Pills, 1s.</item>
 </list>
</div1>
</back>

<back>

<back>
<div1 type="appendix">
 <head>臺灣現代詩論戰史資料彙編</head>
 現代詩論戰史第一階段
</div1>
<div1 type="epistle">
 <head>白先勇致瘂弦洛夫</head>
 <salute>您好，</salute>
 您的副本我已使用完畢，可以歸還了，麻煩您。
</div1>
<div1 type="advert">
 <head>本論文提及的專書，可於台灣各大書店詢問訂購。</head>
 <list>
 <item n="1">陳芳明《詩與現實》，台北：洪範，1983。</item>
 <item n="2">洛夫《詩人之鏡》，台北：大業，1969。</item>
 <item n="42">廖炳惠《回顧現代》，台北：麥田，1994。</item>
 </list>
</div1>
<div1 type="advert">
 <head>
 <hi rend="center">詩集、詩選</hi>也可於網路書店購得。</head>
 <list>
 <item n="1">余光中《天狼星》，台北：洪範，1976。</item>
 <item n="2">席慕蓉著《無怨的青春》，台北，大地，1983。</item>
 </list>
</div1>
</back>

5 Representation of Non-standard Characters and Glyphs

5.3 Annotating Characters

Wo<g ref="#r1">r</g>ds in this
manusc<g ref="#r2">r</g>ipt are sometimes
written in a funny way.

5.3 Annotating Characters

... <g ref="#Filig">Fi</g>lthy riches...

<glyph xml:id="Filig">
<glyphName>LATIN UPPER F AND LATIN LOWER I LIGATURE</glyphName>
<figure>
<graphic url="Filig.png"/>
</figure>
</glyph>

6 Verse

6.5 Metrical Notation Declaration

<metDecl>
Metrically prominent syllables are marked '1' and other
 syllables '0'. Foot divisions are marked by a vertical bar,
 and line divisions with a solidus.
This notation may be applied to any metrical unit, of any
 size (including, for example, individual feet as well as
 groups of lines).
</metDecl>

7 Performance Texts

7.1.1 The Set Element

<front>
<castList>
 <castItem> ... </castItem>
</castList>
<set>
 The action of the play is set in Chicago's
 Southside, sometime between World War II and the
 present.
</set>
</front>

7.1.1 The Set Element

<front>
<titlePage/>
<div type="copyright_page"/>
<div type="Contents"/>
<div type="Introduction"/>
<div type="note">
 <head>Note on the Translation</head>
 ... 
</div>
<titlePage type="half-title">
 <docTitle>
 <titlePart>Peer Gynt</titlePart>
 </docTitle>
</titlePage>
<div type="Dramatis_Personae">
 <head>Characters</head>
 <castList/>
</div>
<set>
 The action, which opens in the beginning of the nineteenth
 century, and ends around the 1860s, takes place partly in
 Gudbrandsdalen, and on the mountains around it, partly on the coast
 of Morocco, in the desert of Sahara, in a madhouse at Cairo, at sea,
 etc.
</set>
<performance/>
</front>

<set>

<set>
The action takes place on February 7th between the hours of noon and six in the
afternoon, close to the Trenartha Tin Plate Works, on the borders of England and Wales,
where a strike has been in progress throughout the winter.
</set>

<set>

<set>
故事發生於九月八日正午十二點至三點間，位於台北中正紀念堂附近，有群眾包圍抗議政府的更名政策。
</set>

<set>

<set>
<head>場景</head>
在一個秋高氣爽的下午，中正紀念堂前
</set>

<set>

<set>
<head>SCENE</head>
A Sub-Post Office on a late autumn evening
</set>

7.1.2 Prologues and Epilogues

<front>
<prologue>
 <head>Prologue, spoken by <name>Mr. Hart</name>
 </head>
 <l>Poets like Cudgel'd Bullys, never do</l>
 <l>At first, or second blow, submit to you;</l>
 <l>But will provoke you still, and ne're have done,</l>
 <l>Till you are weary first, with laying on:</l>
 <l>We patiently you see, give up to you,</l>
 <l>Our Poets, Virgins, nay our Matrons too.</l>
</prologue>
<castList>
 <head>The Persons</head>
 <castItem> ... </castItem>
</castList>
<set>
 <head>The SCENE</head>
 London
</set>
</front>

7.1.2 Prologues and Epilogues

<text>
<body>
 <div1 type="scene">
 <sp>
 <l part="Y">I'le deliver all,</l>
 <l>And promise you calme Seas, auspicious gales,</l>
 <l>Be free and fare thou well: please you, draw neere.</l>
 <stage>Exeunt omnes.</stage>
 </sp>
 </div1>
</body>
<back>
 <epilogue>
 <head>Epilogue, spoken by Prospero.</head>
 <sp>
 <l>Now my Charmes are all ore-throwne,</l>
 <l>And what strength I have's mine owne</l>
 <l>As you from crimes would pardon'd be,</l>
 <l>Let your Indulgence set me free.</l>
 </sp>
 <stage>Exit</stage>
 </epilogue>
 <set>
 The Scene, an un-inhabited Island.
 </set>
 <castList>
 <head>Names of the Actors.</head>
 <castItem>Alonso, K. of Naples</castItem>
 <castItem>Sebastian, his Brother.</castItem>
 <castItem>Prospero, the right Duke of Millaine.</castItem>
 </castList>
 <trailer>FINIS</trailer>
</back>
</text>

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>

7.1.3 Records of Performances

<performance>
La Machine Infernale a été
 représentée pour la première fois au
<rs type="place-theatre">théâtre Louis-Jouvet</rs>
 <rs type="place-theatre">(Comédie des
 Champs-élysées)</rs>
 <date>le 10 avril 1934</date>,
 avec les décors et les costumes de
<name>Christian Bérard.</name> ... 
</performance>

<performance>

 <rs type="place">Gateway Theatre, Edinburgh</rs>, <date>6 September 1948</date>
 <castList>
 <castItem>
 <role>Anath Bithiah</role>
 <actor>Athene Seyler</actor>
 </castItem>
 <castItem>
 <role>Shendi</role>
 <actor>Robert Rietty</actor>
 </castItem>
 </castList>

Directed by <name>E. Martin Browne</name>

</performance>

<performance>

 <rs type="place">新竹市文化局演藝廳</rs>, <date>2008年3月14日</date>
 <castList>
 <castItem>
 <role>劉福春</role>
 <actor>陳忠義</actor>
 </castItem>
 <castItem>
 <role>劉麗月</role>
 <actor>陳慧如</actor>
 </castItem>
 </castList>

監製： <name>李永得</name>

</performance>

<performance>
首演假<rs type="place">台北國家劇院</rs>於 <date>2007年10月12日</date>
 <castList>
 <castItem>劉麗君: 徐堰鈴飾</castItem>
 </castList>

</performance>

<performance>
Cast of the original production at the <rs type="place">Savoy Theatre, London,</rs> on
<date>September 24, 1907</date>
 <castList>
 <castItem>Colonel Hope : Mr A.E.George</castItem>
 </castList>

</performance>

7.1.4 Cast Lists

<performance>
The first performance in Great Britain of <title>Waiting for
 Godot</title> was given at the Arts Theatre, London, on
<date when="1955-08-03">3rd August 1955</date>. It was directed by
<name>Peter Hall</name>, and the décor was by <name>Peter
 Snow</name>. The cast was as follows:
<castList>
 <castItem>Estragon: Peter Woodthorpe</castItem>
 <castItem>Vladimir: Paul Daneman</castItem>
 <castItem> ... </castItem>
</castList>
</performance>

7.2.1 Major Structural Divisions

<body>
<div1 type="act" n="1">
 <head>Act One</head>
 <div2 type="scene" n="1">
 <stage>Pa Ubu, Ma Ubu</stage>
 <sp>
 <speaker>Pa Ubu</speaker>
 Pschitt!
 </sp>
 </div2>
 <div2 type="scene" n="2">
 <stage>A room in Pa Ubu's house, where a magnificent
 collation is set out</stage>
 </div2>
</div1>
<div1 type="act" n="2">
 <head>Act Two</head>
 <div2 type="scene" n="1">
 <head>Scene One</head>
 </div2>
 <div2 type="scene" n="2">
 <head>Scene Two</head>
 </div2>
</div1>
</body>

7.2.2 Speeches and Speakers

<castList>
<castItem>
<role xml:id="hh">Henry Higgins</role>
</castItem>
</castList>
<sp who="#hh">
<speaker>The Notetaker</speaker>
 ... 
</sp>

7.2.3 Stage Directions

<div1 n="1" type="act">
<stage type="setting">
 Scene. — A room furnished comfortably and
 tastefully but not extravagantly ...
 The floor is carpeted and a fire burns in the stove.
 It is winter.
 A bell rings in the hall; shortly afterwards the
 door is heard to open. Enter NORA humming a tune ...
</stage>
<sp>
 <speaker>Nora</speaker>
 Hide the Christmas Tree carefully, Helen. Be sure the
 children do not see it till this evening, when it is
 dressed. <stage type="delivery">To the PORTER taking
 out her purse</stage> How much?
</sp>
</div1>

7.2.3 Stage Directions

<castList>
<castItem>
 <role xml:id="lm">Lady Macbeth</role>
</castItem>
<castItem>
 <role xml:id="g1">First Gentleman</role>
</castItem>

</castList>
<sp who="#g1">
<speaker>Gent.</speaker>
Neither to you, nor any one; having no witness
 to confirm my speech. <move who="#lm" type="enter" where="C"/>
 Lo you! here she comes. This is her very guise; and,
 upon my life, fast asleep.
</sp>

<move>

<performance xml:id="perf1">
First performance
<castList>
 <castItem>
 <role xml:id="bellaf">Bellafront</role>
 </castItem>

</castList>
</performance>

<stage type="entrance">
<move
 who="#bellaf"
 type="enter"
 where="L"
 perf="#perf1"/> Enter
Bellafront mad.
</stage>

<move>

7.2.5 Embedded Structures

<sp>
<speaker>Kelly</speaker>
<stage>(calmly).</stage>
Aha, so you've bad minds along with th' love of gain.
 You thry to pin on others th' dirty decorations that
 may be hangin' on your own coats.
<stage>(He points, one after the other at Conroy, Bull,
 and Flagonson. Lilting)</stage>
<lg type="song">
 <l>Who were you with last night?</l>
 <l>Who were you with last night?</l>
 <l>Will you tell your missus when you go home</l>
 <l>Who you were with last night?</l>
</lg>
</sp>
<sp>
<speaker>Flagonson</speaker>
<stage>(in anguished indignation).</stage>
This is more than a hurt to us: this hits at the
 decency of the whole nation!
</sp>

7.2.5 Embedded Structures

<sp>
<speaker>Kelly</speaker>
<stage>(calmly).</stage>
Aha, so you've bad minds along with ...
</sp>
<stage>(He points, one after the other at Conroy, Bull,
and Flagonson. Lilting):</stage>
<floatingText>
<front>
 <titlePart>Kelly's Song</titlePart>
</front>
<body>
 <l>Who were you with last night?</l>
 <l>Who were you with last night?</l>
 <l>Will you tell your missus when you go home</l>
 <l>Who you were with last night?</l>
</body>
</floatingText>

7.2.5 Embedded Structures

<div1 n="4" type="act">
<div2 n="5" type="scene">
 <stage>Elsinore. A room in the Castle.</stage>
 <stage type="setting">Enter Ophelia, distracted.</stage>
 <sp>
 <speaker>Ophelia</speaker>
 Where is the beauteous Majesty of Denmark?
 </sp>
 <sp>
 <speaker>Queen</speaker>
 How now, Ophelia?
 </sp>
 <sp>
 <speaker>Ophelia</speaker>
 <stage>Singing</stage>
 <lg
 next="#Tl2"
 xml:id="Tl1"
 type="song"
 part="Y">
 <l>How should I your true-love know</l>
 <l>From another one?</l>
 <l>By his cockle hat and staff</l>
 <l>And his sandal shoon.</l>
 </lg>
 </sp>
 <sp>
 <speaker>Queen</speaker>
 Alas, sweet lady, what imports this song?
 </sp>
 <sp>
 <speaker>Ophelia</speaker>
 Say you? Nay, pray you mark.
 <stage>Sings</stage>
 <lg
 prev="#Tl1"
 xml:id="Tl2"
 type="song"
 part="Y">
 <l>He is dead and gone, lady,</l>
 <l>He is dead and gone;</l>
 <l>At his head a grass-green turf,</l>
 <l>At his heels a stone.</l>
 </lg>
 O, ho!
 </sp>
</div2>
</div1>

7.2.5 Embedded Structures

<text>
<body>
 <div1 n="4" type="act">
 <div2 n="5" type="scene">
 <stage type="setting">Elsinore. A room in the Castle.</stage>
 <sp>
 <speaker>Queen</speaker>
 How now, Ophelia?
 </sp>
 <sp>
 <speaker>Ophelia</speaker>
 <stage type="delivery">Singing</stage>
 <lg xml:id="TL1" type="song" part="Y">
 <l>How should I your true-love know</l>
 <l>From another one?</l>
 <l>By his cockle hat and staff</l>
 <l>And his sandal shoon.</l>
 </lg>
 </sp>
 <sp>
 <speaker>Queen</speaker>
 Alas, sweet lady, what imports this song?
 </sp>
 <sp>
 <speaker>Ophelia</speaker>
 Say you? Nay, pray you mark.
 <stage type="delivery">Sings</stage>
 <lg xml:id="TL2" type="song" part="Y">
 <l>He is dead and gone, lady,</l>
 <l>He is dead and gone;</l>
 <l>At his head a grass-green turf,</l>
 <l>At his heels a stone.</l>
 </lg>
 O, ho!
 <join type="lg" targets="#TL1 #TL2"/>
 </sp>
 </div2>
 </div1>
</body>
</text>

7.2.6 Simultaneous Action

<sp>
<speaker>Mangan</speaker>
<stage type="delivery">wildly</stage>
Look here: I'm going to take off all my clothes.
<stage type="action">he begins tearing off his coat.</stage>
</sp>
<sp xml:id="dr-s1">
<speaker>Lady Utterword</speaker>
Mr Mangan!
</sp>
<sp xml:id="dr-s2">
<speaker>Captain Shotover</speaker>
Whats that?
</sp>
<sp xml:id="dr-s3">
<speaker>Hector</speaker>
Ha! ha! Do. Do.
</sp>
<sp xml:id="dr-s4">
<speaker>Ellie</speaker>
Please dont.
</sp>
<stage
 corresp="#dr-s1 #dr-s2 #dr-s3 #dr-s4"
 xml:id="dr-d1"
 rend="braced"
 type="delivery">in consternation</stage>
<sp>
<speaker>Mrs. Hushabye</speaker>
<stage type="action">catching his arm and stopping him</stage>
Alfred: for shame! Are you mad?
</sp>

