P5: 전자 텍스트 부호화 및 교환에 대한 지침

<note place="bottom">Ibid, p.7</note>

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<notesStmt>
 <note>Historical commentary provided by Mark Cohen.</note>
 <note>OCR scanning done at University of Toronto.</note>
</notesStmt>

<notesStmt>
 <note>Historical commentary provided by Mark Cohen</note>
 <note>OCR scanning done at University of Toronto</note>
</notesStmt>

<notesStmt>
 <note>Les photographies, héliogravures et cartes postales colorisées signées Lehnert
   &amp; Landrock, de techniques novatrices, sont réellement des œuvres d'art ; elles
   apportent en outre une documentation considérable sur la Tunisie du début du XXe
   siècle.</note>
</notesStmt>

<notesStmt>
 <note>歷史評論由馬克．可漢提共</note>
 <note>OCR光學辨識掃描於多倫多大學</note>
</notesStmt>

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annotated text <ref target="#a51" type="noteAnchor">⁵¹</ref>
<!-- ... -->
<note xml:id="a51" type="footnote">text of annotation</note>

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

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

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

<lg>
<!-- ... -->
 <l>The self-same moment I could pray;
 <note place="margin" resp="#STC" type="gloss">The spell begins to break</note>
  <note place="bottom" resp="#JLL">The turning point of the poem...</note>
 </l>
</lg>

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

<p>J'écris dans la<lb/> marge...<lb/> Je vais<lb/> à la ligne.<lb/> Je renvoie à une
note<note type="gloss" place="foot"> J'aime beaucoup les renvois en bas de page, même si
   je n'ai rien de particulier à y préciser.</note>en bas de page.</p>

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

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

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

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

<listBibl>
 <head>Bibliography</head>
 <biblStruct xml:id="NELSON80">
  <analytic>
   <author>
    <persName>
     <surname>Nelson</surname>
     <forename>Theodore Holm</forename>
    </persName>
   </author>
   <title>Replacing the printed word:
       a complete literary system</title>
  </analytic>
  <monogr>
   <title level="m">Information Processing '80: Proceedings of the IFIPS
       Congress, October 1980</title>
   <editor>
    <persName>
     <forename>Simon H.</forename>
     <surname>Lavington</surname>
    </persName>
   </editor>
   <imprint>
    <publisher>North-Holland</publisher>
    <pubPlace>Amsterdam</pubPlace>
    <date when="1980"/>
   </imprint>
   <biblScope type="pp">1013–23</biblScope>
  </monogr>
  <note>Apparently a draft of section 4 of
  <title level="m">Literary Machines</title>.</note>
 </biblStruct>
 <bibl xml:id="NELSON88">Ted Nelson: <title>Literary Machines</title>
   (privately published, 1987)</bibl>
 <bibl xml:id="BAXTER88">
  <author>Baxter, Glen</author>
  <title>Glen Baxter His Life: the years of struggle</title>
   London: Thames and Hudson, 1988.
 </bibl>
</listBibl>

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

<bibl xml:id="NELSON_80">
 <author>
  <persName>
   <surname>Nelson</surname>,
  <forename>T. H. </forename>
  </persName>
 </author>
 <date when="1980">1980</date>.
<title level="a">Replacing the printed word: a complete literary
   system</title>. In <title level="m">Information Processing '80: Proceedings of the
   IFIPS Congress, October 1980</title>,
ed.
<editor>
  <persName>
   <forename>Simon H. </forename>
   <surname>Lavington</surname>
  </persName>
 </editor>,
<biblScope type="pp">1013-23</biblScope>.
<pubPlace>Amsterdam</pubPlace>: <publisher>North-
   Holland</publisher>. (<note>Apparently a draft of section 4 of
 <ref target="#NELSON_88">
   <title level="m">Literary
       Machines</title>
  </ref>.</note>)

</bibl>

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

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

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

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

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

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

<performance>
 <head>Death of a Salesman</head>
 <p>A New Play by Arthur Miller</p>
 <p>Staged by Elia Kazan</p>
 <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>
 <p>The setting and lighting were designed by
 <name>Jo Mielziner</name>.</p>
 <p>The incidental music was composed by <name>Alex North</name>.</p>
 <p>The costumes were designed by <name>Julia Sze</name>.</p>
 <p>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>.</p>
</performance>

