Example: <hi> (highlighted)
These search results reproduce every example of the use of <hi> 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 <hi> 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
- 4 Default Text Structure
- 6 Verse
- 7 Performance Texts
- 9 Dictionaries
- 11 Representation of Primary Sources
- 13 Names, Dates, People, and Places
- 14 Tables, Formulæ, Graphics and Notated Music
- 16 Linking, Segmentation, and Alignment
- 22 Documentation Elements
3 Elements Available in All TEI Documents
3.3.2.2 Emphatic Words and Phrases
<hi rend="gothic">And this Indenture further witnesseth</hi>
that the said <hi rend="italic">Walter Shandy</hi>, merchant,
in consideration of the said intended marriage ...
that the said <hi rend="italic">Walter Shandy</hi>, merchant,
in consideration of the said intended marriage ...
3.3.2.2 Emphatic Words and Phrases
The heaviest rain, and snow, and hail, and
sleet, could boast of the advantage over him in only one respect. They
often <hi rend="quoted">came down</hi> handsomely, and Scrooge never
did.
sleet, could boast of the advantage over him in only one respect. They
often <hi rend="quoted">came down</hi> handsomely, and Scrooge never
did.
<hi rend="gothic">And this Indenture further witnesseth</hi>
that the said <hi rend="italic">Walter Shandy</hi>, merchant,
in consideration of the said intended marriage ...
that the said <hi rend="italic">Walter Shandy</hi>, merchant,
in consideration of the said intended marriage ...
<p>Au fronton, on lit cette inscription : <hi rend="uppercase">attends. Tu verras.</hi> Le
notaire encore prétend qu' elle ne saurait être antérieure au XVIII siècle, car, sinon, l'
on eût écrit --<q>tu voiras</q>--. </p>
notaire encore prétend qu' elle ne saurait être antérieure au XVIII siècle, car, sinon, l'
on eût écrit --<q>tu voiras</q>--. </p>
我的先生很可惜是一個<hi rend="italic">外國人</hi>。這樣來稱呼自己的先生不免有<hi rend="bold">排外</hi>的味道，但是因為語文和風俗在各國之間确有大不相同之處，我們的婚姻生活也實在有許多無法共通的地方。...
On the one hand the <hi rend="italic">Nibelungenlied</hi> is
associated with the new rise of romance of twelfth-century France,
the <hi xml:lang="fr" rend="italic">romans d'antiquité</hi>,
the romances of Chrétien de Troyes, ...
associated with the new rise of romance of twelfth-century France,
the <hi xml:lang="fr" rend="italic">romans d'antiquité</hi>,
the romances of Chrétien de Troyes, ...
A pretty common case, I believe; in all <emph>vehement</emph>
debatings. She says I am <q rend="italic">too witty</q>;
<foreign xml:lang="la" rend="roman">Anglicé</foreign>,
<gloss rend="italic">too pert</gloss>; I, that she is
<q rend="italic"> too wise</q>; that is to say, being likewise
put into English, <gloss rend="italic">not so young as she has
been</gloss>: in short, she is grown so much into a
<hi rend="italic">mother</hi>, that she had forgotten she ever
was a <hi rend="italic">daughter</hi>.
debatings. She says I am <q rend="italic">too witty</q>;
<foreign xml:lang="la" rend="roman">Anglicé</foreign>,
<gloss rend="italic">too pert</gloss>; I, that she is
<q rend="italic"> too wise</q>; that is to say, being likewise
put into English, <gloss rend="italic">not so young as she has
been</gloss>: in short, she is grown so much into a
<hi rend="italic">mother</hi>, that she had forgotten she ever
was a <hi rend="italic">daughter</hi>.
<p>I reached <num type="cardinal" value="21">twenty-one</num> on
my <num type="ordinal" value="21">twenty-first</num> birthday</p>
<p>Light travels at <num value="3E10">3×10<hi rend="sup">10</hi>
</num> cm per second.</p>
my <num type="ordinal" value="21">twenty-first</num> birthday</p>
<p>Light travels at <num value="3E10">3×10<hi rend="sup">10</hi>
</num> cm per second.</p>
<p>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。</p>
</num> 公分移動。</p>
<div type="subsection">
<head place="margin">Secunda conclusio</head>
<p>
<lb n="1251"/>
<hi rend="large">Potencia: habitus: et actus: recipiunt speciem ab obiectis<supplied>.</supplied>
</hi>
<lb n="1252"/>Probatur sic. Omne importans necessariam habitudinem ad proprium
[...]
