Exemple: <p> (paragraph)
These search results reproduce every example of the use of <p> 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 <p> 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.
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<body>
<p>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.</p>
</body>
<p>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.</p>
</body>
<head>SARAJEVO, Bosnia and Herzegovina, April 19</head>
<p>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.</p>
<p>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.</p>
<p>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.</p>
<p>...</p>
<p>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.</p>
<p>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.</p>
<p>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.</p>
<p>...</p>
<p>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>
</p>
<p>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>
</p>
<p>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>
</p>
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>
</p>
<p>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>
</p>
<p>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>
</p>
<p>Hallgerd was outside. <q>There is blood on your axe,</q> she said. <q>What have you
done?</q>
</p>
<p>
<q>I have now arranged that you can be married a second time,</q> replied Thjostolf.
</p>
<p>
<q>Then you must mean that Thorvald is dead,</q> she said.
</p>
<p>
<q>Yes,</q> said Thjostolf. <q>And now you must think up some plan for me.</q>
</p>
done?</q>
</p>
<p>
<q>I have now arranged that you can be married a second time,</q> replied Thjostolf.
</p>
<p>
<q>Then you must mean that Thorvald is dead,</q> she said.
</p>
<p>
<q>Yes,</q> said Thjostolf. <q>And now you must think up some plan for me.</q>
</p>
<div>
<p>C'était à Mégara, faubourg de Carthage, dans les jardins d'Hamilcar.</p>
<p>Les soldats qu'il avait commandés en Sicile se donnaient un grand festin pour célébrer
le jour anniversaire de la bataille d'Eryx, et comme le maître était absent et qu'ils se
trouvaient nombreux, ils mangeaient et ils buvaient en pleine liberté.</p>
</div>
<p>C'était à Mégara, faubourg de Carthage, dans les jardins d'Hamilcar.</p>
<p>Les soldats qu'il avait commandés en Sicile se donnaient un grand festin pour célébrer
le jour anniversaire de la bataille d'Eryx, et comme le maître était absent et qu'ils se
trouvaient nombreux, ils mangeaient et ils buvaient en pleine liberté.</p>
</div>
<p>我抬起頭，他打開了一扇窗戶，探出頭來。<q>先生？</q>
</p>
<p>
<q>你要去哪。葛里葉？</q>
</p>
<p>
<q>去藥劑師那裡，先生。太太要我去，替男孩拿點東西。</q>
</p>
<p>
<q>你能不能也替我拿點東西？</q>
</p>ㄒㄒ
<p>
<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>
</p>
</p>
<p>
<q>你要去哪。葛里葉？</q>
</p>
<p>
<q>去藥劑師那裡，先生。太太要我去，替男孩拿點東西。</q>
</p>
<p>
<q>你能不能也替我拿點東西？</q>
</p>ㄒㄒ
<p>
<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>
</p>
<p>Pendant ce temps-là, dans le bureau du rez- de-chaussée, les secrétaires faisaient du
<foreign xml:lang="en">hulla-hoop</foreign>.</p>
<foreign xml:lang="en">hulla-hoop</foreign>.</p>
<div>
<p>«Mes amis, dit-il, mes amis, je... je... »</p>
<p>Mais quelque chose l'étouffait. Il ne pouvait pas achever sa phrase.</p>
<p> Alors il se tourna vers le tableau, prit un morceau de craie, et, en appuyant de
toutes ses forces, il écrivit aussi gros qu'il put : </p>
<p>
<emph>«vive la France !"»</emph>
</p>
<p> Puis il resta là, la tête appuyée au mur, et, sans parler, avec sa main il nous
faisait signe:</p>
<p>«C'est fini...allez-vous-en.»</p>
</div>
<p>«Mes amis, dit-il, mes amis, je... je... »</p>
<p>Mais quelque chose l'étouffait. Il ne pouvait pas achever sa phrase.</p>
<p> Alors il se tourna vers le tableau, prit un morceau de craie, et, en appuyant de
toutes ses forces, il écrivit aussi gros qu'il put : </p>
<p>
<emph>«vive la France !"»</emph>
</p>
<p> Puis il resta là, la tête appuyée au mur, et, sans parler, avec sa main il nous
faisait signe:</p>
<p>«C'est fini...allez-vous-en.»</p>
</div>
<p> Tu sais quoi ? On l'aurait proposé pour<emph>la médaille</emph> ! </p>
<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>
<p>- Elle fait chier, cette <distinct type="verlan">meuf</distinct>. Tu confonds amour et
<distinct type="argot">piquouse</distinct>. Tu l'auras, ton <distinct type="argot">shoot</distinct>, merde ! </p>
<distinct type="argot">piquouse</distinct>. Tu l'auras, ton <distinct type="argot">shoot</distinct>, merde ! </p>
<p>
<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>
</p>
<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>
</p>
<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>
<p>Miss Brooke had that kind of beauty which seems to be thrown into
relief by poor dress...</p>
</div>
<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>
<p>Miss Brooke had that kind of beauty which seems to be thrown into
relief by poor dress...</p>
</div>
<p> Celia thought privately, <said aloud="false">Dorothea quite despises Sir James Chettam;
I believe she would not accept him.</said> Celia felt that this was a pity.
<!-- ... -->
</p>
I believe she would not accept him.</said> Celia felt that this was a pity.
<!-- ... -->
</p>
<!-- in the header --><editorialDecl>
<quotation marks="none"/>
</editorialDecl>
<!-- ... -->
<p> Tantripp had brought a card, and said that there was a gentleman waiting in the lobby.