<div n="1">
 <head>T.N.P. 1963</head>
 <note place="foot" n="1">A la création au Festivai d'Avignon en juillet 1962, la
   distribution était légèrement différente : dans l'ordre ci-dessus : Hécube (Annie
   Monnier) ; Iris (Paule Noël) ; Hector (Daniel lvernel) ; Pâris (Jean-Louis Trintignant)
   ; Troïus (Bernard Laïk).</note>
 <castList>
  <castItem>
   <role>Andromaque</role>
   <actor>MARIA MAUBAN </actor>
  </castItem>
  <castItem>
   <role>Hélène</role>
   <actor>CHRISTIANE MINAZZOLLI</actor>
  </castItem>
  <castItem>
   <role>Hécube</role>
   <actor>ALINE BERTRAND</actor>
  </castItem>
  <castItem>
   <role> Cassandre </role>JUDITH MAGRE ANNE</castItem>
  <castItem>
   <role>La Paix</role>
   <actor>DOMINIQUE VILAR</actor>
  </castItem>
  <castItem>
   <role>Iris </role>
   <actor>NOELLE VINCENT</actor>
  </castItem>
  <castItem>
   <role>La petite Polyxène</role>
   <actor>CLAUDINE MAUGEY</actor>
  </castItem>
  <castItem>
   <role>Hector</role>
   <actor>PIERRE VANECK</actor>
  </castItem>
  <castItem>
   <role>Ulysse</role>
   <actor>JEAN VILAR</actor>
  </castItem>
  <castItem>
   <role>Demokos</role>
   <actor> PASCAL MAZZOTTI </actor>
  </castItem>
  <castItem>
   <role>Priam</role>
   <actor>JEAN-FRANÇOIS REMY</actor>
  </castItem>
  <castItem>
   <role>Pâris</role>
   <actor>ROBERT ETCHEVERRY</actor>
  </castItem>
  <castItem>
   <role>Oiax</role>
   <actor>MARIO PILAR</actor>
  </castItem>
  <castItem>
   <role>Le Gabier</role>
   <actor>GEORGES GERET</actor>
  </castItem>
  <castItem>
   <role>Le Géomètre</role>
   <actor>PHILIPPE AVRON</actor>
  </castItem>
  <castItem>
   <role>Abnéos</role>
   <actor>LUCIEN ARNAUD</actor>
  </castItem>
  <castItem>
   <role>Troïlus</role>
   <actor>MICHEL GONZALES</actor>
  </castItem>
  <castItem>
   <role>Olpidès</role>
   <actor>MAURICE COUSSONNEAU</actor>
  </castItem>
  <castItem>
   <role>Busiris</role>
   <actor>GEORGES RIQUIER</actor>
  </castItem>
  <castItem>
   <role>Premier Vieillard</role>
   <actor>JEAN MONDAIN</actor>
  </castItem>
  <castItem>
   <role>Deuxième Vieillard</role>
   <actor>LUCIEN ARNAUD</actor>
  </castItem>
  <castGroup>
   <head>Messagers</head>
   <castItem>
    <actor>Bernard Laïk</actor>, <actor>Jean-Pierre Maurin</actor>.</castItem>
  </castGroup>
  <castGroup>
   <head>Servantes troyennes</head>
   <castItem>
    <actor>Christiane Oscar</actor>, <actor>Noëlle Vincent.</actor>
   </castItem>
  </castGroup>
  <castGroup>
   <head>Notables</head>
   <castItem>
    <actor>Jean-Daniel Ehrrnann</actor>
    <actor>Bernard Wawer</actor>
    <actor>Bernard Klein</actor>
   </castItem>
  </castGroup>
  <castGroup>
   <head>Gardes grecs</head>
   <castItem>
    <actor>Jean Dufau</actor>, <actor>Alain Deny</actor>, <actor>Jean-Jacques Leconte</actor>
    <actor>Richard Rein</actor>
   </castItem>
  </castGroup>
 </castList>
</div>
<div n="2">
 <head>Théâtre de la Ville 1971</head>