</p>
</div>
<head place="margin">Secunda conclusio</head>
<p>
<lb n="1251"/>
<hi rend="large">Potencia: habitus: et actus: recipiunt speciem ab obiectis<supplied>.</supplied>
</hi>
<lb n="1252"/>Probatur sic. Omne importans necessariam habitudinem ad proprium
[...]
</p>
</div>
<div type="chapitre">
<head>Les Mille et une Nuits</head>
<p>LES chroniques des Sassaniens, anciens rois de Perse, qui avaient étendu leur empire
dans les Indes, [...]</p>
<div type="histoire">
<head>Histoire du Vizir puni</head>
<p>IL était autrefois un roi, poursuivit-il, qui avait un<lb/> fils qui aimait
passionnément la chasse. Il lui permettait<lb/> de prendre souvent ce divertissement ;
[...] </p>
</div>
</div>
<trailer>
<hi rend="majuscule">fin du tome premier.</hi>
</trailer>
<head>Les Mille et une Nuits</head>
<p>LES chroniques des Sassaniens, anciens rois de Perse, qui avaient étendu leur empire
dans les Indes, [...]</p>
<div type="histoire">
<head>Histoire du Vizir puni</head>
<p>IL était autrefois un roi, poursuivit-il, qui avait un<lb/> fils qui aimait
passionnément la chasse. Il lui permettait<lb/> de prendre souvent ce divertissement ;
[...] </p>
</div>
</div>
<trailer>
<hi rend="majuscule">fin du tome premier.</hi>
</trailer>
<pb/>
<cb n="1"/>
<entryFree>
<form>Well</form>, <sense>a Pit to hold Spring-Water</sense>:
<sense>In the Art of <hi rend="italic">War</hi>, a Depth the Miner
sinks into the Ground, to find out and disappoint the Enemies Mines,
or to prepare one</sense>.
</entryFree>
<entryFree>To <form>Welter</form>, <sense>to wallow</sense>, or
<sense>lie groveling</sense>.</entryFree>
<!-- remainder of column -->
<cb n="2"/>
<entryFree>
<form>Wey</form>, <sense>the greatest Measure for dry Things,
containing five Chaldron</sense>.
</entryFree>
<entryFree>
<form>Whale</form>, <sense>the greatest of
Sea-Fishes</sense>.
</entryFree>
<cb n="1"/>
<entryFree>
<form>Well</form>, <sense>a Pit to hold Spring-Water</sense>:
<sense>In the Art of <hi rend="italic">War</hi>, a Depth the Miner
sinks into the Ground, to find out and disappoint the Enemies Mines,
or to prepare one</sense>.
</entryFree>
<entryFree>To <form>Welter</form>, <sense>to wallow</sense>, or
<sense>lie groveling</sense>.</entryFree>
<!-- remainder of column -->
<cb n="2"/>
<entryFree>
<form>Wey</form>, <sense>the greatest Measure for dry Things,
containing five Chaldron</sense>.
</entryFree>
<entryFree>
<form>Whale</form>, <sense>the greatest of
Sea-Fishes</sense>.
</entryFree>
<l>Behold. <stage n="*" place="margin">Here the vp<lb/>per part of the <hi>Scene</hi> open'd; when
straight appear'd a Heauen, and all the <hi>Pure Artes</hi> sitting on
two semi<lb/>circular ben<lb/>ches, one a<lb/>boue another: who sate thus till the rest of the
<hi>Prologue</hi> was spoken, which being ended, they descended in
order within the <hi>Scene,</hi> whiles the Musicke plaid</stage> Our
Poet knowing our free hearts</l>
straight appear'd a Heauen, and all the <hi>Pure Artes</hi> sitting on
two semi<lb/>circular ben<lb/>ches, one a<lb/>boue another: who sate thus till the rest of the
<hi>Prologue</hi> was spoken, which being ended, they descended in
order within the <hi>Scene,</hi> whiles the Musicke plaid</stage> Our
Poet knowing our free hearts</l>
1 The TEI Infrastructure
<head rend="align(center) case(allcaps)">
<lb/>To The <lb/>Duchesse <lb/>of <lb/>Newcastle,
<lb/>On Her <lb/>
<hi rend="case(mixed)">New Blazing-World</hi>.