7.3 Other Types of Performance Text

<view>Ext. TV control van—Early morning.
The <name>T.V. announcer</name> from the Ryan interview
stands near the Control Van, the lake in b.g.</view>
<sp>
<speaker>T.V. Announcer</speaker>
Several years ago, Jack Ryan was a highly
successful hydroplane racer ...
</sp>

7.3 Other Types of Performance Text

<sp>
<speaker>TV Announcer VO</speaker>
Working with Ryan are his two coworkers—
 Strut Bowman, the mechanical engineer—
<view>
 <camera>Angle on Strut</camera>
 standing in the tow boat, walkie-talkie in hand,
 watching Ryan carefully.</view>
 —and Roger Dalton, a rocket
 systems analyst, and one of the scientists
 from the Jet Propulsion Lab ...
</sp>

7.3 Other Types of Performance Text

<sp>
<speaker>Benjy</speaker>
Now to business.
</sp>
<sp>
<speaker>Ford and Zaphod</speaker>
To business.
</sp>
<sound>Glasses clink.</sound>
<sp>
<speaker>Benjy</speaker>
I beg your pardon?
</sp>
<sp>
<speaker>Ford</speaker>
I'm sorry, I thought you were proposing a toast.
</sp>

7.3 Other Types of Performance Text

<camera>Zoom in to overlay showing some stock film
of hansom cabs galloping past.</camera>
<caption>London, 1895.</caption>
<caption>The residence of Mr Oscar Wilde.</caption>
<sound>Suitably classy music starts.</sound>
<view>Mix through to Wilde's drawing room. A crowd of suitably
dressed folk are engaged in typically brilliant conversation,
laughing affectedly and drinking champagne.</view>
<sp>
<speaker>Prince of Wales</speaker>
My congratulations, Wilde. Your latest play is a great success.
</sp>

<view>

<div type="shot">
<view>香港鳳凰衛視台</view>
<sp>
 <speaker>旁白</speaker>
 2008北京奧運的聖火稍後即將傳遞到香港九龍，我們有最新的現場實況直播於您。
</sp>
</div>
<div type="shot">
<view>香港九龍街道。四處是圍觀的群眾。記者站在聖火傳遞路線旁。</view>
<sp>
 <speaker>主持人</speaker>
 大家好，我現在在香港的九龍。 
</sp>
</div>

<view>

<div type="shot">
<view>BBC World symbol</view>
<sp>
 <speaker>Voice Over</speaker>
 Monty Python's Flying Circus tonight comes to you live
 from the Grillomat Snack Bar, Paignton.
</sp>
</div>
<div type="shot">
<view>Interior of a nasty snack bar. Customers around, preferably
 real people. Linkman sitting at one of the plastic tables.</view>
<sp>
 <speaker>Linkman</speaker>
 Hello to you live from the Grillomat Snack Bar.
 
</sp>
</div>

<sound>

<sp>
<speaker>Benjy</speaker>
Now to business.
</sp>
<sp>
<speaker>Ford and Zaphod</speaker>
To business.
</sp>
<sound discrete="true">Glasses clink.</sound>
<sp>
<speaker>Benjy</speaker>
I beg your pardon?
</sp>
<sp>
<speaker>Ford</speaker>
I'm sorry, I thought you were proposing a toast.
</sp>

<sound>

<sp>
<speaker>班吉</speaker>
現在，說到我們的事業。
</sp>
<sp>
<speaker>福特和薩豐</speaker>
敬我們的事業。
</sp>
<sound discrete="true">玻璃杯敲擊聲</sound>
<sp>
<speaker>班吉</speaker>
抱歉，您說什麼？
</sp>
<sp>
<speaker>福特</speaker>
不好意思，我以為你說乾杯。
</sp>

<camera>Zoom in to overlay showing some stock film of hansom cabs
galloping past</camera>
<caption>London, 1895.</caption>
<caption>The residence of Mr Oscar Wilde.</caption>
<sound>Suitably classy music starts.</sound>
<view>Mix through to Wilde's drawing room. A crowd of suitably
dressed folk are engaged in typically brilliant conversation,
laughing affectedly and drinking champagne.</view>
<sp>
<speaker>Prince of Wales</speaker>
My congratulations, Wilde. Your latest play is a great success.

</sp>

<camera>鏡頭拉近，畫面上雙蓋馬車奔馳而去。</camera>
<caption>1895年，倫敦。</caption>
<caption>王爾德先生的家</caption>
<sound>開始合宜別緻的音樂。</sound>
<view>畫面融接到王爾德的畫室。一群人衣冠楚楚、高談闊論，有人手拿香檳，有人開懷大笑。</view>
<sp>
<speaker>威爾斯王子</speaker>
恭喜你，王爾德。你最近的戲劇是個大成功。
</sp>

8 Transcriptions of Speech

8.2 Documenting the Source of Transcribed Speech

<recordingStmt>
<recording type="video">
U-matic recording made by college audio-visual department staff,
available as PAL-standard VHS transfer or sound-only casssette
</recording>
</recordingStmt>

8.2 Documenting the Source of Transcribed Speech

<recordingStmt>
<recording type="audio" dur="P30M">
 <respStmt>
 <resp>Location recording by</resp>
 <name>Sound Services Ltd.</name>
 </respStmt>
 <equipment>
 Multiple close microphones mixed down to stereo Digital
 Audio Tape, standard play, 44.1 KHz sampling frequency
 </equipment>
 <date>12 Jan 1987</date>
</recording>
</recordingStmt>

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>

<recordingStmt>
Three
distinct recordings made by hidden microphone in early February
2001.
</recordingStmt>

<recording type="audio" dur="P30M">
<equipment>
 Recorded on a Sony TR444 walkman by unknown participants; remastered
 to digital tape at <placeName>Borehamwood Studios</placeName> by
 <orgName>Transcription Services Inc</orgName>.
</equipment>
</recording>

<recording type="audio" dur="P30M">
<equipment>
以Sony TR444 walkman錄成，參與者不明；<orgName>中國廣播公司</orgName>在<placeName>中廣電台</placeName>以數位磁帶重製。
</equipment>
</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>

<equipment>
"Hi-8" 8 mm NTSC camcorder with integral directional
microphone and windshield and stereo digital sound
recording channel.

</equipment>

<equipment>
內建麥克風、立體聲音響以及數位錄音聲道的"Hi-8" 的8釐米NTSC攝錄像機。
</equipment>

<equipment>
8-track analogue transfer mixed down to 19 cm/sec audio
tape for cassette mastering
</equipment>

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>

10 Manuscript Description

10.2 The Manuscript Description Element

<msDesc>
<msIdentifier>
 <settlement>Oxford</settlement>
 <repository>Bodleian Library</repository>
 <idno>MS. Add. A. 61</idno>
 <altIdentifier type="SC">
 <idno>28843</idno>
 </altIdentifier>
</msIdentifier>
In Latin, on parchment: written in more than one hand of the 13th
 cent. in England: 7¼ x 5⅜ in., i + 55 leaves, in double columns: with
 a few coloured capitals.
'Hic incipit Bruitus Anglie,' the De origine et gestis Regum
 Angliae of Geoffrey of Monmouth (Galfridus Monumetensis: beg. 'Cum
 mecum multa & de multis.'
On fol. 54v very faint is 'Iste liber est fratris guillelmi de
 buria de ... Roberti ordinis fratrum Pred[icatorum],' 14th cent. (?):
 'hanauilla' is written at the foot of the page (15th cent.). Bought
 from the rev. W. D. Macray on March 17, 1863, for £1 10s.
</msDesc>

10.2 The Manuscript Description Element

<msDesc>
<msIdentifier>
 <settlement>Oxford</settlement>
 <repository>Bodleian Library</repository>
 <idno>MS. Add. A. 61</idno>
 <altIdentifier type="SC">
 <idno>28843</idno>
 </altIdentifier>
</msIdentifier>
<msContents>
 
 <quote>Hic incipit Bruitus Anglie,</quote> the
 <title>De origine et gestis Regum Angliae</title>
 of Geoffrey of Monmouth (Galfridus Monumetensis):
 beg. <quote>Cum mecum multa & de multis.</quote>
 In Latin.
</msContents>
<physDesc>
 
 <material>Parchment</material>: written in
 more than one hand: 7¼ x 5⅜ in., i + 55 leaves, in double
 columns: with a few coloured capitals.
</physDesc>
<history>
 Written in
 <origPlace>England</origPlace> in the
 <origDate>13th cent.</origDate> On fol. 54v very faint is
 <quote>Iste liber est fratris guillelmi de buria de ... Roberti
 ordinis fratrum Pred[icatorum],</quote> 14th cent. (?):
 <quote>hanauilla</quote> is written at the foot of the page
 (15th cent.). Bought from the rev. W. D. Macray on March 17, 1863, for
 £1 10s.
</history>
</msDesc>

10.2 The Manuscript Description Element

<msDesc>
<msIdentifier>
 <settlement>Oxford</settlement>
 <repository>Bodleian Library</repository>
 <idno>MS. Add. A. 61</idno>
 <altIdentifier type="SC">
 <idno>28843</idno>
 </altIdentifier>
</msIdentifier>
<msContents>
 <msItem>
 <author xml:lang="en">Geoffrey of Monmouth</author>
 <author xml:lang="la">Galfridus Monumetensis</author>
 <title type="uniform" xml:lang="la">De origine et
 gestis Regum Angliae</title>
 <rubric xml:lang="la">Hic incipit Bruitus Anglie</rubric>
 <incipit xml:lang="la">Cum mecum multa & de multis</incipit>
 <textLang mainLang="la">Latin</textLang>
 </msItem>
</msContents>
<physDesc>
 <objectDesc form="codex">
 <supportDesc material="perg">
 <support>
 Parchment.
 </support>
 <extent>i + 55 leaves
 <dimensions scope="all" type="leaf" unit="inch">
 <height>7¼</height>
 <width>5⅜</width>
 </dimensions>
 </extent>
 </supportDesc>
 <layoutDesc>
 <layout columns="2">
 In double columns.
 </layout>
 </layoutDesc>
 </objectDesc>
 <handDesc>
 Written in more than one hand.
 </handDesc>
 <decoDesc>
 With a few coloured capitals.
 </decoDesc>
</physDesc>
<history>
 <origin>
 Written in <origPlace>England</origPlace> in the <origDate notAfter="1300" notBefore="1200">13th cent.</origDate>
 
 </origin>
 <provenance>
 On fol. 54v very faint is
 <quote xml:lang="la">Iste liber est fratris guillelmi de buria de <gap/>
 Roberti ordinis fratrum
 Pred<ex>icatorum</ex>
 </quote>, 14th cent. (?):
 <quote>hanauilla</quote> is written at the foot of the page
 (15th cent.).
 </provenance>
 <acquisition>
 Bought from the rev. <name key="MCRAYWD">W. D. Macray</name> on
 <date when="1863-03-17">March 17, 1863</date>, for £1 10s.
 </acquisition>
</history>
</msDesc>

<msDesc>
<msIdentifier>
 <settlement>Oxford</settlement>
 <repository>Bodleian Library</repository>
 <idno type="Bod">MS Poet. Rawl. D. 169.</idno>
</msIdentifier>
<msContents>
 <msItem>
 <author>Geoffrey Chaucer</author>
 <title>The Canterbury Tales</title>
 </msItem>
</msContents>
<physDesc>
 <objectDesc>
 A parchment codex of 136 folios, measuring approx
 28 by 19 inches, and containing 24 quires.
 The pages are margined and ruled throughout.
 Four hands have been identified in the manuscript: the first 44
 folios being written in two cursive anglicana scripts, while the
 remainder is for the most part in a mixed secretary hand.
 </objectDesc>
</physDesc>
</msDesc>

<msDesc>
<msIdentifier>
 <settlement>台北</settlement>
 <repository>CBETA</repository>
 <idno type="cbeta">Taisho Tripitaka Vol. T08, No. 230</idno>
</msIdentifier>
<msContents>
 <msItem>
 <author>唐玄奘</author>
 <title>大般若波羅蜜多經電子版本</title>
 </msItem>
</msContents>
<physDesc>
 <objectDesc>
 總共有600卷
 亦收錄於高麗藏、嘉興藏、永樂北藏、永樂南藏、乾隆藏、佛教大藏經、中華藏...等。
 唯獨新纂卍續藏未收錄此經
 </objectDesc>
</physDesc>
</msDesc>

10.3.2 Material

<binding>
Brown <material>calfskin</material>, previously with two clasps.
</binding>

10.3.3 Watermarks and Stamps

<binding>
Modern calf recasing with original armorial stamp <stamp>Ex
Bibliotheca J. Richard D.M.</stamp>

</binding>

10.3.5 References to Locations within a Manuscript

<decoDesc>
Several of the miniatures in this section have been damaged and
 overpainted at a later date (e.g. the figure of Christ on <locus
 facs="http://www.example.com/images.fr#F33R">fol. 33r</locus>; the
 face of the Shepherdess on <locus
 facs="http://www.example.com/images.fr#F59V">fol. 59v</locus>,
 etc.).
</decoDesc>

10.3.8 Heraldry

Ownership stamp (xvii cent.) on i recto with the arms <heraldry>A bull
passant within a bordure bezanty, in chief a crescent for difference</heraldry>
[Cole], crest, and the legend <quote>Cole Deum</quote>.

A c. 8r fregio su due lati, <heraldry>stemma e imprese medicee</heraldry>
racchiudono l'inizio dell'epistolario di Paolino.