The courier had told him that <said direct="false">only Mrs. Casaubon was at home</said>,
but he said <said direct="false">he was a relation of Mr. Casaubon's: would she see him?</said>
</p>
<!-- in the header --><editorialDecl>
<quotation marks="all"/>
</editorialDecl>
<!-- ... -->
<p>
<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>
</p>
<p>Ils l'entendaient murmurer : <said> Morts ! Tous morts ! Vous ne viendrez plus obéissant
à ma voix, quand, assise sur le bord du lac, je vous jetais dans la gueule des pépins de
pastèques ! Le mystère de Tanit roulait au fond de vos yeux, plus limpides que les
globules des fleuves.</said> Et elle les appelait par leurs noms, qui étaient les noms
des mois.<said>Siv ! Sivan ! Tammouz, Eloul, Tischri, Schebar ! Ah ! pitié pour moi,
Déesse ! </said>
</p>
à ma voix, quand, assise sur le bord du lac, je vous jetais dans la gueule des pépins de
pastèques ! Le mystère de Tanit roulait au fond de vos yeux, plus limpides que les
globules des fleuves.</said> Et elle les appelait par leurs noms, qui étaient les noms
des mois.<said>Siv ! Sivan ! Tammouz, Eloul, Tischri, Schebar ! Ah ! pitié pour moi,
Déesse ! </said>
</p>
<p>
<said aloud="true" rend="pre(“) post(”)">On veut donc plaire à sa petite fille ?...
</said>, dit Caroline en mettant sa tête sur l'épaule d'Adolphe, qui la baise au front en
pensant : <said aloud="false">Dieu merci, je la tiens! </said>.
</p>
<said aloud="true" rend="pre(“) post(”)">On veut donc plaire à sa petite fille ?...
</said>, dit Caroline en mettant sa tête sur l'épaule d'Adolphe, qui la baise au front en
pensant : <said aloud="false">Dieu merci, je la tiens! </said>.
</p>
<p>
<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>
</p>
<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>
</p>
<p>
<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>
</p>
<p>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>。</p>
<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>
</p>
<p>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>。</p>
<p>
<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>
</p>
<p>Harry gripped the edges of the stool and thought, <said aloud="false" rend="italic">Not
Slytherin, not Slytherin</said>.</p>
<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>
</p>
<p>Harry gripped the edges of the stool and thought, <said aloud="false" rend="italic">Not
Slytherin, not Slytherin</said>.</p>
<p>Si quelque serrure allait mal, il l'avait bientôt démontée, rafistolée, huilée, limée,
remontée, en disant :<q>ça me connaît</q>.</p>
remontée, en disant :<q>ça me connaît</q>.</p>
<p>Enfin je me rappelai le pis-aller d’une grande princesse à
qui l’on disait que les paysans n’avaient pas de pain, et qui
répondit : <q>Qu’ils mangent de la brioche.</q>
</p>
qui l’on disait que les paysans n’avaient pas de pain, et qui
répondit : <q>Qu’ils mangent de la brioche.</q>
</p>
<p> Mais, après tout, les propos auxquels on mêlait son nom n'étaient que des propos ; du
bruit, des mots, des paroles, moins que des paroles, des<soCalled>palabres</soCalled>,
comme dit l'énergique langue du midi.</p>
bruit, des mots, des paroles, moins que des paroles, des<soCalled>palabres</soCalled>,
comme dit l'énergique langue du midi.</p>
<p>SGANARELLE.</p>
<p>Qui est causée par l'âcreté des <term>humeurs</term> engendrées dans la concavité du
<term>diaphragme</term>, il arrive que ces <term>vapeurs</term>... Ossabandus, nequeys,
nequer, potarinum, quipsa milus. Voilà justement ce qui fait que votre fille est muette.</p>
<p>Qui est causée par l'âcreté des <term>humeurs</term> engendrées dans la concavité du
<term>diaphragme</term>, il arrive que ces <term>vapeurs</term>... Ossabandus, nequeys,
nequer, potarinum, quipsa milus. Voilà justement ce qui fait que votre fille est muette.</p>
<p>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>.</p>
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>.</p>
<p>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>.</p>
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>.</p>
<p>Ainsi lecteur, je suis<choice>
<orig>moy-mesmes</orig>
<reg>moi-même</reg>
</choice> la matière de mon livre : ce n'est pas raison que tu emploies ton loisir en un <choice>
<orig>subject</orig>
<reg>sujet</reg>
</choice>si frivole et si vain.</p>
<orig>moy-mesmes</orig>
<reg>moi-même</reg>
</choice> la matière de mon livre : ce n'est pas raison que tu emploies ton loisir en un <choice>
<orig>subject</orig>
<reg>sujet</reg>
</choice>si frivole et si vain.</p>
<p>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>。</p>
<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>。</p>
3.4.2 Regularization and Normalization
<p>...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</p>
<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</p>
3.4.2 Regularization and Normalization
<p>...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.</p>
<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.</p>
3.4.2 Regularization and Normalization
<p>...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.</p>
<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.</p>
<p>si mes pensées se sont entretenues des occurences <orig>estrangieres</orig> quelque
partie du temps, quelque autre partie je les <orig>rameine</orig> à la promenade, au<orig> vergier</orig>, à la douceur de cette solitude et à moy. </p>
partie du temps, quelque autre partie je les <orig>rameine</orig> à la promenade, au<orig> vergier</orig>, à la douceur de cette solitude et à moy. </p>
3.4.3 Additions, Deletions, and Omissions
<p>... and then <unclear reason="passingTruck">marbled queen</unclear>...</p>
<p>[...] mais il y reste quelque chose de mystérieux, de furtif. <del rend="overtyped">Je</del> On cesse un instant d'y penser; <del rend="overstrike">les </del>mes yeux se
ferment ou <del rend="overstrike">s'attardent sur </del> se détournent sur un livre... On
relève la tête: il est là </p>
ferment ou <del rend="overstrike">s'attardent sur </del> se détournent sur un livre... On
relève la tête: il est là </p>
<div>
<head>Rx</head>
<p>500 mg <unclear reason="illegible">placebo</unclear>
</p>
</div>
<head>Rx</head>
<p>500 mg <unclear reason="illegible">placebo</unclear>
</p>
</div>
<p>
<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>
</p>
<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>
</p>
<p>Collectors of water-rents were appointed by the
<rs type="org">Watering Committee</rs>.