</head>
<lb/>To The <lb/>Duchesse <lb/>of <lb/>Newcastle,
<lb/>On Her <lb/>
<hi rend="case(mixed)">New Blazing-World</hi>.
</head>
<head style="text-align: center; font-variant: small-caps">
<lb/>To The <lb/>Duchesse <lb/>of <lb/>Newcastle, <lb/>On Her
<lb/>
<hi style="font-variant: normal">New Blazing-World</hi>.
</head>
<lb/>To The <lb/>Duchesse <lb/>of <lb/>Newcastle, <lb/>On Her
<lb/>
<hi style="font-variant: normal">New Blazing-World</hi>.
</head>
<head rendition="#ac #sc">
<lb/>To The <lb/>Duchesse <lb/>of <lb/>Newcastle, <lb/>On Her
<lb/>
<hi rendition="#normal">New Blazing-World</hi>.
</head>
<!-- elsewhere... -->
<rendition xml:id="sc" scheme="css">font-variant: small-caps</rendition>
<rendition xml:id="normal" scheme="css">font-variant: normal</rendition>
<rendition xml:id="ac" scheme="css">text-align: center</rendition>
<lb/>To The <lb/>Duchesse <lb/>of <lb/>Newcastle, <lb/>On Her
<lb/>
<hi rendition="#normal">New Blazing-World</hi>.
</head>
<!-- elsewhere... -->
<rendition xml:id="sc" scheme="css">font-variant: small-caps</rendition>
<rendition xml:id="normal" scheme="css">font-variant: normal</rendition>
<rendition xml:id="ac" scheme="css">text-align: center</rendition>
2 The TEI Header
<titlePage>
<docTitle rendition="#center #x-space">
<titlePart>
<lb/>
<hi rendition="#x-large">THE POEMS</hi>
<lb/>
<hi rendition="#small">OF</hi>
<lb/>
<hi rendition="#red #xx-large">ALGERNON CHARLES SWINBURNE</hi>
<lb/>
<hi rendition="#large #xx-space">IN SIX VOLUMES</hi>
</titlePart>
<titlePart rendition="#xx-space">
<lb/> VOLUME I.
<lb/>
<hi rendition="#red #x-large">POEMS AND BALLADS</hi>
<lb/>
<hi rendition="#x-space">FIRST SERIES</hi>
</titlePart>
</docTitle>
<docImprint rendition="#center">
<lb/>
<pubPlace rendition="#xx-space">LONDON</pubPlace>
<lb/>
<publisher rendition="#red #expanded">CHATTO & WINDUS</publisher>
<lb/>
<docDate when="1904" rendition="#small">1904</docDate>
</docImprint>
</titlePage>
<docTitle rendition="#center #x-space">
<titlePart>
<lb/>
<hi rendition="#x-large">THE POEMS</hi>
<lb/>
<hi rendition="#small">OF</hi>
<lb/>
<hi rendition="#red #xx-large">ALGERNON CHARLES SWINBURNE</hi>
<lb/>
<hi rendition="#large #xx-space">IN SIX VOLUMES</hi>
</titlePart>
<titlePart rendition="#xx-space">
<lb/> VOLUME I.
<lb/>
<hi rendition="#red #x-large">POEMS AND BALLADS</hi>
<lb/>
<hi rendition="#x-space">FIRST SERIES</hi>
</titlePart>
</docTitle>
<docImprint rendition="#center">
<lb/>
<pubPlace rendition="#xx-space">LONDON</pubPlace>
<lb/>
<publisher rendition="#red #expanded">CHATTO & WINDUS</publisher>
<lb/>
<docDate when="1904" rendition="#small">1904</docDate>
</docImprint>
</titlePage>
4 Default Text Structure
<trailer>
<l>In stead of FINIS this advice <hi>I</hi> send,</l>
<l>Let Rogues and Thieves beware of <lb/>
<hi>Hamans</hi> END.</l>
</trailer>
<l>In stead of FINIS this advice <hi>I</hi> send,</l>
<l>Let Rogues and Thieves beware of <lb/>
<hi>Hamans</hi> END.</l>
</trailer>
<trailer>
<l>In stead of FINIS this advice <hi>I</hi> send,</l>
<l>Let Rogues and Thieves beware of <lb/>
<hi>Hamans</hi> END.</l>
</trailer>
<l>In stead of FINIS this advice <hi>I</hi> send,</l>
<l>Let Rogues and Thieves beware of <lb/>
<hi>Hamans</hi> END.</l>
</trailer>
<p>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 [...] </p>
<p>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.