劍鞘正面的交叉雙彎刀及棗椰樹金雕貼花圖案為沙烏地阿拉伯王國的紋章。藍色絨布外盒，鑲有金色交叉雙彎刀及棗椰樹圖案。

<support>

<material>Rag paper</material> with <watermark>anchor</watermark> watermark
</support>

10.6 Intellectual Content

<msContents>
A collection of Lollard sermons
</msContents>
<msContents>
Atlas of the world from Western Europe and Africa to Indochina,
 containing 27 maps and 26 tables
</msContents>
<msContents>
Biblia sacra: Antiguo y Nuevo Testamento, con prefacios, prólogos
 y argumentos de san Jerónimo y de otros. Interpretaciones de los
 nombres hebreos.
</msContents>

<msItem>
<title>明藏</title>
<filiation>
明藏有四︰在南京刻的稱南藏，在北京刻的稱北藏，在浙江武林刻的稱武林藏，在徑山等處刻過的稱徑山或嘉興藏。徑山藏，是會合南北藏本而以北本為主的；日本的黃檗藏就是徑山藏的翻刻本，而卍字藏復淵源于黃檗藏，可見徑山藏給與日本的影響了。
明藏因年代較近，國內外還有完整的存本；惟武林藏本，卻已全佚，其特點是始改梵夾為方冊。
</filiation>
</msItem>

<msItem>
<title>Guan-ben</title>
<filiation>
 The "Guan-ben" was widely current among mathematicians in the
 Qing dynasty, and "Zhao Qimei version" was also read. It is
 therefore difficult to know the correct filiation path to follow.
 The study of this era is much indebted to Li Di. We explain the
 outline of his conclusion here. Kong Guangsen
 (1752-1786)(17) was from the same town as Dai Zhen, so he obtained
 "Guan-ben" from him and studied it(18). Li Huang (d. 1811)
 (19) took part in editing Si Ku Quan Shu, so he must have had
 "Guan-ben". Then Zhang Dunren (1754-1834) obtained this version,
 and studied "Da Yan Zong Shu Shu" (The General Dayan
 Computation). He wrote Jiu Yi Suan Shu (Mathematics
 Searching for One, 1803) based on this version of Shu Xue Jiu
 Zhang (20).
 One of the most important persons in restoring our knowledge
 concerning the filiation of these books was Li Rui (1768(21)
 -1817)(see his biography). ... only two volumes remain of this
 manuscript, as far as chapter 6 (chapter 3 part 2) p.13, that is,
 question 2 of "Huan Tian San Ji" (square of three loops),
 which later has been lost.
</filiation>
</msItem>

<msContents>
A collection of Lollard sermons
</msContents>

<msContents>
金剛般若波羅蜜經
</msContents>

10.7 Physical Description

<physDesc>
Generic descriptive prose...

<objectDesc form="codex">

</objectDesc>

</physDesc>

10.7.1 Object Description

<objectDesc form="codex">
<supportDesc>
 Mostly <material>paper</material>, with watermarks
 <watermark>unicorn</watermark> (<ref>Briquet 9993</ref>) and
 <watermark>ox</watermark> (close to <ref>Briquet 2785</ref>).
 The first and last leaf of each quire, with the exception of
 quires xvi and xviii, are constituted by bifolia of parchment,
 and all seven miniatures have been painted on inserted
 singletons of parchment.
</supportDesc>
</objectDesc>

10.7.1.1 Support

<support>

 <material>Paper</material> with watermark: <watermark>anchor in a circle
 with star on top</watermark>, <watermark>countermark B-B with
 trefoil</watermark> similar to <ref>Moschin, Anchor N 1680</ref>
 <date>1570-1585</date>.
</support>

10.7.1.3 Collation

<collation>

 <formula>1-3:8, 4:6, 5-13:8</formula>

</collation>
<collation>
There are now four gatherings, the first, second and fourth originally consisting of
 eight leaves, the third of seven. A fifth gathering thought to have followed has left no trace.
<list>
 <item>Gathering I consists of 7 leaves, a first leaf, originally conjoint with <locus>fol. 7</locus>,
 having been cut away leaving only a narrow strip along the gutter; the others, <locus>fols 1</locus>
 and <locus>6</locus>, <locus>2</locus> and <locus>5</locus>, and <locus>3</locus> and <locus>4</locus>,
 are bifolia.</item>
 <item>Gathering II consists of 8 leaves, 4 bifolia.</item>
 <item>Gathering III consists of 7 leaves; <locus>fols 16</locus> and <locus>22</locus> are conjoint,
 the others singletons.</item>
 <item>Gathering IV consists of 2 leaves, a bifolium.</item>
 </list>

</collation>
<collation>
I (1, 2+9, 3+8, 4+7, 5+6, 10); II (11, 12+17, 13, 14, 15, 16, 18, 19).
</collation>
<collation>

 <formula>1-5.8 6.6 (catchword, f. 46, does not match following
 text) 7-8.8 9.10, 11.2 (through f. 82) 12-14.8 15.8(-7)</formula>

</collation>

10.7.1.4 Foliation

<foliation>
Neuere Foliierung, die auch das Vorsatzblatt mitgezählt hat.
</foliation>
<foliation>
Folio numbers were added in brown ink by Árni Magnússon
ca. 1720-1730 in the upper right corner of all recto-pages.
</foliation>

10.7.1.4 Foliation

<foliation xml:id="original">
Original foliation in red roman numerals in the middle of
the outer margin of each recto
</foliation>
<foliation xml:id="modern">
Foliated in pencil in the top right
corner of each recto page.
</foliation>

<locus scheme="#modern">ff 1-20</locus>

10.7.1.5 Condition

<supportDesc>
<condition>
The manuscript shows signs of damage from water and mould on its outermost leaves.
</condition>
</supportDesc>

10.7.1.5 Condition

<condition>
Despite tears on many of the leaves the codex is reasonably well preserved.
 The top and the bottom of f. 1 is damaged, and only a thin slip is left of the original second
 leaf (now foliated as 1bis). The lower margin of f. 92 has been cut away. There is a lacuna of
 one leaf between ff. 193 and 194. The manuscript ends defectively (there are approximately six
 leaves missing).
</condition>

10.7.1.6 Layout Description

<layout ruledLines="25 32">
Most pages have between 25 and 32 long lines ruled in lead.
</layout>
<layout columns="1" writtenLines="24">
Written in one column throughout; 24 lines per page.
</layout>
<layout>
Written in 3 columns, with 8 lines of text and interlinear glosses in
 the centre, and up to 26 lines of gloss in the outer two columns. Double
 vertical bounding lines ruled in hard point on hair side. Text lines ruled
 faintly in lead. Remains of prickings in upper, lower, and outer (for 8 lines
 of text only) margins.
</layout>

10.7.1.6 Layout Description

<layoutDesc>
<layout ruledLines="25 32">
 On <locus from="1r" to="202v">fols 1r-200v</locus> and
 <locus from="210r" to="212v">fols 210r-212v</locus> there are
 between 25 and 32 ruled lines.
</layout>
<layout ruledLines="34 50">
 On <locus from="203r" to="209v">fols 203r-209v</locus> there are between 34
 and 50 ruled lines.
</layout>
</layoutDesc>

10.7.2.1 Writing

<handDesc>
Written in a <term>late Caroline minuscule</term>; versals in a
 form of <term>rustic capitals</term>; although the marginal and
 interlinear gloss is written in varying shades of ink that are
 not those of the main text, text and gloss appear to have been
 copied during approximately the same time span.
</handDesc>

10.7.2.1 Writing

<handDesc hands="2">
The manuscript is written in two contemporary hands, otherwise
 unknown, but clearly those of practised scribes. Hand I writes
 ff. 1r-22v and hand II ff. 23 and 24. Some scholars, notably
 Verner Dahlerup and Hreinn Benediktsson, have argued for a third hand
 on f. 24, but the evidence for this is insubstantial.
</handDesc>

10.7.2.1 Writing

<handDesc hands="3">
<handNote xml:id="Eirsp-1" scope="minor">
 The first part of the manuscript,
 <locus from="1v" to="72v:4">fols 1v-72v:4</locus>, is written in a practised
 Icelandic Gothic bookhand. This hand is not found elsewhere.
</handNote>
<handNote xml:id="Eirsp-2" scope="major">
 The second part of the manuscript, <locus from="72v:4" to="194v">fols
 72v:4-194</locus>, is written in a hand contemporary with the first; it can
 also be found in a fragment of <title>Knýtlinga saga</title>,
 <ref>AM 20b II fol.</ref>.
</handNote>
<handNote xml:id="Eirsp-3" scope="minor">
 The third hand has written the majority of the chapter headings.
 This hand has been identified as the one also found in <ref>AM
 221 fol.</ref>.
</handNote>
</handDesc>

10.7.2.1 Writing

<typeDesc>
Uses a mixture of Roman and Black Letter types.
</typeDesc>

10.7.2.2 Decoration

<decoDesc>
The decoration comprises two full page miniatures, perhaps added
 by the original owner, or slightly later; the original major decoration
 consists of twenty-three large miniatures, illustrating the divisions of
 the Passion narrative and the start of the major texts, and the major
 divisions of the Hours; seventeen smaller miniatures, illustrating the
 suffrages to saints; and seven historiated initials, illustrating
 the pericopes and major prayers.
</decoDesc>

10.7.2.2 Decoration

<decoDesc>
<decoNote type="miniature">
 One full-page miniature, facing the beginning of the first
 Penitential Psalm.
</decoNote>
<decoNote type="initial">
 One seven-line historiated initial, commencing the first
 Penitential Psalm.
</decoNote>
<decoNote type="initial">
 Six four-line decorated initials, commencing the second through the
 seventh Penitential Psalm.
</decoNote>
<decoNote type="initial">
 Some three hundred two-line versal initials with pen-flourishes,
 commencing the psalm verses.
</decoNote>
<decoNote type="border">
 Four-sided border decoration surrounding the miniatures and three-sided
 border decoration accompanying the historiated and decorated initials.
</decoNote>
</decoDesc>

10.7.2.2 Decoration

<decoDesc>
<decoNote type="miniatures">
 Fourteen large miniatures with arched tops, above five lines of text:
 <list>
 <item>
 <locus>fol. 14r</locus>Pericopes. <term>St. John writing on
 Patmos</term>, with the Eagle holding his ink-pot and pen-case; some
 flaking of pigment, especially in the sky</item>
 <item>
 <locus>fol. 26r</locus>Hours of the Virgin, Matins.
 <term>Annunciation</term>; Gabriel and the Dove to the right</item>
 <item>
 <locus>fol. 60r</locus>Prime. <term>Nativity</term>; the
 <term>Virgin and Joseph adoring the Child</term>
 </item>
 <item>
 <locus>fol. 66r</locus>Terce. <term>Annunciation to the
 Shepherds</term>, one with <term>bagpipes</term>
 </item>

 </list>
 
</decoNote>
</decoDesc>

10.7.2.3 Musical Notation

<musicNotation>
Square notation on 4-line red staves.
</musicNotation>
<musicNotation>
Neumes in campo aperto of the St. Gall type.
</musicNotation>

10.7.2.4 Additions and Marginalia

<additions>
Doodles on most leaves, possibly by children, and often quite amusing.
</additions>
<additions>
Quelques annotations marginales des XVIe et XVIIe s.
</additions>
<additions>
The text of this manuscript is not interpolated with sentences from
 Royal decrees promulgated in 1294, 1305 and 1314. In the margins, however,
 another somewhat later scribe has added the relevant paragraphs of these
 decrees, see pp. 8, 24, 44, 47 etc.
As a humorous gesture the scribe in one opening of the manuscript, pp. 36
 and 37, has prolonged the lower stems of one letter f and five letters þ
 and has them drizzle down the margin.
</additions>
<additions>
Spaces for initials and chapter headings were left by the scribe but not filled in.
 A later, probably fifteenth-century, hand has added initials and chapter headings in
 greenish-coloured ink on fols <locus>8r</locus>, <locus>8v</locus>, <locus>9r</locus>,
<locus>10r</locus> and <locus>11r</locus>. Although a few of these chapter headings are
 now rather difficult to read, most can be made out, e.g. fol. <locus>8rb</locus>
 <quote xml:lang="is">floti ast<ex>ri</ex>d<ex>ar</ex>
 </quote>; fol. <locus>9rb</locus>
 <quote xml:lang="is">v<ex>m</ex> olaf conung</quote>, and fol. <locus>10ra</locus>
 <quote xml:lang="is">Gipti<ex>n</ex>g ol<ex>a</ex>fs k<ex>onun</ex>gs</quote>.
The manuscript contains the following marginalia:
<list>
 <item>Fol. <locus>4v</locus>, left margin: <quote xml:lang="is">hialmadr <ex>ok</ex>
 <lb/>brynjadr</quote>,
 in a fifteenth-cenury hand, imitating an addition made to the text by the scribe at this point.</item>
 <item>Fol. <locus>5r</locus>, lower margin: <quote xml:lang="is">þ<ex>e</ex>tta þiki
 m<ex>er</ex> v<ex>er</ex>a gott blek en<ex>n</ex>da kan<ex>n</ex> ek icki
 betr sia</quote>, in a fifteenth-century hand, probably the same as that on the previous page.</item>
 <item>Fol. <locus>9v</locus>, bottom margin: <quote xml:lang="is">þessa bok uilda eg <sic>gæt</sic>
 lært med <lb/>an Gud gefe myer Gott ad <lb/>læra</quote>; seventeenth-century hand.</item>
 </list>

There are in addition a number of illegible scribbles in a later hand (or hands) on fols
<locus>2r</locus>, <locus>3r</locus>, <locus>5v</locus> and <locus>19r</locus>.
</additions>

10.7.3.1 Binding Descriptions

<bindingDesc>
Sewing not visible; tightly rebound over 19th-century pasteboards, reusing
 panels of 16th-century brown leather with gilt tooling à la fanfare, Paris
 c. 1580-90, the centre of each cover inlaid with a 17th-century oval medallion
 of red morocco tooled in gilt (perhaps replacing the identifying mark of a
 previous owner); the spine similarly tooled, without raised bands or title-piece;
 coloured endbands; the edges of the leaves and boards gilt. Boxed.
</bindingDesc>

10.7.3.1 Binding Descriptions

<binding>
Bound, s. XVIII (?), in <material>diced russia leather</material>
 retaining most of the original 15th century metal ornaments (but with
 some replacements) as well as the heavy wooden boards.
<decoNote>
 On each cover: alternating circular stamps of the Holy Monogram,
 a sunburst, and a flower.
</decoNote>
<decoNote>
 On the cornerpieces, one of which is missing, a rectangular stamp
 of the Agnus Dei.
</decoNote>
<condition>Front and back leather inlaid panels very badly worn.</condition>
Rebacked during the 19th century.
</binding>

10.7.3.2 Seals

<sealDesc>
<seal n="1" type="pendant" subtype="cauda_duplex">
 Round seal of <name>Anders Olufsen</name> in black wax:
 <bibl>
 <ref>DAS 930</ref>
 </bibl>. Parchment tag, on which is written:
 <quote>pertinere nos predictorum placiti nostri iusticarii precessorum dif</quote>.
</seal>
<seal n="2" type="pendant" subtype="cauda_duplex">
 The seal of <name>Jens Olufsen</name> in black wax:
 <bibl>
 <ref>DAS 1061</ref>
 </bibl>. Legend: <quote>S IOHANNES OLAVI</quote>.
 Parchment tag on which is written: <quote>Woldorp Iohanne G</quote>.
</seal>
</sealDesc>