They were paid a commission not exceeding four per
cent, and gave bond.</p>
<rs type="org">Watering Committee</rs>.
They were paid a commission not exceeding four per
cent, and gave bond.</p>
<p>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>
</p>
<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>
</p>
<p>
<q>My dear <rs type="person">Mr. Bennet</rs>
</q>, said
<rs type="person">his lady</rs> to him one day ...
</p>
<q>My dear <rs type="person">Mr. Bennet</rs>
</q>, said
<rs type="person">his lady</rs> to him one day ...
</p>
<p>
<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>
</p>
<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>
</p>
<p>
<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.
</p>
<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.
</p>
<p>
<name key="LHR" type="airport">Heathrow</name>
</p>
<name key="LHR" type="airport">Heathrow</name>
</p>
<p>
<name ref="http://en.wikipedia.org/wiki/Heathrow_airport"
type="airport">Heathrow</name>
</p>
<name ref="http://en.wikipedia.org/wiki/Heathrow_airport"
type="airport">Heathrow</name>
</p>
<p>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</p>
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</p>
<p>
<name ref="tag:projectname.org,2012:VOM1"
type="person">Mme. de Volanges</name> marie <rs ref="tag:theworksoflaclos.org,2012:VOM2">sa fille</rs>: c'est encore un secret;
mais elle m'en a fait part hier.
</p>
<name ref="tag:projectname.org,2012:VOM1"
type="person">Mme. de Volanges</name> marie <rs ref="tag:theworksoflaclos.org,2012:VOM2">sa fille</rs>: c'est encore un secret;
mais elle m'en a fait part hier.
</p>
<p>
<name ref="tag:projectname.org,2012:WADLM1"
type="person">
<choice>
<orig>Walter de la Mare</orig>
<reg>de la Mare, Walter</reg>
</choice>
</name>
was born at <name ref="tag:projectname.org,2012:Ch1"
type="place">Charlton</name>, in
<name ref="tag:projectname.org,2012:KT1"
type="county">Kent</name>, in 1873.
</p>
<name ref="tag:projectname.org,2012:WADLM1"
type="person">
<choice>
<orig>Walter de la Mare</orig>
<reg>de la Mare, Walter</reg>
</choice>
</name>
was born at <name ref="tag:projectname.org,2012:Ch1"
type="place">Charlton</name>, in
<name ref="tag:projectname.org,2012:KT1"
type="county">Kent</name>, in 1873.
</p>
<p>
<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.
</p>
<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.
</p>
<p>La famille s'était alors retirée en banlieue, à <rs type="place">Villemomble</rs>, mais
<rs type="person">Alfred </rs>aimait se rendre à <rs type="place">Paris</rs> et un jour de 1917 alors qu'il sortait de <rs type="place">la maison des
Arts et Métiers</rs> il était tombé inanimé dans la rue.</p>
<rs type="person">Alfred </rs>aimait se rendre à <rs type="place">Paris</rs> et un jour de 1917 alors qu'il sortait de <rs type="place">la maison des
Arts et Métiers</rs> il était tombé inanimé dans la rue.</p>
<p>...the sum of
<measure type="currency">12s 6d</measure>...</p>
<measure type="currency">12s 6d</measure>...</p>
<p>Light travels at <num value="3E10">3×10^10</num>
<unit type="rate" unit="cm/s">
<unit type="space">cm</unit> per <unit type="time">second</unit>
</unit>.</p>
<unit type="rate" unit="cm/s">
<unit type="space">cm</unit> per <unit type="time">second</unit>
</unit>.</p>
<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>Pierre eut <num type="cardinal" value="10">dix</num>ans le jour de mon<num type="ordinal" value="21">vingtième </num> anniversaire.</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>
<p>Light travels at <num value="3E10">3×10^10</num>
<unit type="rate" unit="cm/s">
<unit type="space">cm</unit> per <unit type="time">second</unit>
</unit>.</p>
<unit type="rate" unit="cm/s">
<unit type="space">cm</unit> per <unit type="time">second</unit>
</unit>.</p>
<p>Those five years —
<date from="1918" to="1923">1918 to 1923</date>
— had been, he suspected,
somehow very important.</p>
<date from="1918" to="1923">1918 to 1923</date>
— had been, he suspected,
somehow very important.</p>
<p>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>.</p>
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>.</p>
3.6 Simple Links and Cross-References
<p>...