</p>
<pb n="5"/>
<floatingText>
<body>
<head>The Story of <hi>Captain Manly</hi>
</head>
<p>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...
<!-- Captain Manly's story here -->
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,
</p>
</body>
</floatingText>
<pb n="37"/>
and a clean Hearth [...] reflected on the Providence of our
All-wise and Gracious Creator [...] </p>
<p>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.
</p>
<pb n="5"/>
<floatingText>
<body>
<head>The Story of <hi>Captain Manly</hi>
</head>
<p>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...
<!-- Captain Manly's story here -->
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,
</p>
</body>
</floatingText>
<pb n="37"/>
<p>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: </p>
<floatingText>
<body>
<p> 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...</p>
<!-- rest of story here -->
<p>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>
</p>
</body>
</floatingText>
<pb n="43"/>
<p>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.
</p>
<floatingText>
<body>
<head>The Cause of the Moors Overrunning
<hi>Spain</hi>
</head>
<p>King ———— of Spain at his Death, committed the Government of his
Kingdom to his Brother Don ——— till his little Son should come of
Age ...</p>
<p>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>
</p>
</body>
</floatingText>
<p>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...
</p>
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: </p>
<floatingText>
<body>
<p> 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...</p>
<!-- rest of story here -->
<p>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>
</p>
</body>
</floatingText>
<pb n="43"/>
<p>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.
</p>
<floatingText>
<body>
<head>The Cause of the Moors Overrunning
<hi>Spain</hi>
</head>
<p>King ———— of Spain at his Death, committed the Government of his
Kingdom to his Brother Don ——— till his little Son should come of
Age ...</p>
<p>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>
</p>
</body>
</floatingText>
<p>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...
</p>
<docTitle>
<titlePart type="main">THE FORTUNES
AND MISFORTUNES Of the FAMOUS
Moll Flanders, &c.
</titlePart>
<titlePart type="desc">Who was BORN in NEWGATE,
And during a Life of continu'd Variety for
Threescore Years, besides her Childhood, was
Twelve Year a <hi>Whore</hi>, five times a <hi>Wife</hi> (wherof
once to her own Brother) Twelve Year a <hi>Thief,</hi>
Eight Year a Transported <hi>Felon</hi> in <hi>Virginia</hi>,
at last grew <hi>Rich</hi>, liv'd <hi>Honest</hi>, and died a
<hi>Penitent</hi>.</titlePart>
</docTitle>
<titlePart type="main">THE FORTUNES
AND MISFORTUNES Of the FAMOUS
Moll Flanders, &c.
</titlePart>
<titlePart type="desc">Who was BORN in NEWGATE,
And during a Life of continu'd Variety for
Threescore Years, besides her Childhood, was
Twelve Year a <hi>Whore</hi>, five times a <hi>Wife</hi> (wherof
once to her own Brother) Twelve Year a <hi>Thief,</hi>
Eight Year a Transported <hi>Felon</hi> in <hi>Virginia</hi>,
at last grew <hi>Rich</hi>, liv'd <hi>Honest</hi>, and died a
<hi>Penitent</hi>.</titlePart>
</docTitle>
<back>
<div1 type="appendix">
<head>臺灣現代詩論戰史資料彙編</head>
<p>現代詩論戰史第一階段</p>
</div1>
<div1 type="epistle">
<head>白先勇致瘂弦洛夫</head>
<salute>您好，</salute>
<p>您的副本我已使用完畢，可以歸還了，麻煩您。</p>
</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>
<div1 type="appendix">
<head>臺灣現代詩論戰史資料彙編</head>
<p>現代詩論戰史第一階段</p>
</div1>
<div1 type="epistle">
<head>白先勇致瘂弦洛夫</head>
<salute>您好，</salute>
<p>您的副本我已使用完畢，可以歸還了，麻煩您。</p>
</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>
6 Verse