10.7.3.3 Accompanying Material

<accMat>
A slip in Árni Magnússon's hand has been stuck to the
 pastedown on the inside front cover; the text reads:
<quote xml:lang="is">Þidreks Søgu þessa hefi eg
 feiged af Sekreterer Wielandt Anno 1715 i Kaupmanna høfn. Hun er,
 sem eg sie, Copia af Austfirda bókinni (Eidagás) en<ex>n</ex>
 ecki progenies Brædratungu bokarinnar. Og er þar fyrer eigi i
 allan<ex>n</ex> máta samhlioda þ<ex>eir</ex>re er
 Sr Jon Erlendz son hefer ritad fyrer Mag. Bryniolf. Þesse Þidreks
 Saga mun vera komin fra Sr Vigfuse á Helgafelle.</quote>

</accMat>

<physDesc>
<objectDesc form="codex">
 <supportDesc material="perg">
 <support>Parchment.</support>
 <extent>i + 55 leaves
 <dimensions scope="all" type="leaf" unit="inch">
 <height>7Â¼</height>
 <width>5â??</width>
 </dimensions>
 </extent>
 </supportDesc>
 <layoutDesc>
 <layout columns="2">In double columns.</layout>
 </layoutDesc>
</objectDesc>
<handDesc>
 Written in more than one hand.
</handDesc>
<decoDesc>
 With a few coloured capitals.
</decoDesc>
</physDesc>

<objectDesc form="codex">
<supportDesc material="mixed">
 Early modern
 <material>parchment</material> and
 <material>paper</material>.
</supportDesc>
<layoutDesc>
 <layout ruledLines="25 32"/>
</layoutDesc>
</objectDesc>

<collation>
此物屬「沓姆」，即用西雙版納傣文書寫的佛經，頁面打折；打折是為了讓一頁變為多頁並折疊成一冊，其折出的每一頁的寬度和長度皆與作為書寫介質的貝葉相當。
</collation>

<collation>

 <formula>1-5.8 6.6 (catchword, f. 46, does not match following text)
 7-8.8 9.10, 11.2 (through f. 82) 12-14.8 15.8(-7)</formula>
 <catchwords>Catchwords are written horizontally in center
 or towards the right lower margin in various manners:
 in red ink for quires 1-6 (which are also signed in red
 ink with letters of the alphabet and arabic numerals);
 quires 7-9 in ink of text within yellow decorated frames;
 quire 10 in red decorated frame; quire 12 in ink of text;
 quire 13 with red decorative slashes; quire 14 added in
 cursive hand.</catchwords>

</collation>

<condition>
There are lacunae in three places in this
 manuscript. After 14v two
 leaves has been cut out and narrow strips leaves remains in the spine. After
 68v one gathering is missing and after 101v at least one gathering of 8 leaves
 has been lost. 
Several leaves are damaged with tears or holes or have a
 irregular shape. Some of the damages do not allow the lines to be of full
 length and they are apparently older than the script. There are tears on fol.
 2r-v, 9r-v, 10r-v, 15r-18v, 19r-v, 20r-22v, 23r-v, 24r-28v, 30r-v, 32r-35v,
 37r-v, 38r-v, 40r-43v, 45r-47v, 49r-v, 51r-v, 53r-60v, 67r-v, 68r-v, 70r-v,
 74r-80v, 82r-v, 86r-v, 88r-v, 89r-v, 95r-v, 97r-98v 99r-v, 100r-v. On fol. 98
 the corner has been torn off. Several leaves are in a bad condition due to
 moist and wear, and have become dark, bleached or
 wrinkled. 
The script has been
 touched up in the 17th century with black ink. The touching up on the following
 fols. was done by
<name>Bishop Brynjólf Sveinsson</name>: 1v, 3r, 4r, 5r,
 6v, 8v,9r, 10r, 14r, 14v, 22r,30v, 36r-52v, 72v, 77r,78r,103r, 104r,. An
 AM-note says according to the lawman
<name>Sigurður Björnsson</name> that the rest of the
 touching up was done by himself and another lawman
<name>Sigurður Jónsson</name>.
<name>Sigurður Björnsson</name> did the touching up
 on the following fols.: 46v, 47r, 48r, 49r-v, 50r, 52r-v.
<name>Sigurður Jónsson</name> did the rest of the
 touching up in the section 36r-59r containing
<title>Bretasögur</title>

</condition>

<layoutDesc>
Most pages have between 25 and 32 long lines ruled in lead.
</layoutDesc>

<layoutDesc>
每頁14行，每行40到43字不等；有註文小字雙行，字數不等。
</layoutDesc>

<layoutDesc>
<layout columns="2" ruledLines="42">
 
 <locus from="f12r" to="f15v"/> 兩欄共42行以墨水圈選、標誌，欄間有直線分隔。
</layout>
<layout columns="3">
 
 <locus from="f16"/>Prickings for three columns are visible.
</layout>
</layoutDesc>

<layoutDesc>
<layout columns="2" ruledLines="42">
 
 <locus from="f12r" to="f15v"/>
 2 columns of 42 lines pricked and ruled in ink, with
 central rule between the columns.
</layout>
<layout columns="3">
 
 <locus from="f16"/>小孔的三欄可見.
</layout>
</layoutDesc>

<layout columns="2" ruledLines="42">
兩欄共42行油墨橫線，欄間有直線分隔。
</layout>

<layout columns="1 2" writtenLines="40 50">
有些頁面有兩欄，欄間有直線分隔；每欄有40至50行的字。
</layout>

<layout columns="2" ruledLines="42">
2 columns of 42 lines ruled in ink, with central rule
between the columns.
</layout>

<layout columns="1 2" writtenLines="40 50">
Some pages have 2 columns, with central rule
between the columns; each column with between 40 and 50 lines of writing.
</layout>

<handDesc hands="1">
手稿由田代安定一人控稿，同行者包括鳥居龍藏（帝國大學人類學調查員）；上領小太郎（舊民政局殖產課員）；三宅驥（帝國大學職務調查員）；小笠原富次郎（總統府技手殖產課員）。
</handDesc>

<typeDesc>
Uses an unidentified black letter font, probably from the
15th century
</typeDesc>

<musicNotation>
Square notation of 4-line red staves.
</musicNotation>

<musicNotation>
紅色四線譜記號法
</musicNotation>

<decoDesc>
The start of each book of the Bible with a 10-line historiated
 illuminated initial; prefaces decorated with 6-line blue initials with red
 penwork flourishing; chapters marked by 3-line plain red initials; verses
 with 1-line initials, alternately blue or red.
</decoDesc>

<decoDesc>
每本聖經的第一個字母都是十行大小，飾以歷史圖案；引言部份的第一個字母是六行大小，並以紅筆花飾；章節的第一個字母是三行大小，紅的；韻文的第一個字母一行大小，有時是紅色有時是藍色的。
</decoDesc>

<decoDesc>
<decoNote type="initial">
 The start of each book of the Bible with
 a 10-line historiated illuminated initial;
 prefaces decorated with 6-line blue initials
 with red penwork flourishing; chapters marked by
 3-line plain red initials; verses with 1-line initials,
 alternately blue or red.
</decoNote>
</decoDesc>

<decoDesc>
<decoNote type="initial">
每本聖經的第一個字母都是十行大小，飾以歷史圖案；引言部份的第一個字母是六行大小，並以紅筆花飾；章節的第一個字母是三行大小，紅的；韻文的第一個字母一行大小，有時是紅色有時是藍色的。
</decoNote>
</decoDesc>

<additions>
There are several marginalia in this manuscript. Some consist of
 single characters and others are figurative. On 8v is to be found a drawing of
 a mans head wearing a hat. At times sentences occurs: On 5v:
<q xml:lang="is">Her er skrif andres isslendin</q>,
 on 19r: <q xml:lang="is">þeim go</q>,
 on 21r: <q xml:lang="is">amen med aund ok munn halla rei knar hofud summu all huad
 batar þad mælgi ok mal</q>,
 On 21v: some runic letters and the sentence <q xml:lang="la">aue maria gracia plena dominus</q>.
</additions>

<bindingDesc>
Sewing not visible; tightly rebound over
 19th-cent. pasteboards, reusing panels of 16th-cent. brown leather with
 gilt tooling à la fanfare, Paris c. 1580-90, the centre of each
 cover inlaid with a 17th-cent. oval medallion of red morocco tooled in
 gilt (perhaps replacing the identifying mark of a previous owner); the
 spine similarly tooled, without raised bands or title-piece; coloured
 endbands; the edges of the leaves and boards gilt.Boxed.
</bindingDesc>

<bindingDesc>
內外兩層經板將經葉含夾以後，以絲質經索綑紮，並附上白色哈達，然後以黃綾經衣包裹，就成了完整一函的經篋。
</bindingDesc>

<binding contemporary="true">
Contemporary blind stamped leather over wooden boards with evidence of a fore edge clasp
closing to the back cover.
</binding>

<binding contemporary="true">
使用與內容物同時代的皮革包覆木版，背面有以前緣扣子扣住的跡象。
</binding>

<bindingDesc>
<binding contemporary="false">
 使用與書寫的貝葉非同時代的樹條捆住
</binding>
<binding contemporary="false">
以十九世紀的不知名棉繩重綁；裁切邊緣並鍍金
</binding>
</bindingDesc>

<bindingDesc>
<binding contemporary="false">
 Quarter bound by the Phillipps' binder, Bretherton, with his sticker on the front
 pastedown.
</binding>
<binding contemporary="false">
 Rebound by an unknown 19th c. company; edges cropped and gilt.
</binding>
</bindingDesc>

<seal>

<seal n="2" type="pendant" subtype="cauda_duplex">
The seal of <name>Jens Olufsen</name> in black wax.
(<ref>DAS 1061</ref>). Legend: <q>S IOHANNES OLAVI</q>.
Parchment tag on which is written: <q>Woldorp Iohanne G</q>.
</seal>

<seal>

<seal>
清<name>乾隆</name>皇帝的「古稀天子之寶」玉璽，是選用整塊碧玉琢製而成，印面以正方形，雙龍鈕繫黃條，印面琢三行六字篆書，為乾隆年登70歲之印。
</seal>

10.8 History

<history>
<origin>
 Written in <origPlace>Durham</origPlace> during <origDate notBefore="1125" notAfter="1175">the
 mid-twelfth century</origDate>.
</origin>
<provenance>
 Recorded in two medieval catalogues of the books belonging
 to <name type="org">Durham Priory</name>, made in <date>1391</date> and
 <date>1405</date>.
 Given to <name type="person">W. Olleyf</name> by <name type="person">William
 Ebchester, Prior (1446-56)</name> and later belonged to <name type="person">Henry
 Dalton</name>, Prior of Holy Island (<name type="place">Lindisfarne</name>)
 according to inscriptions on ff. 4v and 5.
</provenance>
<acquisition>
 Presented to <name type="org">Trinity College</name> in
 <date>1738</date> by <name type="person">Thomas Gale</name> and
 his son <name type="person">Roger</name>.
</acquisition>
</history>

10.8 History

<history>
<origin notBefore="1225" notAfter="1275">
 Written in Spain or Portugal in the middle of the 13th century
 (the date 1042, given in a marginal note on f. 97v, cannot be correct.)
</origin>
<provenance>
 The Spanish scholar <name type="person">Benito Arias
 Montano</name> (1527-1598) has written his name on f. 97r, and may be
 presumed to have owned the manuscript. It came somehow into the
 possession of <foreign xml:lang="da">etatsråd</foreign>
 <name type="person">Holger Parsberg</name> (1636-1692), who has written his
 name twice, once on the front pastedown and once on f. 1r, the former dated
 <date>1680</date> and the latter <date>1682</date>. Following Parsberg's
 death the manuscript was bought by <foreign>etatsråd</foreign>
 <name type="person">Jens Rosenkrantz</name> (1640-1695) when Parsberg's
 library was auctioned off (23 October 1693).
</provenance>
<acquisition notBefore="1696" notAfter="1697">
 The manuscript was acquired by Árni
 Magnússon from the estate of Jens Rosenkrantz, presumably at
 auction (the auction lot number 468 is written in red chalk on the
 flyleaf), either in 1696 or 97.
</acquisition>
</history>

<history>
<origin>
 Written in Durham during the mid twelfth
 century.
</origin>
<provenance>
 Recorded in two medieval
 catalogues of the books belonging to Durham Priory, made in 1391 and
 1405.
 Given to W. Olleyf by William Ebchester, Prior (1446-56)
 and later belonged to Henry Dalton, Prior of Holy Island (Lindisfarne)
 according to inscriptions on ff. 4v and 5.
</provenance>
<acquisition>
 Presented to Trinity College in 1738 by
 Thomas Gale and his son Roger.
</acquisition>
</history>

<history>
<origin>
 最早由迦葉尊者以梵文手寫。
</origin>
<provenance>
 後由菩提達摩傳給慧思禪師，再經由小野妹子於推古天皇十七年（西元609年）傳入日本。
 淨嚴和尚於1694年以梵文悉曇體手寫抄錄。
 穆勒（Max Muller）於1884年轉寫成天城體及羅馬拼音，傳至歐美國家。
</provenance>
<acquisition>
 現收藏於東京博物館。
</acquisition>
</history>

10.9.1.1 Record History

<source>
Directly catalogued from the original manuscript.
</source>

10.9.1.1 Record History

<recordHist>
<source>
 Information transcribed from <bibl>
 <title>The index of Middle English verse</title>
 <biblScope>123</biblScope>
 </bibl>.
</source>
</recordHist>

10.9.1.1 Record History

<additional>
<adminInfo>
 <recordHist>
 <source>
 Information transcribed from
 <bibl>
 <ref target="#IMEV">IMEV</ref> 123</bibl>.
 </source>
 </recordHist>
</adminInfo>
<listBibl>
 <bibl xml:id="IMEV">
 <author>Carleton Brown</author> and <author>Rossell Hope Robbins</author>
 <title level="m">The index of Middle English verse</title>
 <pubPlace>New York</pubPlace>
 <date>1943</date>
 </bibl>

</listBibl>
</additional>

10.9.1.2 Availability and Custodial History

<availability>
Viewed by appointment only, to be arranged with curator.
</availability>
<availability>
In conservation, Jan. - Mar., 2002. On loan to the
 Bayerische Staatsbibliothek, April - July, 2002.
</availability>
<availability>
The manuscript is in poor condition, due to many of the leaves being
 brittle and fragile and the poor quality of a number of earlier repairs;
 it should therefore not be used or lent out until it has been conserved.
</availability>

10.9.1.2 Availability and Custodial History

<custodialHist>
<custEvent type="conservation" notBefore="1961-03-01" notAfter="1963-02-28">
 Conserved between March 1961 and February 1963 at Birgitte Dalls
 Konserveringsværksted.
</custEvent>
<custEvent type="photography" notBefore="1988-05-01" notAfter="1988-05-30">
 Photographed in May 1988 by AMI/FA.
</custEvent>
<custEvent type="transfer" notBefore="1989-11-13" notAfter="1989-11-13">
 Dispatched to Iceland 13 November 1989.
</custEvent>
</custodialHist>