 <note place="foot" n="2">La pièce a été reprise au Théâtre de la Ville le 22 janvier 1971
   dans une nouvelle mise en scène de Jean Mercure, musique de Marc Wilkinson, scénographie
   et costumes Yannis Kokkos. Elle a été ensuite donnée à partir du 12 juillet dans le
   cadre du 25e Festival d'Avignon, et continuera sa carrière au Théâtre de la Ville à
   partir du 5 novembre 1971 (avec quelques modifications de distribution).</note>
 <castList>
  <castItem>
   <role>Andromaque</role>
   <actor>FRANCINE BERGE </actor>
  </castItem>
  <castItem>
   <role>Hélène</role>
   <actor>ANNIE DUPEREY</actor>
  </castItem>
  <castItem>
   <role>Hécube</role>
   <actor>LOUISE CONTE</actor>
  </castItem>
  <castItem>
   <role> Cassandre </role>
   <actor>ANNE DOAT</actor>
  </castItem>
  <castItem>
   <role>La Paix</role>
   <actor>JANDELINE</actor>
  </castItem>
  <castItem>
   <role>Iris </role>
   <actor>ISA MERCURE</actor>
  </castItem>
  <castItem>
   <role>La petite Polyxène</role>
   <actor>CHRISTIANE SELLAM </actor> ou<actor> VANINA VINITZKY</actor>
  </castItem>
  <castItem>
   <role>Hector</role>
   <actor>JOSE-MARIA FLOTATS</actor>
  </castItem>
  <castItem>
   <role>Ulysse</role>
   <actor>MICHEL DE RE</actor>
  </castItem>
  <castItem>
   <role>Demokos</role>
   <actor>MAURICE CHEVIT</actor>
  </castItem>
  <castItem>
   <role>Priam</role>
   <actor>ANDRE VALTIER</actor>
  </castItem>
  <castItem>
   <role>Pâris</role>
   <actor>DOMINIQUE MAURIN</actor>
  </castItem>
  <castItem>
   <role>Oiax</role>
   <actor>MARCO-PERRIN</actor>
  </castItem>
  <castItem>
   <role>Le Gabier</role>
   <actor>LAFLEUR</actor>
  </castItem>
  <castItem>
   <role>Le Géomètre</role>
   <actor>BERNARD VERON</actor>
  </castItem>
  <castItem>
   <role>Abnéos</role>
   <actor>ANGELO BARDI</actor>
  </castItem>
  <castItem>
   <role>Troïlus</role>
   <actor>PHILIPPE NORMAND</actor>
  </castItem>
  <castItem>
   <role>Olpidès</role>
   <actor>COUSSONNEAU</actor>
  </castItem>
  <castItem>
   <role>Busiris</role>
   <actor>JEAN MERCURE</actor>
  </castItem>
  <castItem>
   <role>Premier Vieillard</role>
   <actor>JEAN-MARIE BON</actor>
  </castItem>
  <castItem>
   <role>Deuxième Vieillard</role>
   <actor>EUGENE BERTHIER</actor>
  </castItem>
  <castGroup>
   <head>Messagers</head>
   <castItem>
    <actor>Jean-Claude Islert</actor>, <actor>Michel Sausin</actor>.</castItem>
  </castGroup>
  <castGroup>
   <head>Servantes troyennes</head>
   <castItem>
    <actor>Dominique Jayr</actor>, <actor>Annie Seurat</actor>,<actor> Hélène
         Augier</actor>
   </castItem>
  </castGroup>
  <castGroup>
   <head>Gardes grecs</head>
   <castItem>
    <actor>Jacques Gaffuri</actor>, <actor>Georges Joannon</actor>
   </castItem>
  </castGroup>
  <castItem>
   <role>Suivant de Busiris</role>
   <actor>Charles Capezzali</actor>
  </castItem>
  <castItem>
   <role>Un marin</role>
   <actor>Henry Courseaux</actor>
  </castItem>
 </castList>
</div>