The complete XPointer specification is managed by the W3C<note place="foot">
<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/"/>
</note>;
for a discussion of TEI schemes for XPointer, see
<ptr target="#eSATS"/>.</p>
<!--... -->
<div xml:id="eSATS">
<!--... -->
</div>
The complete XPointer specification is managed by the W3C<note place="foot">
<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/"/>
</note>;
for a discussion of TEI schemes for XPointer, see
<ptr target="#eSATS"/>.</p>
<!--... -->
<div xml:id="eSATS">
<!--... -->
</div>
3.6 Simple Links and Cross-References
<p>The current version of the TEI Guidelines source code
is available in the TEI GitHub Repository; <ref target="https://github.com/TEIC/TEI/blob/dev/P5/Source/guidelines-en.xml"
mimeType="application/tei+xml">guidelines-en.xml</ref>
is the root document used to create the English version
of these Guidelines.</p>
is available in the TEI GitHub Repository; <ref target="https://github.com/TEIC/TEI/blob/dev/P5/Source/guidelines-en.xml"
mimeType="application/tei+xml">guidelines-en.xml</ref>
is the root document used to create the English version
of these Guidelines.</p>
<div>
<p> Selon des critères qui n'appartiennent qu'à lui, Rémi Plassaert a classé ses buvards
en huit tas respectivement surmontés par :</p>
<list rend="bulleted">
<item>un toréador chantant (dentifrice émail Diamant)</item>
<item>un tapis d'Orient du XVIIe siècle, provenant d'une basilique de Transylvanie
(Kalium-Sedaph, soluté de propionate de potassium)</item>
<item>Le Renard et la Cicogne (sic), gravure de Jean-Baptiste Oudry (Papeteries
Marquaize, Stencyl, Reprographie)</item>
</list>
</div>
<p> Selon des critères qui n'appartiennent qu'à lui, Rémi Plassaert a classé ses buvards
en huit tas respectivement surmontés par :</p>
<list rend="bulleted">
<item>un toréador chantant (dentifrice émail Diamant)</item>
<item>un tapis d'Orient du XVIIe siècle, provenant d'une basilique de Transylvanie
(Kalium-Sedaph, soluté de propionate de potassium)</item>
<item>Le Renard et la Cicogne (sic), gravure de Jean-Baptiste Oudry (Papeteries
Marquaize, Stencyl, Reprographie)</item>
</list>
</div>
<div>
<p> [...] et tout autour, la longue cohorte de ses personnages, avec leur histoire, leur
passé, leurs légendes :</p>
<list rend="numbered">
<item n="1">Pélage vainqueur d'Alkhamah se faisant couronner à Covadonga </item>
<item n="2">La cantatrice exilée de Russie suivant Schönberg à Amsterdam</item>
<item n="3">Le petit chat sourd aux yeux vairons vivant au dernier étage</item>
<item n="4">Le crétin chef d'îlot faisant préparer des tonneaux de sable</item>
</list>
</div>
<p> [...] et tout autour, la longue cohorte de ses personnages, avec leur histoire, leur
passé, leurs légendes :</p>
<list rend="numbered">
<item n="1">Pélage vainqueur d'Alkhamah se faisant couronner à Covadonga </item>
<item n="2">La cantatrice exilée de Russie suivant Schönberg à Amsterdam</item>
<item n="3">Le petit chat sourd aux yeux vairons vivant au dernier étage</item>
<item n="4">Le crétin chef d'îlot faisant préparer des tonneaux de sable</item>
</list>
</div>
<p>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 rend="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>
</p>
<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>
</p>
<p>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 rend="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>
</p>
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 rend="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>
</p>
<p>[...]
<lb/>& n’entrer en mauuais & mal-heu-
<lb/>ré meſnage. Or des que le conſente-
<lb/>ment des parties y eſt le mariage eſt
<lb/> arreſté, quoy que de faict il ne ſoit
<label place="margin">Puiſſance maritale
entre les Romains.</label>
<lb/> conſommé. Depuis la conſomma-
<lb/>tion du mariage la femme eſt ſoubs
<lb/> la puiſſance du mary, s’il n’eſt eſcla-
<lb/>ue ou enfant de famille : car en ce
<lb/> cas, la femme, qui a eſpouſé vn en-
<lb/>fant de famille, eſt ſous la puiſſance
[...]</p>
<lb/>& n’entrer en mauuais & mal-heu-
<lb/>ré meſnage. Or des que le conſente-
<lb/>ment des parties y eſt le mariage eſt
<lb/> arreſté, quoy que de faict il ne ſoit
<label place="margin">Puiſſance maritale
entre les Romains.</label>
<lb/> conſommé. Depuis la conſomma-
<lb/>tion du mariage la femme eſt ſoubs
<lb/> la puiſſance du mary, s’il n’eſt eſcla-
<lb/>ue ou enfant de famille : car en ce
<lb/> cas, la femme, qui a eſpouſé vn en-
<lb/>fant de famille, eſt ſous la puiſſance
[...]</p>
<p>[...]