<adminInfo>
<recordHist>
 <source>Record created <date>1 Aug 2004</date>
 </source>
</recordHist>
<availability>
 Until 2015 permission to photocopy some materials from this
 collection has been limited at the request of the donor. Please ask repository staff for details
 if you are interested in obtaining photocopies from Series 1:
 Correspondence.
</availability>
<custodialHist>
 Collection donated to the Manuscript Library by the Estate of
 Edgar Holden in 1993. Donor number: 1993-034.
</custodialHist>
</adminInfo>

<adminInfo>
<recordHist>
 <source>紀錄建立於<date>2004年8月1日</date>
 </source>
</recordHist>
<availability>
 2015年以前，非經贈與此書者同意，不得翻印。若對內容有興趣，請洽藏書單位。
</availability>
<custodialHist>
 此收藏1993年捐贈於故宮博物院。贈與編號：1993-034。
</custodialHist>
</adminInfo>

<recordHist>
<source>
 Derived from <ref target="#IMEV">IMEV 123</ref> with additional research
 by P.M.W.Robinson
</source>
<change when="1999-06-23">
 <name>LDB</name> (editor)
 checked examples against DTD version 3.6
</change>
</recordHist>

<recordHist>
<source>
源自<ref target="#IMEV">IMEV 123</ref>及P.M.W.羅賓森的附加研究。
</source>
<change when="1999-06-23">
<name>LDB</name> (編輯) 檢查不符DTD 3.6版本的範例</change>
</recordHist>

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>

<surrogates>

 <bibl>
 <title type="gmd">diapositive</title>
 <idno>AM 74 a, fol.</idno>
 <date>May 1984</date>
 </bibl>
 <bibl>
 <title type="gmd">b/w prints</title>
 <idno>AM 75 a, fol.</idno>
 <date>1972</date>
 </bibl>

</surrogates>

11 Representation of Primary Sources

11.1 Digital Facsimiles

<pb facs="#B49r"/>
<fw>De Geometrie 49</fw>
<head facs="#B49rHead">DU SON ET ACCORD DES CLOCHES ET <lb/> des alleures des chevaulx,
chariotz & charges, des fontaines:& <lb/> encyclie du monde,
& de la dimension du corps humain.</head>
<head>Chapitre septiesme</head>
<div n="1">
Le son & accord des cloches pendans en ung mesme <lb/> axe, est
 faict en contraires parties.
LEs cloches ont quasi fi<lb/>gures de rondes
 pyra<lb/>mides imperfaictes & <lb/> irregulieres: & leur
 accord se <lb/> fait par reigle geometrique. Com<lb/>me si les deux
 cloches C & D <lb/> sont <w facs="#B49rW457">pendans</w> à ung
 mesme axe <lb/> ou essieu A B: je dis que leur ac<lb/>cord se fera en
 co<ex>n</ex>traires parties<lb/> co<ex>m</ex>me voyez icy
 figuré. Car qua<ex>n</ex>d <lb/> lune sera en hault, laultre
 declinera embas. Aultrement si elles decli<lb/>nent toutes deux
 ensembles en une mesme partie, elles seront discord, <lb/> & sera
 leur sonnerie mal plaisante à oyr.<figure facs="#B49rFig1">
 <graphic url="Bovelles49r-detail.png"/>
 </figure>

</div>

11.3.3 Correction and Conjecture

<correction>
The following codes are used to categorise corrections identified
 in this transcription:
<list type="gloss">
 <label>graphSubs</label>
 <item>Substitution of a more familiar word which resembles
 graphically what the scribe should be copying but which does not make
 sense in the context.</item>

 </list>

</correction>

11.5.1 Damage, Illegibility, and Supplied Text

<pb n="5r"/>
<damageSpan agent="rubbing" extent="whole leaf" spanTo="#damageEnd"/>

 .... 
 ....
<pb n="5v" xml:id="damageEnd"/>

Paragraph partially damaged. This is the undamaged
portion <damageSpan spanTo="#a34"/>and this the damaged
portion of the paragraph.
This paragraph is entirely damaged.
Paragraph partially damaged; in the middle of this
paragraph the damage ends and the anchor point marks
the start of the <anchor xml:id="a34"/> undamaged part of the text. ...

此段部份毀損。這裡是完好的部份，<damageSpan spanTo="#zh-tw_a34"/>而此為毀損的部份。
此段全部毀損。
段落有部份毀損，損壞處止於段落的中間，以屬性anchor標示<anchor xml:id="zh-tw_a34"/>未損內文的重新出現處。

Paragraph partially deleted. This is the undeleted
portion <delSpan spanTo="#a23"/>and this the deleted
portion of the paragraph.
Paragraph deleted together with adjacent material.
Second fully deleted paragraph.
Paragraph partially deleted; in the middle of this
paragraph the deletion ends and the anchor point marks
the resumption <anchor xml:id="a23"/> of the text. ...

此段部份刪除。這裡是保留的， <delSpan spanTo="#zh-tw_a23"/>而此為刪除的部份。
此段落以及與它相關的資料一同被刪除。
第二個完全刪除的段落。
段落有部份被刪除，刪去處止於段落的中間，以屬性anchor標示 <anchor xml:id="zh-tw_a23"/>內文重新出現的位置。

13 Names, Dates, People, and Places

13.3.2.1 Personal Characteristics

<langKnowledge tags="ff fr wo en">
Speaks fluent Fulani, Wolof, and French. Some knowledge of English.
</langKnowledge>

13.3.2.2 Personal States

<state type="office" from="1777-04-07" to="1780-07-12">
Jón's first living — which he apparently accepted rather reluctantly — was at
<name type="place">Háls í Hamarsfirði</name>, <name type="place">Múlasýsla</name>, to which
 he was presented on 7 April 1777. He was ordained the following
 month and spent three years at Háls, but was never happy there,
 due largely to the general penury in which he was forced to live —
 a recurrent theme throughout the early part of his life. In June
 of 1780 the bishop recommended that Jón
 should <q xml:lang="da">promoveres til andet bedre kald, end det
 hand hidindtil har havt</q>, and on 12 July it was agreed that
 he should exchange livings with
<name type="person" key="ThorJon">sr. Þórður Jónsson</name> at
<name type="place">Kálfafell á Síðu</name>,
<name type="place">Skaftafellssýsla</name>.
<bibl>ÞÍ, Stms I.15, p. 733.</bibl>
<bibl>ÞÍ, Stms I.17, p. 102.</bibl>
</state>

13.3.2.3 Personal Events

<event type="birth" resp="#XYZ" cert="high">
Born in <name type="place">Brixton</name> on 8 January 1947.
</event>
<event type="birth" resp="#ABC" cert="low">
Born in <name type="place">Berkhamsted</name> on 9 January 1947.
</event>

13.3.3 Organizational Data

The TEI institutional hosts are: <listOrg>
 <org xml:id="bu">
 <orgName>Brown University</orgName>
 <desc>The host contribution is made jointly by the <name type="project">Brown University Women Writers Project</name> and the
 <orgName>Brown University Library's Center for Digital
 Initiatives</orgName>.</desc>
 </org>
 <org xml:id="na">
 <orgName>Nancy</orgName>
 <desc>Hosting is provided by a group of institutions located in
 Nancy, France, coordinated by <orgName>Loria</orgName> and also
 including <orgName>ATILF</orgName> and <orgName>INIST</orgName>.</desc>
 </org>
 <org xml:id="ou">
 <orgName>Oxford University</orgName>
 <desc>Hosting is provided by the <orgName>Research Technologies
 Service</orgName> at <orgName>Oxford University Computing
 Services</orgName>.</desc>
 </org>
 <org xml:id="uv">
 <orgName>University of Virginia</orgName>
 <desc>Virginia's host support comes jointly from the
 <orgName>Institute for Advanced Technology in the
 Humanities</orgName> and the <orgName>University of Virginia
 Library</orgName>.</desc>
 </org>

</listOrg>

13.3.4.3 States, Traits, and Events

<place xml:id="IS">
<placeName xml:lang="en">Iceland</placeName>
<placeName xml:lang="is">Ísland</placeName>
<location>
 <geo>65.00 -18.00</geo>
</location>
<terrain>
 <desc>Area: 103,000 sq km</desc>
</terrain>
<state type="governance" notBefore="1944">
 Constitutional republic
</state>
<state type="governance" notAfter="1944">
 Part of the kingdom of <placeName key="DK">Denmark</placeName>
 
</state>
<event type="governance" when="1944-06-17">
 <desc>Iceland became independent on 17 June 1944.</desc>
</event>
<state type="governance" from="1944-06-17">
 An independent republic since June 1944
</state>
</place>

<langKnowledge tags="en-GB fr">
British English and French
</langKnowledge>

<langKnowledge tags="en-GB fr">
英式英文與法文
</langKnowledge>

<relationGrp>
所有說話者都是林家的人，生於台北板橋。
</relationGrp>

<relationGrp>
All speakers are members of the Ceruli family, born in Naples.
</relationGrp>

<person sex="2" age="mid">
Female respondent, well-educated, born in Shropshire UK, 12 Jan 1950, of unknown occupation. Speaks French fluently. Socio-Economic
status B2.
</person>

<person sex="2" age="mid">
女性被告。1950年1月12日生於西藏，受過良好教育，職業不明。能說流利漢語，中產階級。
</person>

14 Tables, Formulæ, and Graphics

14.2 Formulæ and Mathematical Expressions

Achilles runs ten times faster than the tortoise and
gives the animal a headstart of ten meters. Achilles runs
those ten meters, the tortoise one; Achilles runs that
meter, the tortoise runs a decimeter; Achilles runs that
decimeter, the tortoise runs a centimeter; Achilles runs
that centimeter, the tortoise, a millimeter; Fleet-footed
Achilles, the millimeter, the tortoise, a tenth of a
millimeter, and so on to infinity, without the tortoise ever
being overtaken. . . Such is the customary version.


The problem does not change, as you can see; but I would
like to know the name of the poet who provided it with a
hero and a tortoise. To those magical competitors and to
the series
<formula notation="TeX">$$
 {1 \over 10} +
 {1 \over 100} +
 {1 \over 1000} +
 {1 \over 10,\!000} +
 \dots
 $$</formula>
the argument owes its fame.

14.2 Formulæ and Mathematical Expressions

The volume of a
sphere is given by the formula:
<formula xml:id="f12" n="12" rend="inline">
 <m:math>
 <m:mi>V</m:mi>
 <m:mo>=</m:mo>
 <m:mfrac>
 <m:mrow>
 <m:mn>4</m:mn>
 </m:mrow>
 <m:mrow>
 <m:mn>3</m:mn>
 </m:mrow>
 </m:mfrac>
 <m:mi>π</m:mi>
 <m:msup>
 <m:mrow>
 <m:mi>r</m:mi>
 </m:mrow>
 <m:mrow>
 <m:mn>3</m:mn>
 </m:mrow>
 </m:msup>
 </m:math>
</formula>
which is readily calculated.
As we have seen in equation
<ptr target="#f12"/>, ...

14.3 Specific Elements for Graphic Images

<figure>
<graphic url="pullman.png"/>
<head>Above:</head>
The drawing room of the Pullman house, the white and gold saloon
 where the magnate delighted in giving receptions for several
 hundred people.
<figDesc>The figure shows an elaborately decorated room, at least
 twenty-five feet side to side and fifty feet long, with ornate
 mouldings and Corinthian columns on the walls, overstuffed
 armchairs and loveseats arranged in several conversational
 groupings, and two large chandeliers.</figDesc>
</figure>

15 Language Corpora

<particDesc>
<listPerson>
 <person xml:id="P-1234" sex="2" age="mid">
 Female informant, well-educated, born in Shropshire
 UK, 12 Jan 1950, of unknown occupation.
 Speaks French fluently. Socio-Economic status B2.
 </person>
 <person xml:id="P-4332" sex="1">
 <persName>
 <surname>Hancock</surname>
 <forename>Antony</forename>
 <forename>Aloysius</forename>
 <forename>St John</forename>
 </persName>
 <residence notAfter="1959">
 <address>
 <street>Railway Cuttings</street>
 <settlement>East Cheam</settlement>
 </address>
 </residence>
 <occupation>comedian</occupation>
 </person>
 <relationGrp>
 <relation type="personal" name="spouse" mutual="#P-1234 #P-4332"/>
 </relationGrp>
</listPerson>
</particDesc>

<particDesc>
<listPerson>
 <person xml:id="zh-tw_P-1234" sex="2" age="mid">
 女性，穿了一件黑紗金絲相間的緊身旗袍，一個大道士髻梳得烏光水滑的高聳在頭頂上；耳墜、項鍊、手串、髮針、金碧輝煌的掛滿了一身。
 </person>
 <person xml:id="zh-tw_P-4332" sex="1">
 <persName>
 <surname>金</surname>
 <forename>兆麗</forename>
 <addName>金大班</addName>
 </persName>
 <residence notAfter="1970">
 <address>
 <street>西門町</street>
 <settlement>台北</settlement>
 </address>
 </residence>
 <occupation>舞女</occupation>
 </person>
 <relationGrp>
 <relation
 type="personal"
 name="spouse"
 mutual="#zh-tw_P-1234 #zh-tw_P-4332"/>
 </relationGrp>
</listPerson>
</particDesc>

<settingDesc>
Texts recorded in the Canadian Parliament building
in Ottawa, between April and November 1988

</settingDesc>

<settingDesc>
文本錄於渥太華的加拿大國會大廈，介於1988年4月至11月間
</settingDesc>

15.2.2 The Participant Description

<particDesc xml:id="p2">
Female informant, well-educated, born in Shropshire UK, 12 Jan
1950, of unknown occupation. Speaks French fluently.
Socio-Economic status B2 in the PEP classification scheme.
</particDesc>

15.2.2 The Participant Description

<particDesc>
The chief speaking characters in this novel are
<list>
 <item xml:id="EMWOO">
 <name>Emma Woodhouse</name>
 </item>
 <item xml:id="DARCY">
 <name>Mr Darcy</name>
 </item>

 </list>

</particDesc>

15.2.3 The Setting Description

<settingDesc>
The time is early spring, 1989. P1 and P2 are playing on the rug
 of a suburban home in Bedford. P3 is doing the washing up at the
 sink. P4 (a radio announcer) is in a broadcasting studio in
 London.
</settingDesc>

15.3.2 Declarable Elements

15.3.2 Declarable Elements

16 Linking, Segmentation, and Alignment

<linkGrp type="translation">
<link targets="#CCS1 #SW1"/>
<link targets="#CCS2 #SW2"/>
<link targets="#CCS #SW"/>
</linkGrp>
<div type="volume" xml:id="CCS" xml:lang="fr">

 <s xml:id="CCS1">Longtemps, je me suis couché de bonne heure.</s>
 <s xml:id="CCS2">Parfois, à peine ma bougie éteinte, mes yeux se fermaient si vite que je n'avais pas le temps de me dire : "Je m'endors."</s>


</div>
<div type="volume" xml:id="SW" xml:lang="en">

 <s xml:id="SW1">For a long time I used to go to bed early.</s>
 <s xml:id="SW2">Sometimes, when I had put out my candle, my eyes would close so quickly that I had not even time to say "I'm going to sleep."</s>


</div>

<linkGrp type="translation">
<link targets="#zh-tw_CCS1 #zh-tw_SW1"/>
<link targets="#zh-tw_CCS2 #zh-tw_SW2"/>
<link targets="#zh-tw_CCS #zh-tw_SW"/>
</linkGrp>
<div type="volume" xml:id="zh-tw_CCS">

 <s xml:id="zh-tw_CCS1">床前明月光，疑似地上霜；</s>
 <s xml:id="zh-tw_CCS2">舉頭望明月，低頭思故鄉。</s>


</div>
<div type="volume" xml:id="zh-tw_SW">

 <s xml:id="zh-tw_SW1">月光照的床前一片潔白，看起來像是地上結滿的白霜；</s>
 <s xml:id="zh-tw_SW2">抬起頭來，望著明月，低下頭來，思念起故鄉。</s>


</div>

16.2.1 Pointing Elsewhere

<div type="chap" xml:base="http://classics.mit.edu/">
<head>On Ancient Persian Manners</head>
In the very first story of <ref target="Sadi/gulistan.2.i.html">
 <title>The Gulistan of
 Sa'di</title>
 </ref>,
 Sa'di relates moral advice worthy of Miss Minners ...