<view>
 <camera>Plongée générale de la cage d'escalier (en colimaçon)</camera>. Deux lycéens,
Eric et Serge, âgés de 16 ans, en manteaux noirs, montent. <camera>En surimpression sur
   cette image, passent successivement trois cartons de générique</camera>
 <note place="foot"> Le générique complet se déroule à la fin du film</note>. <sound>Reprise de
   la musique leitmotiv. Coup de sonnette.</sound>
 <caption> 1er carton : UN FILS UNIQUE</caption>
 <caption>2e carton : UN FILM de MICHEL POLAC</caption>
 <caption> 3e carton : IMAGES ERIC DALMAT</caption>
</view>

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

<recording type="audio" dur="P10M">
 <equipment>
  <p>podcast</p>
 </equipment>
 <broadcast>
  <bibl>
   <title>Questions sur la souffrance et la santé au travail : pénibilité, stress,
       dépression, harcèlement, maladies et accidents...</title>
   <author>France Inter</author>
   <respStmt>
    <resp>Présentateur</resp>
    <name>Alain Bédouet</name>
   </respStmt>
   <respStmt>
    <resp>Personne interrogée</resp>
    <name> Marie Pezé, Docteur en psychologie, psychanalyste, expert judiciaire ; dirige
         la consultation « souffrance et travail » à l’Hôpital de Nanterre (92), auteure de
    <title>ils ne mourraient pas tous mais tous étaient frappés</title>, Editions
         Pearson.</name>
   </respStmt>
   <series>
    <title>Le Téléphone sonne</title>
   </series>
   <note>Première diffusion le <date when="2008-09-24">mercredi 24 septembre
         2008</date>
   </note>
  </bibl>
 </broadcast>
</recording>

<recording type="audio" dur="P10M">
 <equipment>
  <p>將FM廣播重錄成數位磁帶</p>
 </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>
  <p>Recorded from FM Radio to digital tape</p>
 </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>

<div n="Lod E-03" type="exchange">
 <note>C is with a friend</note>
 <u who="#cwn">
  <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"/>
 </u>
 <u who="#aj"> No<g ref="#lf"/>
  <pause/>No<g ref="#lf"/>
  <gap extent="2 beats"/> I'm
   afraid<g ref="#lf"/>
 </u>
 <u trans="latching" who="#cwn"> 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"/>
 </u>
 <u trans="latching" who="#aj"> Yes<g ref="#fr"/> if you know the title<g ref="#lf"/> Yeah<g ref="#lf"/>
 </u>
 <u who="#cwn">
  <gap extent="4 beats"/>
 </u>
 <u who="#aj"> Yes thats fine. <unclear>just as soon as it comes in we'll send
     you a postcard<g ref="#lf"/>
  </unclear>
 </u>
 <listPerson>
  <person xml:id="cwn">
   <p>Customer WN</p>
  </person>
  <person xml:id="aj">
   <p>Assistant K</p>
  </person>
 </listPerson>
</div>