6.1 Structural Divisions of Verse Texts
<lg>
<l>The Frost performs its secret ministry,</l>
<l>Unhelped by any wind. ...</l>
<l>Whose puny flaps and freaks the idling Spirit</l>
<l>By its own moods interprets, every where</l>
<l>Echo or mirror seeking of itself,</l>
<l part="I">And makes a toy of Thought.</l>
</lg>
<lg>
<l part="F">But O! how oft,</l>
<l>How oft, at school, with most believing mind</l>
<l>Presageful, have I gazed upon the bars,</l>
<l>To watch that fluttering <hi>stranger</hi>! ... </l>
</lg>
<lg>
<l>Dear Babe, that sleepest cradled by my side,</l>
</lg>
<l>The Frost performs its secret ministry,</l>
<l>Unhelped by any wind. ...</l>
<l>Whose puny flaps and freaks the idling Spirit</l>
<l>By its own moods interprets, every where</l>
<l>Echo or mirror seeking of itself,</l>
<l part="I">And makes a toy of Thought.</l>
</lg>
<lg>
<l part="F">But O! how oft,</l>
<l>How oft, at school, with most believing mind</l>
<l>Presageful, have I gazed upon the bars,</l>
<l>To watch that fluttering <hi>stranger</hi>! ... </l>
</lg>
<lg>
<l>Dear Babe, that sleepest cradled by my side,</l>
</lg>
6.4.1 Sample Metrical Analyses
<div type="book" n="1" met="-+|-+|-+|-+|-+/"
rhyme="aa">
<lg n="1" type="paragraph">
<l>'Tis hard to say, if greater Want of Skill</l>
<l>Appear in <hi>Writing</hi> or in <hi>Judging</hi> ill;</l>
<l>But, of the two, less dang'rous is th'Offence,</l>
<l>To tire our <hi>Patience</hi>, than mis-lead our <hi>Sense</hi>:</l>
</lg>
</div>
rhyme="aa">
<lg n="1" type="paragraph">
<l>'Tis hard to say, if greater Want of Skill</l>
<l>Appear in <hi>Writing</hi> or in <hi>Judging</hi> ill;</l>
<l>But, of the two, less dang'rous is th'Offence,</l>
<l>To tire our <hi>Patience</hi>, than mis-lead our <hi>Sense</hi>:</l>
</lg>
</div>
7 Performance Texts
7.3 Other Types of Performance Text
<view>George glances at the window--and freezes.
<camera>New angle--shock cut</camera> Out the window
the body of a dead man suddenly slams into
<hi>frame</hi>. He dangles grotesquely,
held up by his coat caught on a protruding bolt.
George gasps. The train <hi>whistle</hi> screams.</view>
<camera>New angle--shock cut</camera> Out the window
the body of a dead man suddenly slams into
<hi>frame</hi>. He dangles grotesquely,
held up by his coat caught on a protruding bolt.
George gasps. The train <hi>whistle</hi> screams.</view>
<view>
<name>Max</name> joins his daughter
at the window. <hi>Rain</hi> sprays his
face--
</view>
<view>
<camera>Max's POV</camera> He sees occasional
windows open, and just across from his apartment
house, a <hi>man</hi> opens the front door of
a brownstone--
</view>
<name>Max</name> joins his daughter
at the window. <hi>Rain</hi> sprays his
face--
</view>
<view>
<camera>Max's POV</camera> He sees occasional
windows open, and just across from his apartment
house, a <hi>man</hi> opens the front door of
a brownstone--
</view>
<view>
<name>馬克思</name>隨他女兒到窗邊。<hi>雨水</hi> 打在他臉上--
</view>
<view>
<camera>馬克思的視點</camera> 他看見一些打開的窗戶，而就在他公寓對面，有一個<hi>男子</hi> 正打開富麗堂皇的大門。--
</view>
<name>馬克思</name>隨他女兒到窗邊。<hi>雨水</hi> 打在他臉上--
</view>
<view>
<camera>馬克思的視點</camera> 他看見一些打開的窗戶，而就在他公寓對面，有一個<hi>男子</hi> 正打開富麗堂皇的大門。--
</view>
9 Dictionaries
<entry>
<form type="contraction">
<orth>neither</orth>
<pron notation="ipa">ˈnaɪðə</pron>,
<pron notation="ipa">ˈni:ðə</pron>
</form>
<!-- ... -->
<cit type="example">
<quote>neither foot is swollen</quote>
</cit>
<note type="usage">A verb following a compound subject
that uses <hi rend="italic">neither</hi>… should be
in the singular if both subjects are in the singular:
<hi rend="italic">neither Jack nor John has done the work</hi>
</note>
</entry>
<form type="contraction">
<orth>neither</orth>