</div>

16.2.1 Pointing Elsewhere

<body>
<div n="A">
 The base URI here is the current document. A URI such as
 <code>a.xml</code> is equivalent to
 <code>./a.xml</code>.
</div>
<div n="B" xml:base="http://www.example.org/">
 The base URI here is
 <code>http://www.example.org/</code>. A
 URI such as <code>a.xml</code> is equivalent to
 <code>http://www.example.org/a.xml</code>.
</div>
<div n="C" xml:base="ftp://ftp.example.net/mirror/">
 The base URI here is
 <code>ftp://ftp.example.net/mirror/</code>. A URI such
 as
 <code>a.xml</code> is equivalent to
 <code>ftp://ftp.example.net/mirror/a.xml</code>.
</div>
<div n="D">
 The base URI here is the current document. A URI such as
 <code>a.xml</code> is equivalent to
 <code>./a.xml</code>.
</div>
</body>

16.2.2 Pointing Locally

<div type="section" xml:id="sect106">

</div>
<div type="section" n="107" xml:id="sect107">
<head>Limitations on exclusive rights: Fair use</head>
Notwithstanding the provisions of
<ref target="#sect106">section 106</ref>, the fair use of a
 copyrighted work, including such use by reproduction in copies
 or phonorecords or by any other means specified by that section,
 for purposes such as criticism, comment, news reporting,
 teaching (including multiple copies for classroom use),
 scholarship, or research, is not an infringement of copyright.
 In determining whether the use made of a work in any particular
 case is a fair use the factors to be considered shall
 include —
<list type="simple">
 <item n="(1)">the purpose and character of the use, including
 whether such use is of a commercial nature or is for nonprofit
 educational purposes;</item>
 <item n="(2)">the nature of the copyrighted work;</item>
 <item n="(3)">the amount and substantiality of the portion
 used in relation to the copyrighted work as a whole;
 and</item>
 <item n="(4)">the effect of the use upon the potential market
 for or value of the copyrighted work.</item>
 </list>
 The fact that a work is unpublished shall not itself bar a
 finding of fair use if such finding is made upon consideration
 of all the above factors.
</div>

16.2.3 W3C element() Scheme

16.2.4.3 left() and right()

16.2.5 Canonical References

<refsDecl xml:id="biblical">
<cRefPattern
 matchPattern="(.+) (.+):(.+)"
 replacementPattern="#xpath1(//div[@n='$1']/div[$2]/div[$3])">
 This pointer pattern extracts and references the <q>book,</q>
 <q>chapter,</q> and <q>verse</q> parts of a biblical reference.
</cRefPattern>
<cRefPattern matchPattern="(.+) (.+)"
 replacementPattern="#xpath1(//div[@n='$1']/div[$2])">
 This pointer pattern extracts and references the <q>book</q> and
 <q>chapter</q> parts of a biblical reference.
</cRefPattern>
<cRefPattern matchPattern="(.+)"
 replacementPattern="#xpath1(//div[@n='$1'])">
 This pointer pattern extracts and references just the <q>book</q>
 part of a biblical reference.
</cRefPattern>
</refsDecl>

16.2.5.2 Complete and Partial URI Examples

<refsDecl xml:id="USC">
<cRefPattern
 matchPattern="([0-9][0-9])\s*U\.?S\.?C\.?\s*[Cc](h(\.|ap(ter|\.)?)?)?\s*([1-9][0-9]*)"
 replacementPattern="http://uscode.house.gov/download/pls/$1C$5.txt">
 Matches most standard references to particular
 chapters of the United States Code, e.g.
 <val>11USCC7</val>, <val>17 U.S.C. Chapter 3</val>, or
 <val>14 USC Ch. 5</val>. Note that a leading zero is
 required for the title (must be two digits), but is not
 permitted for the chapter number.
</cRefPattern>
<cRefPattern
 matchPattern="([0-9][0-9])\s*U\.?S\.?C\.?\s*[Pp](re(lim(inary)?)?)?\s*[Mm](at(erial)?)?"
 replacementPattern="http://uscode.house.gov/download/pls/$1T.txt">
 Matches references to the preliminary material for a
 given title, e.g. <val>11USCP</val>, <val>17 U.S.C.
 Prelim Mat</val>, or <val>14 USC pm</val>.
</cRefPattern>
<cRefPattern
 matchPattern="([0-9][0-9])\s*U\.?S\.?C\.?\s*[Aa](ppend(ix)?)?"
 replacementPattern="http://uscode.house.gov/download/pls/$1A.txt">
 Matches references to the appendix of a given tile,
 e.g. <val>05USCA</val>, <val>11 U.S.C. Appendix</val>,
 or <val>18 USC Append</val>.
</cRefPattern>
</refsDecl>

The example in section <ptr target="#SABN"/> is taken
from <ref cRef="17 USC Ch 1">Subject Matter and Scope of
 Copyright</ref>.

16.3 Blocks, Segments, and Anchors

<div1 n="Gen" type="book">
<head>Das Erste Buch Mose.</head>
<div2 n="1" type="chapter">
 
 <seg n="1">Am Anfang schuff Gott Himel vnd Erden.</seg>
 <seg n="2">Vnd die Erde war wüst vnd leer / vnd es war
 finster auff der Tieffe / Vnd der Geist Gottes schwebet auff
 dem Wasser.</seg>
 
 
 <seg n="3">Vnd Gott sprach / Es werde Liecht / Vnd es ward
 Liecht.</seg>
 
</div2>
</div1>

16.4.2 Alignment of Parallel Texts

<div xml:lang="en" type="subsection">

 <anchor corresp="#fa1" xml:id="ea1"/>According to our survey, 1988
 sales of mineral water and soft drinks were much higher than in 1987,
 reflecting the growing popularity of these products. Cola drink
 manufacturers in particular achieved above-average growth rates.
<anchor corresp="#fa2" xml:id="ea2"/>The higher turnover was largely
 due to an increase in the sales volume.
<anchor corresp="#fa3" xml:id="ea3"/>Employment and investment levels also climbed.
<anchor corresp="#fa4" xml:id="ea4"/>Following a two-year transitional period,
 the new Foodstuffs Ordinance for Mineral Water came into effect on
 April 1, 1988. Specifically, it contains more stringent requirements
 regarding quality consistency and purity guarantees.
</div>
<div xml:lang="fr" type="subsection">

 <anchor corresp="#ea1" xml:id="fa1"/>Quant aux eaux minérales
 et aux limonades, elles rencontrent toujours plus d'adeptes. En effet,
 notre sondage fait ressortir des ventes nettement supérieures
 à celles de 1987, pour les boissons à base de cola
 notamment. <anchor corresp="#ea2" xml:id="fa2"/>La progression des
 chiffres d'affaires résulte en grande partie de l'accroissement
 du volume des ventes. <anchor corresp="#ea3" xml:id="fa3"/>L'emploi et
 les investissements ont également augmenté.
<anchor corresp="#ea4" xml:id="fa4"/>La nouvelle ordonnance fédérale
 sur les denrées alimentaires concernant entre autres les eaux
 minérales, entrée en vigueur le 1er avril 1988 après
 une période transitoire de deux ans, exige surtout une plus
 grande constance dans la qualité et une garantie de la
 pureté.
</div>

16.4.2 Alignment of Parallel Texts

<div xml:id="div-e" xml:lang="en" type="subsection">

 <seg xml:id="e_1">According to our survey, 1988 sales of mineral
 water and soft drinks were much higher than in 1987,
 reflecting the growing popularity of these products. Cola
 drink manufacturers in particular achieved above-average
 growth rates.</seg>
 <seg xml:id="e_2">The higher turnover was largely due to an
 increase in the sales volume.</seg>
 <seg xml:id="e_3">Employment and investment levels also climbed.</seg>
 <seg xml:id="e_4">Following a two-year transitional period, the new
 Foodstuffs Ordinance for Mineral Water came into effect on
 April 1, 1988. Specifically, it contains more stringent
 requirements regarding quality consistency and purity
 guarantees.</seg>

</div>
<div xml:id="div-f" xml:lang="fr" type="subsection">

 <seg xml:id="f_1">Quant aux eaux minérales et aux limonades,
 elles rencontrent toujours plus d'adeptes. En effet, notre
 sondage fait ressortir des ventes nettement
 supérieures à celles de 1987, pour les
 boissons à base de cola notamment.</seg>
 <seg xml:id="f_2">La progression des chiffres d'affaires
 résulte en grande partie de l'accroissement du volume
 des ventes.</seg>
 <seg xml:id="f_3">L'emploi et les investissements ont
 également augmenté.</seg>
 <seg xml:id="f_4">La nouvelle ordonnance fédérale sur
 les denrées alimentaires concernant entre autres les
 eaux minérales, entrée en vigueur le 1er avril
 1988 après une période transitoire de deux
 ans, exige surtout une plus grande constance dans la
 qualité et une garantie de la pureté.</seg>

</div>
<linkGrp type="alignment" domains="div-e div-f">
<link targets="#e_1 #f_1"/>
<link targets="#e_2 #f_2"/>
<link targets="#e_3 #f_3"/>
<link targets="#e_4 #f_4"/>
</linkGrp>

16.4.3 A Three-way Alignment

<div xml:id="e98" xml:lang="en" type="lesson">
<head>The Study</head>

 <seg xml:id="e9801">The Study</seg>
 <seg xml:id="e9802">is a place</seg>
 <seg xml:id="e9803">where a Student,</seg>
 <seg xml:id="e9804">a part from men,</seg>
 <seg xml:id="e9805">sitteth alone,</seg>
 <seg xml:id="e9806">addicted to his Studies,</seg>
 <seg xml:id="e9807">whilst he readeth</seg>
 <seg xml:id="e9808">Books,</seg>

</div>
<div xml:id="l98" xml:lang="la" type="lesson">
<head>Muséum</head>

 <seg xml:id="l9801">Museum</seg>
 <seg xml:id="l9802">est locus</seg>
 <seg xml:id="l9803">ubi Studiosus,</seg>
 <seg xml:id="l9804">secretus ab hominibus,</seg>
 <seg xml:id="l9805">solus sedet,</seg>
 <seg xml:id="l9806">Studiis deditus,</seg>
 <seg xml:id="l9807">dum lectitat</seg>
 <seg xml:id="l9808">Libros,</seg>

</div>

16.6 Identical Elements and Virtual Copies

In small clumsy letters he wrote:
<q rend="centered italic">
 <date xml:id="d840404">April 4th,
 1984</date>.</q>

He sat back. A sense of complete helplessness had
descended upon him. ...
His small but childish handwriting straggled up
and down the page, shedding first its capital letters
and finally even its full stops:
<q rend="italic">
 <date>April 4th, 1984</date>.
 Last night to the flicks. ... </q>

16.7 Aggregation

<sp>
<speaker>Hughie</speaker>
How does it go?
<q>
 <l xml:id="frog-x1">da-da-da</l>
 <l xml:id="frog-l2">gets a new frog</l>
 <l>...</l>
 </q>

</sp>
<sp>
<speaker>Louie</speaker>

 <q>
 <l xml:id="frog-l1">When the old pond</l>
 <l>...</l>
 </q>

</sp>
<sp>
<speaker>Dewey</speaker>

 <q>...
 <l xml:id="frog-l3">It's a new pond.</l>
 </q>

<join targets="#frog-l1 #frog-l2 #frog-l3" result="lg" scope="root"/>
</sp>

16.7 Aggregation

<text xml:id="zuitxt">
<body>
 
 <name xml:id="zuigan">Zui-Gan</name> called out to himself every day,
 <q next="#zuiq2" xml:id="zuiq1" who="#zuigan">
 <name xml:id="master">Master</name>.</q>
 
 Then he answered himself,
 <q next="#zuiq4" xml:id="zuiq2" who="#zuigan">Yes, sir.</q>
 
 And then he added,
 <q next="#zuiq5" xml:id="zuiq3" who="#master">Become sober.</q>
 
 Again he answered,
 <q next="#zuiq7" xml:id="zuiq4" who="#zuigan">Yes, sir.</q>
 
 
 <q next="#zuiq6" xml:id="zuiq5" who="#master">And after that,</q>
 he continued,
 <q xml:id="zuiq6" who="#master">do not be deceived by others.</q>
 
 
 <q xml:id="zuiq7" who="#zuigan">Yes, sir; yes, sir,</q>
 he replied.
</body>
</text>