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

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

<msDesc>
 <msIdentifier>
  <country>France</country>
  <settlement>Paris</settlement>
  <repository xml:lang="fre">Bibliothèque nationale de France. Réserve des livres rares></repository>
  <idno>RES P- YC- 1275</idno>
<!-- dans le cas des recueils : cote uniquement sans les sous-cotes -->
  <altIdentifier>
   <idno>Y. 1341</idno>
   <note>Cote de la Bibliothèque royale au XVIIIe s. (Catalogue de 1750).</note>
  </altIdentifier>
  <altIdentifier>
   <idno/>
   <note/>
  </altIdentifier>
 </msIdentifier>
 <msContents>
  <msItem>
<!-- pour le traitement des recueils la solution possible est de répéter l'élément <msItem> -->
   <docAuthor>
    <forename>Juvénal</forename>
   </docAuthor>
   <docAuthor>
    <forename>Perse</forename>
   </docAuthor>
   <docTitle>
    <titlePart type="main"/>
    <titlePart type="sub"/>
   </docTitle>
   <docImprint>
    <pubPlace>Venise</pubPlace>
    <publisher>F. Torresani</publisher>
<!-- dans le Catalogue général: "in aedibus haeredum Aldi et Andreae soceri" -->
    <publisher>G.-F. Torresani</publisher>
   </docImprint>
   <docDate when="1535">1535</docDate>
   <note>In-8°.</note>
<!-- in-32°; in-24°; in-16°; in-8°; in-4°; in-folio; gr. folio -->
   <note>Exemplaire avec rehauts peints en argent, or et bleu.</note>
   <note>
    <ref
      target="http://catalogue.bnf.fr/ark:/12148/cb31088624r">Notice bibliographique
         dans le Catalogue général</ref>
   </note>
  </msItem>
 </msContents>
 <physDesc>
  <p>
   <ref target="http://bnf.fr/ark://">Image de la reliure dans l'iconothèque</ref>
<!-- RC-B-05225 (plat sup.) -->
  </p>
  <objectDesc>
   <supportDesc>
    <extent>
     <dimensions type="binding">
      <height unit="mm">170</height>
      <width unit="mm">98</width>
      <depth unit="mm">15</depth>
     </dimensions>
    </extent>
   </supportDesc>
  </objectDesc>
  <bindingDesc>
   <binding contemporary="true">
    <p>
     <index indexName="typo_reliure">
      <term>Reliure à décor</term>
     </index>
     <index indexName="typo_decor">
      <term>Entrelacs géométriques</term>
     </index> Reliure en <material>maroquin</material> brun jaspé</p>
    <decoNote type="plats"> à décor d’entrelacs géométriques (structure de losange et
         rectangle) complété de fers évidés.</decoNote>
    <decoNote type="plat_sup">Titre <q>ivvenalis. persivs</q> et ex-libris de Jean
         Grolier <q>io. grolierii et amicorvm.</q> dorés respectivement au centre et au bas
         du plat supérieur. </decoNote>
    <decoNote type="plat_inf">Devise de Jean Grolier<q>portio mea sit in terra
           viventivm</q> dorée au centre du plat inférieur.</decoNote>
    <decoNote type="dos">Dos à cinq nerfs, sans décor ; simple filet doré sur chaque
         nerf et en encadrement des caissons ; passages de chaînette marqués de même.</decoNote>
    <decoNote type="tranchefiles">Tranchefiles simples unicolores, vert foncé.</decoNote>
    <decoNote type="coupes">Filet doré sur les coupes.</decoNote>
    <decoNote type="annexes"/>
    <decoNote type="tranches">Tranches dorées.</decoNote>
    <decoNote type="contreplats">Contreplats en vélin.</decoNote>
    <decoNote type="chasses">Filet doré sur les chasses.</decoNote>
<!-- Description des gardes : gardes blanches ; gardes couleurs (marbrées, gaufrées, peintes, dominotées, etc.) généralement suivies de gardes blanches ; dans tous les cas, spécifier le nombre de gardes (début + fin du volume)-->
    <decoNote type="gardes">Gardes en papier et vélin (2+1+2 / 2+1+2) ; filigrane au
         pot.<ref>Briquet N° XX</ref>
    </decoNote>
<!-- Élément qui inclut aussi bien des remarques sur la couture que les charnières, claies ou modes d'attaches des plats : tous éléments de la structure dont la description est jugée utile à la description et l'identification de la reliure-->
    <decoNote type="structure">Defet manuscrit utilisé comme claie au contreplat
         inférieur (visible par transparence, sous la contregarde en vélin).</decoNote>
    <condition>Traces de mouillures anciennes plus ou moins importantes au bas des
         feuillets, qui n'ont pas affecté la reliure ; éraflure en tête du plat
         inférieur.</condition>
   </binding>
  </bindingDesc>
 </physDesc>
 <history>
  <origin notBefore="1540-01-01" notAfter="1547-09-15">
   <p>Reliure exécutée pour Jean Grolier par Jean Picard, Paris, entre 1540 et 1547.</p>
  </origin>
  <provenance>
   <p/>
  </provenance>
  <acquisition notBefore="1680-12-31" notAfter="1724-12-31">Estampille n° 1, utilisée de
     la fin du XVIIe siècle à 1724 (page de titre).</acquisition>
 </history>
 <additional>
  <adminInfo>
   <recordHist>
    <source>Notice établie à partir du document original</source>
    <change when="2009-10-05" who="Markova">Description mise à jour le <date type="crea">5 octobre 2009 </date>en vue de l'encodage en TEI des descriptions des reliure
         de la Réserve des livres rares</change>
    <change when="2009-06-01" who="Le Bars">Description revue le <date type="maj">1er
           juin 2009 </date> par Fabienne Le Bars.....</change>
    <change when="2009-06-25" who="Le Bars">Description validée le<date type="valid">25
           juin 2009</date>par Fabienne Le Bars</change>
   </recordHist>
  </adminInfo>
 </additional>
</msDesc>