<lb/>& n’entrer en mauuais & mal-heu-
<lb/>ré meſnage. Or des que le conſente-
<lb/>ment des parties y eſt le mariage eſt
<lb/> arreſté, quoy que de faict il ne ſoit
<label place="margin">Puiſſance maritale
entre les Romains.</label>
<lb/> conſommé. Depuis la conſomma-
<lb/>tion du mariage la femme eſt ſoubs
<lb/> la puiſſance du mary, s’il n’eſt eſcla-
<lb/>ue ou enfant de famille : car en ce
<lb/> cas, la femme, qui a eſpouſé vn en-
<lb/>fant de famille, eſt ſous la puiſſance
[...]</p>
<lb/>& n’entrer en mauuais & mal-heu-
<lb/>ré meſnage. Or des que le conſente-
<lb/>ment des parties y eſt le mariage eſt
<lb/> arreſté, quoy que de faict il ne ſoit
<label place="margin">Puiſſance maritale
entre les Romains.</label>
<lb/> conſommé. Depuis la conſomma-
<lb/>tion du mariage la femme eſt ſoubs
<lb/> la puiſſance du mary, s’il n’eſt eſcla-
<lb/>ue ou enfant de famille : car en ce
<lb/> cas, la femme, qui a eſpouſé vn en-
<lb/>fant de famille, eſt ſous la puiſſance
[...]</p>
<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>
<div2 type="section">
<head>In the name of Christ here begins Book I of the history.</head>
<p>Proposing as I do ...</p>
<p>From the Passion of our Lord until the death of Saint Martin four hundred and twelve
years passed.</p>
<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>In the name of Christ here begins the first book of the ecclesiastical history of
Georgius Florentinus, known as Gregory, Bishop of Tours.</head>
<div2 type="section">
<head>In the name of Christ here begins Book I of the history.</head>
<p>Proposing as I do ...</p>
<p>From the Passion of our Lord until the death of Saint Martin four hundred and twelve
years passed.</p>
<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>
<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>
<div2 type="section">
<head>In the name of Christ here begins Book I of the history.</head>
<p>Proposing as I do ...</p>
<p>From the Passion of our Lord until the death of Saint Martin four hundred and twelve
years passed.</p>
<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>In the name of Christ here begins the first book of the ecclesiastical history of
Georgius Florentinus, known as Gregory, Bishop of Tours.</head>
<div2 type="section">
<head>In the name of Christ here begins Book I of the history.</head>
<p>Proposing as I do ...</p>
<p>From the Passion of our Lord until the death of Saint Martin four hundred and twelve
years passed.</p>
<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>
<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>
<div1 n="I" type="book">
<head>三國演義</head>
<div2 type="section">
<head>第一回 宴桃園豪杰三結義 斬黃巾英雄首立功</head>
<p>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。</p>
<p>話說天下大勢，分久必合，合久必分。周末七國分爭，并入于秦。...</p>
<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>
<head>三國演義</head>
<div2 type="section">
<head>第一回 宴桃園豪杰三結義 斬黃巾英雄首立功</head>
<p>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。</p>
<p>話說天下大勢，分久必合，合久必分。周末七國分爭，并入于秦。...</p>
<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
<p>The students understand procedures for Arabic lemmatisation
<index>
<term>Lemmatization, Arabic</term>
</index>and are beginning to build parsers.</p>
<index>
<term>Lemmatization, Arabic</term>
</index>and are beginning to build parsers.</p>
3.8.2.2 Auto-generated Indexes
<p>We now turn to the
topic of Arabic lemmatisation
<index spanTo="#ALAMEND">
<term>Lemmatization, Arabic</term>
</index> concerning which it is important to note [...]
<!-- much learned material omitted here -->
and now we can build our parser.<anchor xml:id="ALAMEND"/>
</p>
topic of Arabic lemmatisation
<index spanTo="#ALAMEND">
<term>Lemmatization, Arabic</term>
</index> concerning which it is important to note [...]
<!-- much learned material omitted here -->
and now we can build our parser.<anchor xml:id="ALAMEND"/>
</p>
3.8.2.2 Auto-generated Indexes
<p>The @ operator
<index>
<term sortKey="0000">@</term>
</index> precedes an
attribute name</p>
<index>
<term sortKey="0000">@</term>
</index> precedes an
attribute name</p>
3.8.2.2 Auto-generated Indexes
<char xml:id="PrinceGlyph">
<!-- definition of the glyph here -->
</char>
<p>The Artist formerly known as Prince <index>
<term sortKey="Prince">
<g ref="#PrinceGlyph"/>
</term>
</index>...</p>
<!-- definition of the glyph here -->
</char>
<p>The Artist formerly known as Prince <index>
<term sortKey="Prince">
<g ref="#PrinceGlyph"/>
</term>
</index>...</p>
3.8.2.2 Auto-generated Indexes
<p>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...</p>
<index indexName="INDEX-PERSONS">
<term>Ashford, John</term>
</index> was,
coincidentally, born in
<index indexName="INDEX-PLACES">
<term>Ashford
(Kent)</term>
</index>Ashford...</p>
3.8.2.2 Auto-generated Indexes
<p>The students understand procedures for Arabic lemmatisation
<index>
<term>lemmatization</term>
<index>
<term>arabic</term>
</index>
</index>
...</p>
<index>
<term>lemmatization</term>
<index>
<term>arabic</term>
</index>
</index>
...</p>
<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>
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>
3.9 Graphics and Other Non-textual Components
<p>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
...</p>
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
...</p>
<figure>
<graphic url="fig1.png"/>
<head>Figure Une : Jan van Eyck, La Vierge du chancelier Rolin</head>