16.7 Aggregation

<text>
<body>

 <div1>
 Zui-Gan called out to himself every day, <q>Master.</q>
 
 Then he answered himself, <q>Yes, sir.</q>
 
 And then he added, <q>Become sober.</q>
 
 Again he answered, <q>Yes, sir.</q>
 
 
 <q>And after that,</q> he continued, <q>do not be deceived by others.</q>
 
 
 <q>Yes, sir; yes, sir,</q> he replied.
 <ab type="aggregation">
 <ptr xml:id="rzuiq1" target="./#xpath1(//div1[6]/p[1]/q[1])"/>
 <ptr xml:id="rzuiq2" target="./#xpath1(//div1[6]/p[2]/q[1])"/>
 <ptr xml:id="rzuiq3" target="./#xpath1(//div1[6]/p[3]/q[1])"/>
 <ptr xml:id="rzuiq4" target="./#xpath1(//div1[6]/p[4]/q[1])"/>
 <ptr xml:id="rzuiq5" target="./#xpath1(//div1[6]/p[5]/q[1])"/>
 <ptr xml:id="rzuiq6" target="./#xpath1(//div1[6]/p[5]/q[2])"/>
 <ptr xml:id="rzuiq7" target="./#xpath1(//div1[6]/p[6]/q[1])"/>
 <joinGrp evaluate="one" result="q">
 <join targets="#rzuiq1 #rzuiq2 #rzuiq4 #rzuiq7">
 <desc>what Zui-Gan said</desc>
 </join>
 <join targets="#rzuiq3 #rzuiq5 #rzuiq6">
 <desc>what Master said</desc>
 </join>
 </joinGrp>
 </ab>
 </div1>
</body>
</text>

<join>

<sp>
<speaker>Hughie</speaker>
How does it go? <q>
 <l xml:id="frog_x1">da-da-da</l>
 <l xml:id="frog_l2">gets a new frog</l>
 <l>...</l>
 </q>

</sp>
<sp>
<speaker>Louie</speaker>

 <q>
 <l xml:id="frog_l1">When the old pond</l>
 <l>...</l>
 </q>

</sp>
<sp>
<speaker>Dewey</speaker>

 <q>... <l xml:id="frog_l3">It's a new pond.</l>
 </q>

<join targets="#frog_l1 #frog_l2 #frog_l3" result="lg" scope="root"/>
</sp>

<join>

<sp>
<speaker>Hughie</speaker>
How does it go? <q>
 <l xml:id="fr_frog_x1">da-da-da</l>
 <l xml:id="fr_frog_l2">gets a new frog</l>
 <l>...</l>
 </q>

</sp>
<sp>
<speaker>Louie</speaker>

 <q>
 <l xml:id="fr_frog_l1">When the old pond</l>
 <l>...</l>
 </q>

</sp>
<sp>
<speaker>Dewey</speaker>

 <q>... <l xml:id="fr_frog_l3">It's a new pond.</l>
 </q>

<join
 targets="#fr_frog_l1 #fr_frog_l2 #fr_frog_l3"
 result="lg"
 scope="root"/>
</sp>

<join>

<sp>
<speaker>休</speaker>
怎麼樣了？<q>
 <l xml:id="zh-tw_frog_x1">呱、呱、呱</l>
 <l xml:id="zh-tw_frog_l2">有新來的青蛙</l>
 <l>...</l>
 </q>

</sp>
<sp>
<speaker>路易</speaker>

 <q>
 <l xml:id="zh-tw_frog_l1">以前的池塘</l>
 <l>...</l>
 </q>

</sp>
<sp>
<speaker>迪威</speaker>

 <q>... <l xml:id="zh-tw_frog_l3">有新的池塘</l>
 </q>

<join
 targets="#zh-tw_frog_l1 #zh-tw_frog_l2 #zh-tw_frog_l3"
 result="lg"
 scope="root"/>
</sp>

<join>

台灣譯為<list xml:id="zh-tw_LP1">
 <item>
 <s>艾蜜莉的異想世界</s>
 </item>
</list> ；香港譯作<list xml:id="zh-tw_LP2">
 <item>
 <s>天使愛美麗</s>
 </item>
</list>。
中國大陸則名為<list xml:id="zh-tw_LP3">
 <item>
 <s>阿梅麗的奇妙命運</s>
 </item>
</list>。
<join
 result="list"
 xml:id="zh-tw_LST1"
 targets="#zh-tw_LP1 #zh-tw_LP2 #zh-tw_LP3"
 scope="branches">
<desc>電影Le Fabuleux Destin d'Amélie Poulain的中港台譯名</desc>
</join>

<join>

Southern dialect (my own variety, at least) has only <list xml:id="LP1">
 <item>
 <s>I done gone</s>
 </item>
 <item>
 <s>I done went</s>
 </item>
</list> whereas Negro Non-Standard basilect has both these and <list xml:id="LP2">
 <item>
 <s>I done go</s>
 </item>
</list>.
White Southern dialect also has <list xml:id="LP3">
 <item>
 <s>I've done gone</s>
 </item>
 <item>
 <s>I've done went</s>
 </item>
</list> which, when they occur in Negro dialect, should probably be considered as borrowings from other varieties of English.
<join
 result="list"
 xml:id="LST1"
 targets="#LP1 #LP2 #LP3"
 scope="branches">
<desc>Sample sentences in Southern speech</desc>
</join>

<join>

Southern dialect (my own variety, at least) has only <list xml:id="fr_LP1">
 <item>
 <s>I done gone</s>
 </item>
 <item>
 <s>I done went</s>
 </item>
</list> whereas Negro Non-Standard basilect has both these and <list xml:id="fr_LP2">
 <item>
 <s>I done go</s>
 </item>
</list>.
White Southern dialect also has <list xml:id="fr_LP3">
 <item>
 <s>I've done gone</s>
 </item>
 <item>
 <s>I've done went</s>
 </item>
</list> which, when they occur in Negro dialect, should probably be considered as borrowings from other varieties of English.
<join
 result="list"
 xml:id="fr_LST1"
 targets="#fr_LP1 #fr_LP2 #fr_LP3"
 scope="branches">
<desc>Sample sentences in Southern speech</desc>
</join>

17 Simple Analytic Mechanisms

17.1.1 Words and above

<s>Nineteen fifty-four, when I was eighteen years old,
 is held to be a crucial turning point in the history of
 the Afro-American — for the U.S.A. as a whole — the
 year segregation was outlawed by the U.S. Supreme Court.</s>
<s>It was also a crucial year for me because on June 18,
 1954, I began serving a sentence in state prison for
 possession of marijuana.</s>

17.1.1 Words and above

<s>
 <cl>It was about the beginning of September, 1664,
 <cl>that I, among the rest of my neighbours,
 heard in ordinary discourse
 <cl>that the plague was returned again to Holland; </cl>
 </cl>
 </cl>
 <cl>for it had been very violent there, and particularly at
 Amsterdam and Rotterdam, in the year 1663, </cl>
 <cl>whither, <cl>they say,</cl> it was brought,
 <cl>some said</cl> from Italy, others from the Levant, among some goods
 <cl>which were brought home by their Turkey fleet;</cl>
 </cl>
 <cl>others said it was brought from Candia;
 others from Cyprus. </cl>
</s>
<s>
 <cl>It mattered not <cl>from whence it came;</cl>
 </cl>
 <cl>but all agreed <cl>it was come into Holland again.</cl>
 </cl>
</s>

17.1.1 Words and above

<s>
 <cl type="finite-declarative" function="independent">
 <phr type="NP" function="subject">Nineteen fifty-four,
 <cl type="finite-relative-declarative" function="appositive">when <phr type="NP" function="subject">I</phr>
 <phr type="VP" function="predicate">was eighteen years old</phr>
 </cl>
 </phr>,
 <phr type="VP" function="predicate">
 <phr type="V" function="verb-main">is held</phr>
 <phr type="NP" function="complement">
 <cl type="nonfinite" function="predicate-nom.">
 <phr type="V" function="copula">to be</phr>
 <phr type="NP" function="predicate-nom.">a crucial turning point
 <phr type="PP" function="postmodifier">in
 <phr type="NP" function="prep.obj.">the history
 <phr type="PP" function="postmodifier">of the Afro-American</phr>
 </phr>
 </phr>
 —
 <phr type="PP" function="postmodifier-appositive">for
 <phr type="NP" function="prep.obj.">the U.S.A.
 <phr type="PP" function="postmodifier">as a whole</phr>
 </phr>
 </phr>
 </phr>
 —
 <phr type="NP" function="appositive-predicate-nom.">the year
 <cl type="finite-relative" function="adjectival">
 <phr type="NP" function="subject">segregation</phr>
 <phr type="VP" function="predicate">
 <phr type="V" function="verb-main">was outlawed</phr>
 <phr type="PP" function="postmodifier">by the U.S. Supreme Court</phr>
 </phr>
 </cl>
 </phr>
 </cl>
 </phr>
 </phr>.</cl>
</s>
<s>
 <cl type="finite-declarative" function="independent">
 <phr type="NP" function="subject">It</phr>
 <phr type="VP" function="predicate">
 <phr type="V" function="verb-main">was</phr>
 also
 <phr type="NP" function="predicate-nom.">a crucial year for me</phr>
 </phr>
 <cl type="declarative-finite" function="dependent-causative">because
 <phr type="PP" function="sentence_adverb">on June 18, 1954</phr>,
 <phr type="NP" function="subject">I</phr>
 <phr type="VP" function="predicate">
 <phr type="V" function="verb-main">began serving</phr>
 <phr type="NP" function="complement">a sentence in state prison
 <phr type="PP" function="complement">for possession of marijuana</phr>
 </phr>
 </phr>
 </cl>
 </cl>
</s>.

17.1.2 Below the word level

<pc unit="para" force="strong" pre="true">¶</pc>Incipit...

17.3 Spans and Interpretations

<s xml:id="MaQp1s2p114s1">There was certainly a definite point at which the
 thing began.</s>
<s xml:id="MaQp1s2p114s2">It was not; then it was suddenly inescapable,
 and nothing could have frightened it away.</s>
<s xml:id="MaQp1s2p114s3">There was a slow integration, during which she,
 and the little animals, and the moving grasses, and the sun-warmed
 trees, and the slopes of shivering silvery mealies, and the great
 dome of blue light overhead, and the stones of earth under her feet,
 became one, shuddering together in a dissolution of dancing
 atoms.</s>
<s xml:id="MaQp1s2p114s4">She felt the rivers under the ground forcing
 themselves painfully along her veins, swelling them out in an
 unbearable pressure; her flesh was the earth, and suffered growth
 like a ferment; and her eyes stared, fixed like the eye of the
 sun.</s>
<s xml:id="MaQp1s2p114s5">Not for one second longer (if the terms for time
 apply) could she have borne it; but then, with a sudden movement
 forwards and out, the whole process stopped; and <emph rend="italic">that</emph> was <soCalled rend="dquo">the
 moment</soCalled> which it was impossible to remember
 afterwards.</s>
the moment
<s xml:id="MaQp1s2p114s6">For during that space of time (which was
 timeless) she understood quite finally her smallness, the
 unimportance of humanity.</s>

17.3 Spans and Interpretations

<s xml:id="S1">Sigmund ... was a king in Frankish country.</s>
<s xml:id="S2">Sinfiotli was the eldest of his sons.</s>
<s xml:id="S3">Borghild, Sigmund's wife, had a brother ...</s>
<s xml:id="S4A">But Sinfiotli ... wooed the same woman</s>
<s xml:id="S4B">and Sinfiotli killed him over it.</s>
<s xml:id="S5">And when he came home, ... she was obliged to accept it.</s>
<s xml:id="S6">At the funeral feast Borghild was serving beer.</s>
<s xml:id="S7">She took poison ... and brought it to Sinfiotli.</s>
<s xml:id="S17">Sinfiotli drank it off and at once fell dead.</s>
<anchor xml:id="EOS17"/>

Sigmund carried him a long way in his arms ... 
King Sigmund lived a long time in Denmark ... 
Sigmund and all his sons were tall ... 
<spanGrp resp="#TMA" type="narrative-structure">
introduction
conflict
climax
revenge
reconciliation
aftermath
</spanGrp>

17.3 Spans and Interpretations

<s xml:id="MarQp1s2p114s1">There was certainly a definite point ... </s>
<s xml:id="MarQp1s2p114s2">It was not; then it was suddenly inescapable ... </s>
<seg xml:id="MarQp1s2p114s3-5" ana="#moment">
 <s xml:id="MarQp1s2p114s3">There was a slow integration ... </s>
 <s xml:id="MarQp1s2p114s4">She felt the rivers under the ground ... </s>
 <s xml:id="MarQp1s2p114s5">Not for one second longer ... </s>
</seg>
<s xml:id="MarQp1s2p114s6">For during that space of time ... </s>

<interp xml:id="moment">the moment</interp>

17.3 Spans and Interpretations

<seg xml:id="SS1-SS3" ana="#INTRO">
 <s xml:id="SS1">Sigmund ... was a king in Frankish country.</s>
 <s xml:id="SS2">Sinfiotli was the eldest of his sons.</s>
 <s xml:id="SS3">Borghild, Sigmund's wife, had a brother ... </s>
</seg>
<s xml:id="SS4A" ana="#CONFLICT">But Sinfiotli ... wooed the same woman</s>
<s xml:id="SS4B" ana="#CLIMAX">and Sinfiotli killed him over it.</s>
<seg xml:id="SS5-SS17" ana="#REVENGE">
 <s xml:id="SS5">And when he came home, ... she was obliged to accept it.</s>
 <s xml:id="SS6">At the funeral feast Borghild was serving beer.</s>
 <s xml:id="SS17">Sinfiotli drank it off and at once fell dead.</s>
</seg>

<anchor xml:id="NIL1" ana="#RECONCIL"/>
Sigmund carried him a long way in his arms ... 
King Sigmund lived a long time in Denmark ... 
Sigmund and all his sons were tall ... 
<join xml:id="PP2-PP4" targets="#PP2 #PP3 #PP4" ana="#AFTERM"/>

(The "aftermath" starts here)
(The "aftermath" continues here)
(The "aftermath" ends in this paragraph)

aftermath

(Le "résultat" commence ici)
(Le "résultat" se poursuit ici)
(Le "résultat" se termine dans ce paragraphe)

résultat

("結局"從這裡開始)
("結局"持續)
("結局"結束於此)

結局

18 Feature Structures

18.11.5 A Complete Example

<TEI>
<teiHeader>
 <fileDesc>
 <titleStmt>
 <title>A sample FSD based on an extract from Gazdar
 et al.'s GPSG feature system for English</title>
 <respStmt>
 <resp>encoded by</resp>
 <name>Gary F. Simons</name>
 </respStmt>
 </titleStmt>
 <publicationStmt>
 This sample was first encoded by Gary F. Simons (Summer
 Institute of Linguistics, Dallas, TX) on January 28, 1991.
 Revised April 8, 1993 to match the specification of FSDs
 in version P2 of the TEI Guidelines. Revised again December 2004 to
 be consistent with the feature structure representation standard
 jointly developed with ISO TC37/SC4.
 