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

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

<msIdentifier>
 <country>France</country>
 <settlement>Paris</settlement>
 <repository xml:lang="fre">Bibliothèque nationale de France. Réserve des livres rares></repository>
 <idno>B- 73</idno>
<!-- dans le cas des recueils : cote uniquement sans les sous-cotes -->
 <altIdentifier>
  <idno>B-121</idno>
  <note> Cote de la bibliothèque royale au XVIIIe siècle (inscrite à l'encre, sur la
     doublure de tabis).</note>
 </altIdentifier>
 <altIdentifier>
  <idno>Double de B. 274. A (Réserve)</idno>
  <note>Cote inscrite face à la page de titre, en remplacement de la cote "1541",
     barrée</note>
 </altIdentifier>
</msIdentifier>

<altIdentifier>
 <idno>B 106</idno>
 <note>Cote de la Bibliothèque royale au XVIIIe siècle.</note>
</altIdentifier>

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

<msContents>
 <msItem>
<!-- pour le traitement des recueils la solution possible est de répéter l'élément <msItem> -->
  <docAuthor>
   <forename>Guillaume de Lorris </forename>
  </docAuthor>
  <docAuthor>
   <forename>Jean de Meung</forename>
  </docAuthor>
  <docTitle>
   <titlePart type="main">Le Rommant de la rose</titlePart>
   <titlePart type="sub"/>
  </docTitle>
  <docImprint>
   <pubPlace>Paris</pubPlace>
   <publisher>Antoine Vérard</publisher>
  </docImprint>
  <docDate when="1497">1497 ou 1498</docDate>
  <note>
   <date notBefore="1497-01-01" notAfter="1498-12-31"/>
  </note>
  <note>in-2°.</note>
<!-- in-32°; in-24°; in-16°; in-8°; in-4°; in-folio; gr. folio -->
  <note>Exemplaire sur vélin, enluminé, « vraisemblablement dans l’atelier d’Antoine
     Vérard » <ref target="#fr_bib06">(Charon 1988, n° 3)</ref>
  </note>
  <note>
   <ref
     target="http://catalogue.bnf.fr/ark:/12148/cb305575966">Notice bibliographique
       dans le Catalogue général</ref>
  </note>
 </msItem>
</msContents>

<msContents>
 <msItem>
<!-- pour le traitement des recueils la solution possible est de répéter l'élément <msItem> -->
  <docAuthor>
   <surname>Longus</surname>
  </docAuthor>
  <docTitle>
   <titlePart type="main">Les amours pastorales de Daphnis et Chloé</titlePart>
  </docTitle>
  <docImprint>
   <pubPlace>Paris</pubPlace>
   <publisher>[Jacques Quillau]</publisher>
  </docImprint>
  <docDate when="1718">1718</docDate>
  <note>in-8°.</note>
<!-- in-32°; in-24°; in-16°; in-8°; in-4°; in-folio; gr. folio -->
  <note>Exemplaire réglé.</note>
  <note>
   <ref
     target="http://catalogue.bnf.fr/ark:/12148/cb30831232s">Notice bibliographique
       dans le Catalogue général</ref>
  </note>
 </msItem>
</msContents>

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

<msContents>
 <msItem>
<!-- pour le traitement des recueils la solution possible est de répéter l'élément <msItem> -->
  <docAuthor>
   <surname>Longus</surname>
  </docAuthor>
  <docTitle>
   <titlePart type="main">Les amours pastorales de Daphnis et Chloé</titlePart>
  </docTitle>
  <docImprint>
   <pubPlace>Paris</pubPlace>
   <publisher>[Jacques Quillau]</publisher>
  </docImprint>
  <docDate when="1718">1718</docDate>
  <note>in-8°.</note>
<!-- in-32°; in-24°; in-16°; in-8°; in-4°; in-folio; gr. folio -->
  <note>Exemplaire réglé.</note>
  <note>
   <ref
     target="http://catalogue.bnf.fr/ark:/12148/cb30831232s">Notice bibliographique
       dans le Catalogue général</ref>
  </note>
 </msItem>
</msContents>