<p>Si, attiré par la curiosité, on a l'imprudence de l'approcher d'un peu trop prés, c'est fini, on est pris pour tout le temps que peut durer l'effort d'une attention soutenue ; on s'extasie devant la finesse du détail ... il va toujours plus loin, franchit une à une les croupes des collines verdoyantes ; se repose un moment sur une ligne lointaine de montagnes neigeuses; pour se perdre ensuite dans l'infini d'un ciel à peine bleu, où s'estompent de flottantes nuées. </p>
</figure>
<graphic url="fig1.png"/>
<head>Figure Une : Jan van Eyck, La Vierge du chancelier Rolin</head>
<p>Si, attiré par la curiosité, on a l'imprudence de l'approcher d'un peu trop prés, c'est fini, on est pris pour tout le temps que peut durer l'effort d'une attention soutenue ; on s'extasie devant la finesse du détail ... il va toujours plus loin, franchit une à une les croupes des collines verdoyantes ; se repose un moment sur une ligne lointaine de montagnes neigeuses; pour se perdre ensuite dans l'infini d'un ciel à peine bleu, où s'estompent de flottantes nuées. </p>
</figure>
3.10.2.1 Referencing system derived from markup
<text xml:id="Text-1" n="AB">
<front xml:id="Front" n="AB.1">
<div xml:id="Front.div-1" n="AB.1.1">
<p> ... </p>
</div>
<titlePage xml:id="Front.titlePage"
n="AB.1.2">
<titlePart> ... </titlePart>
</titlePage>
<div xml:id="Front.div-2" n="AB.1.3">
<p> ... </p>
</div>
</front>
<body xml:id="Body" n="AB.2">
<p xml:id="Body.p-1" n="AB.2.1"> ... </p>
<p xml:id="Body.p-2" n="AB.2.2"> ... </p>
<div xml:id="Body.div-1" n="AB.2.3">
<head xml:id="Body.div-1.head"
n="AB.2.3.1"> ... </head>
<p xml:id="Body.div-1.p-1" n="AB.2.3.2"> ... </p>
<p xml:id="Body.div-1.p-2" n="AB.2.3.3"> ... </p>
</div>
<div xml:id="Body.div-2" n="AB.2.4">
<head xml:id="Body.div-2.head"
n="AB.2.4.1"> ... </head>
<p xml:id="Body.div-2.p-1" n="AB.2.4.2"> ... </p>
<p xml:id="Body.div-2.p-2" n="AB.2.4.3"> ... </p>
</div>
</body>
</text>
<front xml:id="Front" n="AB.1">
<div xml:id="Front.div-1" n="AB.1.1">
<p> ... </p>
</div>
<titlePage xml:id="Front.titlePage"
n="AB.1.2">
<titlePart> ... </titlePart>
</titlePage>
<div xml:id="Front.div-2" n="AB.1.3">
<p> ... </p>
</div>
</front>
<body xml:id="Body" n="AB.2">
<p xml:id="Body.p-1" n="AB.2.1"> ... </p>
<p xml:id="Body.p-2" n="AB.2.2"> ... </p>
<div xml:id="Body.div-1" n="AB.2.3">
<head xml:id="Body.div-1.head"
n="AB.2.3.1"> ... </head>
<p xml:id="Body.div-1.p-1" n="AB.2.3.2"> ... </p>
<p xml:id="Body.div-1.p-2" n="AB.2.3.3"> ... </p>
</div>
<div xml:id="Body.div-2" n="AB.2.4">
<head xml:id="Body.div-2.head"
n="AB.2.4.1"> ... </head>
<p xml:id="Body.div-2.p-1" n="AB.2.4.2"> ... </p>
<p xml:id="Body.div-2.p-2" n="AB.2.4.3"> ... </p>
</div>
</body>
</text>
<text>
<body>
<milestone unit="part" n="1"/>
<div1 n="1" type="chapter">
<p>
<!-- ... -->
</p>
</div1>
<div1 n="2" type="chapter">
<p>
<!-- ... -->
</p>
</div1>
<div1 n="3" type="chapter">
<p>
<!-- ... -->
</p>
<milestone unit="part" n="2"/>
<p>
<!-- ... -->
</p>
</div1>
</body>
</text>
<body>
<milestone unit="part" n="1"/>
<div1 n="1" type="chapter">
<p>
<!-- ... -->
</p>
</div1>
<div1 n="2" type="chapter">
<p>
<!-- ... -->
</p>
</div1>
<div1 n="3" type="chapter">
<p>
<!-- ... -->
</p>
<milestone unit="part" n="2"/>
<p>
<!-- ... -->
</p>
</div1>
</body>
</text>
<text>
<body>
<div1 n="1" type="part">
<milestone unit="chapter" n="1"/>
<p>
<!-- ... -->
</p>
<milestone unit="chapter" n="2"/>
<p>
<!-- ... -->
</p>
<milestone unit="chapter" n="3"/>
<p>
<!-- ... -->
</p>
</div1>
<div1 n="2" type="part">
<p>
<!-- ... -->
</p>
<milestone unit="chapter" n="4"/>
<p>
<!-- ... -->
</p>
</div1>
</body>
</text>
<body>
<div1 n="1" type="part">
<milestone unit="chapter" n="1"/>
<p>
<!-- ... -->
</p>
<milestone unit="chapter" n="2"/>
<p>
<!-- ... -->
</p>
<milestone unit="chapter" n="3"/>
<p>
<!-- ... -->
</p>
</div1>
<div1 n="2" type="part">
<p>
<!-- ... -->
</p>
<milestone unit="chapter" n="4"/>
<p>
<!-- ... -->
</p>
</div1>
</body>
</text>
<p> ... <pb n="145" ed="ed2"/>
<!-- Page 145 in edition "ed2" starts here --> ... <pb n="283" ed="ed1"/>
<!-- Page 283 in edition "ed1" starts here--> ... </p>
<!-- Page 145 in edition "ed2" starts here --> ... <pb n="283" ed="ed1"/>
<!-- Page 283 in edition "ed1" starts here--> ... </p>
<p> ... <pb n="145" ed="ed2"/>
<!-- Seite 145 in Ausgabe "ed2" beginnt hier --> ... <pb n="283" ed="ed1"/>
<!-- Seite 283 in Ausgabe "ed1" beginnt hier --> ... </p>
<!-- Seite 145 in Ausgabe "ed2" beginnt hier --> ... <pb n="283" ed="ed1"/>
<!-- Seite 283 in Ausgabe "ed1" beginnt hier --> ... </p>
<body>
<pb n="1" facs="page1.png"/>
<!-- page1.png contains an image of the page; the text it contains is encoded here -->
<p>
<!-- ... -->
</p>
<pb n="2" facs="page2.png"/>
<!-- similarly, for page 2 -->
<p>
<!-- ... -->
</p>
</body>
<pb n="1" facs="page1.png"/>
<!-- page1.png contains an image of the page; the text it contains is encoded here -->
<p>
<!-- ... -->
</p>
<pb n="2" facs="page2.png"/>
<!-- similarly, for page 2 -->
<p>
<!-- ... -->
</p>
</body>
<body>
<pb n="1" facs="page1.png"/>
<!-- page1.png enthält eine Abbildung der Seite; der enthaltene Text ist hier kodiert -->
<p>
<!-- ... -->
</p>
<pb n="2" facs="page2.png"/>
<!-- dasselbe gilt für Seite 2 -->
<p>
<!-- ... -->
</p>
</body>
<pb n="1" facs="page1.png"/>
<!-- page1.png enthält eine Abbildung der Seite; der enthaltene Text ist hier kodiert -->
<p>
<!-- ... -->
</p>
<pb n="2" facs="page2.png"/>
<!-- dasselbe gilt für Seite 2 -->
<p>
<!-- ... -->
</p>
</body>
3.10.4 Declaring Reference Systems
<encodingDesc>
<refsDecl>