<pron notation="ipa">ˈnaɪðə</pron>,
<pron notation="ipa">ˈni:ðə</pron>
</form>
<!-- ... -->
<cit type="example">
<quote>neither foot is swollen</quote>
</cit>
<note type="usage">A verb following a compound subject
that uses <hi rend="italic">neither</hi>… should be
in the singular if both subjects are in the singular:
<hi rend="italic">neither Jack nor John has done the work</hi>
</note>
</entry>
11 Representation of Primary Sources
11.3.1.2 Abbreviation and Expansion
<note target="#exp01">The stroke added to
the final d could signify the plural ending (-es, -is, -ys>) but the
singular <hi rend="it">goode</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>
the final d could signify the plural ending (-es, -is, -ys>) but the
singular <hi rend="it">goode</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>
I have once — by
declaring I would prosecute by law — hindered a man's proceedings who <hi rend="underline">had obtained all the letters to Mr Boyd</hi>
declaring I would prosecute by law — hindered a man's proceedings who <hi rend="underline">had obtained all the letters to Mr Boyd</hi>
I have once — by declaring I would prosecute
by law — hindered a man's proceedings who <hi xml:id="cstart1" rend="underline">had
obtained all the letters to Mr Boyd</hi>
<!-- ... -->
<certainty target="#cstart1" locus="start"
degree="0.70">
<desc>may begin with previous word</desc>
</certainty>
by law — hindered a man's proceedings who <hi xml:id="cstart1" rend="underline">had
obtained all the letters to Mr Boyd</hi>
<!-- ... -->
<certainty target="#cstart1" locus="start"
degree="0.70">
<desc>may begin with previous word</desc>
</certainty>
13 Names, Dates, People, and Places
THE TICKET which you will receive herewith has been formed by
the <orgName>Democratic Whig <name type="role">party</name>
</orgName> after the most careful deliberation,
with a reference to all the great objects of NATIONAL, STATE,
COUNTY and CITY concern, and with a single eye to the <hi>Welfare and Best Interests of the Community</hi>.
the <orgName>Democratic Whig <name type="role">party</name>
</orgName> after the most careful deliberation,
with a reference to all the great objects of NATIONAL, STATE,
COUNTY and CITY concern, and with a single eye to the <hi>Welfare and Best Interests of the Community</hi>.
13.3.6.4 Using Non-Gregorian Calendars
<p>The Poole by S. <hi>Giles</hi> Churchyarde was a
large water in the yeare <date calendar="#julianEngland">1244</date>.
</p>
large water in the yeare <date calendar="#julianEngland">1244</date>.
</p>
14 Tables, Formulæ, Graphics and Notated Music
<formula notation="none">E=mc<hi rend="sup">2</hi>
</formula>
</formula>
16 Linking, Segmentation, and Alignment
16.3 Blocks, Segments, and Anchors
<div1 n="Gen" type="book">
<head>The First Book of Moses, Called</head>
<head type="main">Genesis</head>
<div2 n="1" type="chapter">
<ab n="1">In the beginning God created the heaven and the
earth.</ab>
<ab n="2">And the earth was without form, and void; and darkness
<hi>was</hi> upon the face of the deep. And the Spirit of God
moved upon the face of the waters.</ab>
<ab n="3">And God said, Let there be light: and there was
light.</ab>
</div2>
</div1>
<head>The First Book of Moses, Called</head>
<head type="main">Genesis</head>
<div2 n="1" type="chapter">
<ab n="1">In the beginning God created the heaven and the
earth.</ab>
<ab n="2">And the earth was without form, and void; and darkness
<hi>was</hi> upon the face of the deep. And the Spirit of God
moved upon the face of the waters.</ab>
<ab n="3">And God said, Let there be light: and there was
light.</ab>
</div2>
</div1>
22 Documentation Elements
<hi style="font-weight:bold;">this is in bold</hi>