<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>

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

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

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

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

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

Virginite is grete
<app>
 <rdg resp="#ES">perfecti<am>
   <g ref="#ii"/>
  </am>
 </rdg>
 <rdg xml:id="f105" resp="#FJF">perfectio<ex>u</ex>n</rdg>
 <rdg xml:id="r105" resp="#PGR">perfectiou<ex>n</ex>
 </rdg>
</app>
<!-- ... <note> appearing elsewhere in the document ... -->
<note target="#r105 #f105">Furnivall's expansion implies that the bar
is an abbreviation for 'u'. There are no certain instances of
this mark as an abbreviation for 'u' in these manuscripts and it is
widely used as an abbreviation for 'n'. Ruggiers' expansion is to
be accepted.</note>

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

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

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

<note
  type="imitation"
  place="bottom"
  anchored="false"
  target="#L3.284">
 <ref rend="sc" target="#L3.284">Verse 283–84.
 <quote>
   <l>——. With equal grace</l>
   <l>Our Goddess smiles on Whig and Tory race.</l>
  </quote>
 </ref>
 <bibl>Virg. Æn. 10.</bibl>
 <quote>
  <l>Tros Rutulusve fuat; nullo discrimine habebo.</l>
  <l>—— Rex Jupiter omnibus idem. </l>
 </quote>
</note>

<note
  xml:id="n3.284"
  type="imitation"
  place="bottom"
  anchored="false">
 <ref rend="sc" target="#L3.284">Verse 283–84.
 <quote>
   <l>——. With equal grace</l>
   <l>Our Goddess smiles on Whig and Tory race.</l>
  </quote>
 </ref>
 <bibl>Virg. Æn. 10.</bibl>
 <quote>
  <l>Tros Rutulusve fuat; nullo discrimine habebo.</l>
  <l>—— Rex Jupiter omnibus idem. </l>
 </quote>
</note>
<link target="#n3.284 #L3.284"/>

<note type="imitation" place="bottom" anchored="false">
 <ref rend="sc" xml:id="r3.284" target="#L3.284">Verse 283–84.
 <quote>
   <l>——. With equal grace</l>
   <l>Our Goddess smiles on Whig and Tory race.</l>
  </quote>
 </ref>
<!-- ... -->
</note>
<!-- ... -->
<link target="#r3.284 #L3.284"/>

<l xml:id="L2.79">A place there is, betwixt earth, air and seas</l>
<l xml:id="L2.80">Where from Ambrosia, Jove retires for ease.</l>
<!-- ... -->
<l xml:id="L2.88">Sign'd with that Ichor which from Gods distills.</l>
<!-- ... -->
<note xml:id="n2.79" place="bottom" anchored="false">
 <bibl>Ovid Met. 12.</bibl>
 <quote xml:lang="la">
  <l>Orbe locus media est, inter terrasq; fretumq;</l>
  <l>Cœlestesq; plagas —</l>
 </quote>
</note>
<note xml:id="n2.88" place="bottom" anchored="false"> Alludes to <bibl>Homer, Iliad 5</bibl> ...
</note>

<persName>Elizabeth</persName> went to <placeName>Essex</placeName>. She had always liked <placeName>Essex</placeName>.
<note type="certainty" resp="#MSM">It is not
clear here whether <mentioned>Essex</mentioned>
refers to the place or to the nobleman. -MSM</note>

<persName>Elizabeth</persName> went to <placeName xml:id="CE-p1a">Essex</placeName>.
She had always liked <placeName xml:id="CE-p1b">Essex</placeName>.
<note type="certainty" resp="#MSM" target="#CE-p1a #CE-p1b">It
is not clear here whether <mentioned>Essex</mentioned>
refers to the place or to the nobleman. If the latter,
it should be tagged as a personal name. -<name xml:id="MSM">Michael</name>
</note>