 </publicationStmt>
 <sourceDesc>
 This sample FSD does not describe a complete feature
 system. It is based on extracts from the feature system
 for English presented in the appendix (pages 245–247) of
 Generalized Phrase Structure Grammar, by Gazdar, Klein,
 Pullum, and Sag (Harvard University Press, 1985).
 </sourceDesc>
 </fileDesc>
</teiHeader>
<fsdDecl>
 <fsDecl type="GPSG">
 <fsDescr>Encodes a feature structure for the GPSG analysis
 of English (after Gazdar, Klein, Pullum, and Sag)</fsDescr>
 <fDecl name="INV">
 <fDescr>inverted sentence</fDescr>
 <vRange>
 <vAlt>
 <binary value="true"/>
 <binary value="false"/>
 </vAlt>
 </vRange>
 <vDefault>
 <binary value="false"/>
 </vDefault>
 </fDecl>
 <fDecl name="CONJ">
 <fDescr>surface form of the conjunction</fDescr>
 <vRange>
 <vAlt>
 <symbol value="and"/>
 <symbol value="both"/>
 <symbol value="but"/>
 <symbol value="either"/>
 <symbol value="neither"/>
 <symbol value="nor"/>
 <symbol value="or"/>
 <symbol value="NIL"/>
 </vAlt>
 </vRange>
 <vDefault>
 <binary value="false"/>
 </vDefault>
 </fDecl>
 <fDecl name="COMP">
 <fDescr>surface form of the complementizer</fDescr>
 <vRange>
 <vAlt>
 <symbol value="for"/>
 <symbol value="that"/>
 <symbol value="whether"/>
 <symbol value="if"/>
 <symbol value="NIL"/>
 </vAlt>
 </vRange>
 <vDefault>
 <if>
 <fs>
 <f name="VFORM">
 <symbol value="INF"/>
 </f>
 <f name="SUBJ">
 <binary value="true"/>
 </f>
 </fs>
 <then/>
 <symbol value="for"/>
 </if>
 </vDefault>
 </fDecl>
 <fDecl name="AGR">
 <fDescr>agreement for person and number</fDescr>
 <vRange>
 <fs type="Agreement"/>
 </vRange>
 </fDecl>
 <fDecl name="PFORM">
 <fDescr>word form of a preposition</fDescr>
 <vRange>
 <vNot>
 <string/>
 </vNot>
 </vRange>
 </fDecl>
 <fsConstraints>
 <cond>
 <fs>
 <f name="INV">
 <binary value="true"/>
 </f>
 </fs>
 <then/>
 <fs>
 <f name="AUX">
 <binary value="true"/>
 </f>
 <f name="VFORM">
 <symbol value="FIN"/>
 </f>
 </fs>
 </cond>
 <bicond>
 <fs>
 <f name="BAR">
 <symbol value="0"/>
 </f>
 </fs>
 <iff/>
 <fs>
 <f name="N">
 <binary value="true"/>
 </f>
 <f name="V">
 <binary value="true"/>
 </f>
 <f name="SUBCAT">
 <binary value="true"/>
 </f>
 </fs>
 </bicond>
 <cond>
 <fs>
 <f name="BAR">
 <symbol value="1"/>
 </f>
 </fs>
 <then/>
 <fs>
 <f name="SUBCAT">
 <binary value="false"/>
 </f>
 </fs>
 </cond>
 </fsConstraints>
 </fsDecl>
 <fsDecl type="Agreement">
 <fsDescr>This type of feature structure encodes the features
 for subject-verb agreement in English</fsDescr>
 <fDecl name="PERS">
 <fDescr>person (first, second, or third)</fDescr>
 <vRange>
 <vAlt>
 <symbol value="1"/>
 <symbol value="2"/>
 <symbol value="3"/>
 </vAlt>
 </vRange>
 </fDecl>
 <fDecl name="NUM">
 <fDescr>number (singular or plural)</fDescr>
 <vRange>
 <vAlt>
 <symbol value="sg"/>
 <symbol value="pl"/>
 </vAlt>
 </vRange>
 </fDecl>
 </fsDecl>
</fsdDecl>
</TEI>

20 Non-hierarchical Structures

20.1 Multiple Encodings of the Same Information

<seg>Scorn not the sonnet;</seg>
<seg>critic, you have frowned, Mindless of its just honours;</seg>
<seg>with this key Shakespeare unlocked his heart;</seg>
<seg>the melody Of this small lute gave ease to Petrarch's wound.</seg>

20.1 Multiple Encodings of the Same Information

<seg>Catholic woman of twenty-seven with five children And a
 first-rate body—pointed her finger at the back of one certain man and
 asked me, "Is that guy a psychiatrist?" and by god he was!</seg>


<seg>"Yes," She said, "He <emph>looks</emph> like a
 psychiatrist."</seg>


<seg>Grown quiet, I looked at his pink back, and thought.</seg>

20.2 Boundary Marking with Empty Elements

<seg>
 <lb n="1"/>Scorn not the sonnet;</seg>; <seg>critic, you have
 frowned, <lb n="2"/>Mindless of its just honours;</seg>
<seg>with this
 key <lb n="3"/>Shakespeare unlocked his heart;</seg>
<seg>the melody
<lb n="4"/>Of this small lute gave ease to Petrarch's
 wound.</seg>

20.3 Fragmentation and Reconstitution of Virtual Elements

<l>
<w xml:id="w01">Scorn</w>
<w xml:id="w02">not</w>
<w xml:id="w03">the</w>
<w xml:id="w04">sonnet</w>; <w xml:id="w05">critic</w>, <w xml:id="w06">you</w>
<w xml:id="w07">have</w>
<w xml:id="w08">frowned</w>,
</l>
<l>
<w xml:id="w09">Mindless</w>
<w xml:id="w10">of</w>
<w xml:id="w11">its</w>
<w xml:id="w12">just</w>
<w xml:id="w13">honours</w>; <w xml:id="w14">with</w>
<w xml:id="w15">this</w>
<w xml:id="w16">key</w>
</l>
<l>
<w xml:id="w17">Shakespeare</w>
<w xml:id="w18">unlocked</w>
<w xml:id="w19">his</w>
<w xml:id="w20">heart</w>; <w xml:id="w21">the</w>
<w xml:id="w22">melody</w>
</l>
<l>
<w xml:id="w23">Of</w>
<w xml:id="w24">this</w>
<w xml:id="w25">small</w>
<w xml:id="w26">lute</w>
<w xml:id="w27">gave</w>
<w xml:id="w28">ease</w>
<w xml:id="w29">to</w>
<w xml:id="w30">Petrarch's</w>
<w xml:id="w31">wound</w>.
</l>


<join result="s" scope="root" targets="#w01 #w02 #w03 #w04"/>
<join
 result="s"
 scope="root"
 targets="#w05 #w06 #w07 #w08 #w09 #w10 #w11 #w12 #w13"/>
<join result="s" scope="root"
 targets="#w14 #w15 #w16 #w17 #w18 #w19 #w20"/>
<join
 result="s"
 scope="root"
 targets="#w21 #w22 #w23 #w24 #w25 #w26 #w27 #w28 #w29 #w30 #w31"/>

21 Certainty, Precision, and Responsibility

21.1.2 Structured Indications of Uncertainty

22 Documentation Elements

22.1.1 Phrase Level Terms

If the variable <ident>z</ident> has a value of zero, a statement
such as <code>x=y/z</code> will usually cause a fatal error.

22.1.1 Phrase Level Terms

The <gi>gi</gi> element is used to tag
element names when they appear in the text; the
<gi>tag</gi> element however is used to show how a tag as
such might appear. So one might talk of an occurrence of the
<gi>blort</gi> element which had been tagged
<tag>blort type='runcible'</tag>. The
<att>type</att> attribute may take any name token as
value; the default value is <val>spqr</val>, in memory of
its creator.

22.1.2 Element and Attribute Descriptions

<div3>
<head>Element and attribute descriptions</head>
Within the body of a document using this module, the following
 elements may be used to reference parts of the specification elements
 discussed in section <ptr target="#TDcrystals"/>, in particular the
 brief prose descriptions these provide for elements and attributes.
<specList>
 <specDesc key="specList"/>
 <specDesc key="specDesc"/>
 </specList>

TEI practice requires that a <gi>specList</gi> listing the elements
 ...


</div3>

<att>

The TEI defines six <soCalled>global</soCalled> attributes; their names are
<att>xml:id</att>, <att>rend</att>, <att>xml:lang</att>, <att>n</att>, <att>xml:space</att>,
and <att>xml:base</att>; <att scheme="XX">style</att> is not among them.

<att>

TEI定義六個<soCalled>global</soCalled>屬性，包括：
<att>xml:id</att>, <att>rend</att>, <att>xml:lang</att>, <att>n</att>, <att>xml:space</att>,
和<att>xml:base</att>; <att scheme="XX">style</att> 不在其中。

<eg>

The
<gi>term</gi> element is declared using the following syntax:
<eg><![CDATA[<!ELEMENT term (%phrase.content;)>]]</eg>

<eg>

<gi>術語</gi>元素用於以下語法：
<eg><![CDATA[<!ELEMENT term (%phrase.content;)>]]</eg>

<gi>

The <gi>xhtml:li</gi> element is roughly analogous to the <gi>item</gi> element, as is the
<gi scheme="DBK">listItem</gi> element.

<gi>

元素 <gi>xhtml:li</gi>大略類似元素<gi>item</gi>，以及元素 <gi scheme="DBK">listItem</gi>。

22.2 Modules and Schemas

This module contains three red elements:
<specGrp xml:id="RED">
 <elementSpec ident="beetroot">

 </elementSpec>
 <elementSpec ident="east">

 </elementSpec>
 <elementSpec ident="rose">

 </elementSpec>
</specGrp>
and two blue ones:
<specGrp xml:id="BLUE">
 <elementSpec ident="sky">

 </elementSpec>
 <elementSpec ident="bayou">

 </elementSpec>
</specGrp>

22.2 Modules and Schemas

<div>
<head>An overview of the imaginary module</head>
The imaginary module contains declarations for coloured things:
<specGrpRef target="#RED"/>
<specGrpRef target="#BLUE"/>

</div>

This part of the module contains declarations for names of persons, places, and
organisations: <specGrpRef target="#names.pers"/>
<specGrpRef target="#names.place"/>
<specGrpRef target="#names.org"/>


<specGrp xml:id="names.pers">

</specGrp>

<specGrp xml:id="names.place">

</specGrp>

<specGrp xml:id="names.org">

</specGrp>

這部份的模組包含人名、地名以及組織名稱的宣告：<specGrpRef target="#zh-tw_names.pers"/>
<specGrpRef target="#zh-tw_names.place"/>
<specGrpRef target="#zh-tw_names.org"/>


<specGrp xml:id="zh-tw_names.pers">

</specGrp>

<specGrp xml:id="zh-tw_names.place">

</specGrp>

<specGrp xml:id="zh-tw_names.org">

</specGrp>

<classSpec module="tei" type="model" ident="model.segLike">
<desc>groups elements used for arbitrary segmentation. </desc>
<classes>
 <memberOf key="model.phrase"/>
</classes>
<remarks>
 The principles on which segmentation is carried out, and
 any special codes or attribute values used, should be defined explicitly
 in the <gi>segmentation</gi> element of the <gi>encodingDesc</gi> within
 the associated TEI header.
</remarks>
</classSpec>

<classSpec module="tei" type="model" ident="model.segLike">
<desc>匯集用於隨機分割的元素</desc>
<classes>
 <memberOf key="model.phrase"/>
</classes>
<remarks>
 The principles on which segmentation is carried out, and any special codes or attribute
 values used, should be defined explicitly in the <gi>segmentation</gi> element of the
 <gi>encodingDesc</gi> within the associated TEI header.
</remarks>
</classSpec>

22.4.1 Description of Components

<elementSpec module="core" ident="foreign">

<remarks>
 This element is intended for use only where no other element
 is available to mark the phrase or words concerned. The global
 <att>xml:lang</att> attribute should be used in preference to this element
 where it is intended to mark the language of the whole of some text
 element.
 The <gi>distinct</gi> element may be used to identify phrases
 belonging to sublanguages or registers not generally regarded as true
 languages.
</remarks>

</elementSpec>

<remarks>
This element is probably redundant.
</remarks>

<remarks>
此元素可能是多餘的
</remarks>

<exemplum xml:lang="en">
The <gi>name</gi> element can be used for both personal names and place names:
<eg><![CDATA[ <q>My dear <name type="person">Mr.
 Bennet</name>,</q> said his lady to him one day,
 <q>have you heard that <name type="place">Netherfield
 Park</name> is let at last?</q>]]></eg>
As shown above, the <att>type</att> attribute may be used to distinguish the one from the
 other.
</exemplum>

<exemplum>

 <gi>名稱</gi>元素可以同時用於人名以及地名：
<eg><![CDATA[ <q>我親愛的 <name
 type="person">班耐特</name>先生，</q> 有一天太太對他說，
 <q>你聽到<name type="place">尼得斐莊園</name>
 終於租出去了嗎？</q>]]></eg>
如上所示，<att>屬性值</att> 可用來分辨人名或地名。
</exemplum>

22.4.5.3 Examples

<attList>
<attDef ident="type">
 <desc>describes the form of the list.</desc>
 <datatype>
 <rng:text/>
 </datatype>
 <defaultVal>simple</defaultVal>
 <valList type="semi">
 <valItem ident="ordered">
 <desc>list items are numbered or lettered. </desc>
 </valItem>
 <valItem ident="bulleted">
 <desc>list items are marked with a bullet or other
 typographic device. </desc>
 </valItem>
 <valItem ident="simple">
 <desc>list items are not numbered or bulleted.</desc>
 </valItem>
 <valItem ident="gloss">
 <desc>each list item glosses some term or
 concept, which is given by a label element preceding
 the list item.</desc>
 </valItem>
 </valList>
 <remarks>
 The formal syntax of the element declarations allows
 <gi>label</gi> tags to be omitted from lists tagged <tag>list
 type="gloss"</tag>; this is however a semantic error.
 </remarks>
</attDef>
</attList>

23 Using the TEI

23.2.2 Modification and Namespaces

<div
xmlns:my=http://www.example.org/ns/nonTEI>

Flopsy, Mopsy, Cottontail, and
Peter...
</div>

P5: Guidelines for Electronic Text Encoding and Interchange

Example: <p> (paragraph)

1 The TEI Infrastructure

2 The TEI Header

3 Elements Available in All TEI Documents

4 Default Text Structure

5 Representation of Non-standard Characters and Glyphs

6 Verse

7 Performance Texts

8 Transcriptions of Speech

10 Manuscript Description

11 Representation of Primary Sources

13 Names, Dates, People, and Places

14 Tables, Formulæ, and Graphics

15 Language Corpora

16 Linking, Segmentation, and Alignment

17 Simple Analytic Mechanisms

18 Feature Structures

20 Non-hierarchical Structures

21 Certainty, Precision, and Responsibility

22 Documentation Elements

23 Using the TEI