<cRefPattern matchPattern="([^ ]+) ([0-9]+)\.([0-9]+)\.([0-9]+)"
replacementPattern="#xpath(//div1[@n='$1']/div2[@n='$2']/div3[@n='$3']/l[@n='$4']">
<p>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>
</p>
</cRefPattern>
<cRefPattern matchPattern="([^ ]+) ([0-9]+)\.([0-9]+)"
replacementPattern="#xpath(//div1[@n='$1']/div2[@n='$2']/div3[@n='$3']">
<p>Same as above, but without the last component (full
stop followed by the <gi>l</gi>'s <att>n</att>.</p>
</cRefPattern>
<cRefPattern matchPattern="([^ ]+) ([0-9]+)"
replacementPattern="#xpath(//div1[@n='$1']/div2[@n='$2']">
<p>Same as above, but without the poem component (full
stop followed by the <gi>div3</gi>'s <att>n</att>.</p>
</cRefPattern>
</refsDecl>
</encodingDesc>
<refsDecl>
<cRefPattern matchPattern="([^ ]+) ([0-9]+)\.([0-9]+)\.([0-9]+)"
replacementPattern="#xpath(//div1[@n='$1']/div2[@n='$2']/div3[@n='$3']/l[@n='$4']">
<p>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>
</p>
</cRefPattern>
<cRefPattern matchPattern="([^ ]+) ([0-9]+)\.([0-9]+)"
replacementPattern="#xpath(//div1[@n='$1']/div2[@n='$2']/div3[@n='$3']">
<p>Same as above, but without the last component (full
stop followed by the <gi>l</gi>'s <att>n</att>.</p>
</cRefPattern>
<cRefPattern matchPattern="([^ ]+) ([0-9]+)"
replacementPattern="#xpath(//div1[@n='$1']/div2[@n='$2']">
<p>Same as above, but without the poem component (full
stop followed by the <gi>div3</gi>'s <att>n</att>.</p>
</cRefPattern>
</refsDecl>
</encodingDesc>
3.10.4 Declaring Reference Systems
<refsDecl>
<p>Standard references to work, book, poem, and line may be
constructed from the milestone tags in the text.</p>
</refsDecl>
<p>Standard references to work, book, poem, and line may be
constructed from the milestone tags in the text.</p>
</refsDecl>
3.11.1 Methods of Encoding Bibliographic References and Lists of References
<p>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.</p>
was <bibl>Tufte's <title>Envisioning
Information</title>
</bibl>, although he may
never have actually read it.</p>
3.11.1 Methods of Encoding Bibliographic References and Lists of References
<p>A book which had a great influence on him
was Tufte's <title>Envisioning Information</title>,
although he may never have actually read it.</p>
was Tufte's <title>Envisioning Information</title>,
although he may never have actually read it.</p>
<p>quand il rentre de ses chantiers de maçonnerie il dit rien, il pose son cul sur une
chaise, toujours au même endroit, et il lit <title>l'Humanité.</title>
</p>
chaise, toujours au même endroit, et il lit <title>l'Humanité.</title>
</p>
<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>
<p>...</p>
</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>
<p>...</p>
</div>
<div>
<meeting>Colloque international : Duras, marges et transgressions, Nancy, 1er et 2 avril
2005</meeting>
<list type="attendance">
<head>liste des participants</head>
<item>
<persName>...</persName>
</item>
<item>
<persName>...</persName>
</item>
</list>
<p>...</p>
</div>
<meeting>Colloque international : Duras, marges et transgressions, Nancy, 1er et 2 avril
2005</meeting>
<list type="attendance">
<head>liste des participants</head>
<item>
<persName>...</persName>
</item>
<item>
<persName>...</persName>
</item>
</list>
<p>...</p>
</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>
<p>...</p>
</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>
<p>...</p>
</div>
<div2 n="I.2" type="scene">
<head>Scene 2.</head>
<stage type="setting">Peachum, Filch.</stage>
<sp>
<speaker>FILCH.</speaker>
<p>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.</p>
</sp>
<sp>
<speaker>PEACHUM.</speaker>
<p>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.</p>
</sp>
<sp>
<speaker>FILCH.</speaker>
<p>Tom Gagg, sir, is found guilty.</p>
</sp>
</div2>
<head>Scene 2.</head>
<stage type="setting">Peachum, Filch.</stage>
<sp>
<speaker>FILCH.</speaker>
<p>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.</p>
</sp>
<sp>
<speaker>PEACHUM.</speaker>
<p>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.</p>
</sp>
<sp>
<speaker>FILCH.</speaker>
<p>Tom Gagg, sir, is found guilty.</p>
</sp>
</div2>
<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>
<p>Bote-swaine.</p>
</sp>
<sp>
<speaker>Botes.</speaker>
<p>Heere Master: What cheere?</p>
</sp>
<sp>
<speaker>Mast.</speaker>
<p>Good: Speake to th' Mariners: fall
too't, yarely, or we run our selues a ground,
bestirre, bestirre. <stage type="move">Exit.</stage>
</p>
</sp>
<stage type="move">Enter Mariners.</stage>
<sp>
<speaker>Botes.</speaker>
<p>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.</p>
</sp>
</div2>
</div1>
<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>
<p>Bote-swaine.</p>
</sp>
<sp>
<speaker>Botes.</speaker>
<p>Heere Master: What cheere?</p>
</sp>
<sp>
<speaker>Mast.</speaker>
<p>Good: Speake to th' Mariners: fall
too't, yarely, or we run our selues a ground,
bestirre, bestirre. <stage type="move">Exit.</stage>
</p>
</sp>
<stage type="move">Enter Mariners.</stage>
<sp>
<speaker>Botes.</speaker>
<p>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.</p>
</sp>
</div2>
</div1>
<sp>
<speaker>The reverend Doctor Opimian</speaker>
<p>I do not think I have named a single unpresentable fish.</p>
</sp>
<sp>
<speaker>Mr Gryll</speaker>
<p>Bream, Doctor: there is not much to be said for bream.</p>
</sp>
<sp>
<speaker>The Reverend Doctor Opimian</speaker>
<p>On the contrary, sir, I think there is much to be said for him.
In the first place ...</p>
<p>Fish, Miss Gryll — I could discourse to you on fish by the
hour: but for the present I will forbear ...</p>
</sp>
<speaker>The reverend Doctor Opimian</speaker>
<p>I do not think I have named a single unpresentable fish.</p>
</sp>
<sp>
<speaker>Mr Gryll</speaker>
<p>Bream, Doctor: there is not much to be said for bream.</p>
</sp>
<sp>
<speaker>The Reverend Doctor Opimian</speaker>
<p>On the contrary, sir, I think there is much to be said for him.
In the first place ...</p>
<p>Fish, Miss Gryll — I could discourse to you on fish by the
hour: but for the present I will forbear ...</p>
</sp>
<sp>
<speaker>Lord Curryfin</speaker>
<stage>(after a pause).</stage>
<p>
<q>Mass</q> as the second grave-digger says
in <title>Hamlet</title>, <q>I cannot tell.</q>
</p>
</sp>
<p>A chorus of laughter dissolved the sitting.</p>
<speaker>Lord Curryfin</speaker>
<stage>(after a pause).</stage>
<p>
<q>Mass</q> as the second grave-digger says
in <title>Hamlet</title>, <q>I cannot tell.</q>
</p>
</sp>
<p>A chorus of laughter dissolved the sitting.</p>
<sp>
<speaker>The reverend Doctor Opimian</speaker>
<p>I do not think I have named a single unpresentable fish.</p>
</sp>
<sp>
<speaker>Mr Gryll</speaker>
<p>Bream, Doctor: there is not much to be said for bream.</p>
</sp>
<sp>
<speaker>The Reverend Doctor Opimian</speaker>
<p>On the contrary, sir, I think there is much to be said for him. In the first place [...]</p>
<p>Fish, Miss Gryll — I could discourse to you on fish by the hour: but for the present I
will forbear [...]</p>
</sp>
<speaker>The reverend Doctor Opimian</speaker>
<p>I do not think I have named a single unpresentable fish.</p>
</sp>
<sp>
<speaker>Mr Gryll</speaker>
<p>Bream, Doctor: there is not much to be said for bream.</p>
</sp>
<sp>
<speaker>The Reverend Doctor Opimian</speaker>
<p>On the contrary, sir, I think there is much to be said for him. In the first place [...]</p>
<p>Fish, Miss Gryll — I could discourse to you on fish by the hour: but for the present I
will forbear [...]</p>
</sp>
<sp>
<speaker> Valère.</speaker>
<p>Hé bien ! Sabine, quel conseil me donneras-tu ?</p>
</sp>
<sp>
<speaker> Sabine.</speaker>
<p>Vraiment, il y a bien des nouvelles. Mon oncle veut résolûment que ma cousine épouse
Villebrequin, et les affaires sont tellement avancées, que je crois qu'ils eussent été
mariés dès aujourd'hui, si vous n'étiez aimé ... Le bonhomme ne manquera pas
de faire loger ma cousine à ce pavillon qui est au bout de notre jardin, et par ce moyen
vous pourriez l'entretenir à l'insu de notre vieillard, l'épouser, et le laisser pester
tout son soûl avec Villebrequin.</p>
</sp>
<speaker> Valère.</speaker>
<p>Hé bien ! Sabine, quel conseil me donneras-tu ?</p>
</sp>
<sp>
<speaker> Sabine.</speaker>
<p>Vraiment, il y a bien des nouvelles. Mon oncle veut résolûment que ma cousine épouse
Villebrequin, et les affaires sont tellement avancées, que je crois qu'ils eussent été
mariés dès aujourd'hui, si vous n'étiez aimé ... Le bonhomme ne manquera pas
de faire loger ma cousine à ce pavillon qui est au bout de notre jardin, et par ce moyen
vous pourriez l'entretenir à l'insu de notre vieillard, l'épouser, et le laisser pester
tout son soûl avec Villebrequin.</p>
</sp>
<sp>
<speaker>祝英台</speaker>
<p>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。</p>
</sp>
<sp>
<speaker>梁山伯</speaker>
<p>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…… </p>
</sp>
<sp>
<speaker>祝英台</speaker>
<p>讀書時節我是女扮男裝，理該兄弟相稱，如今不妨改稱兄妹。</p>
</sp>
<speaker>祝英台</speaker>
<p>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。</p>
</sp>
<sp>
<speaker>梁山伯</speaker>
<p>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…… </p>
</sp>
<sp>
<speaker>祝英台</speaker>
<p>讀書時節我是女扮男裝，理該兄弟相稱，如今不妨改稱兄妹。</p>
</sp>
<sp who="#ni #rsa">
<speaker>Nancy and Robert</speaker>
<stage type="delivery">(speaking simultaneously)</stage>
<p>The future? ...</p>
</sp>
<list type="speakers">
<item xml:id="ni"/>
<item xml:id="rsa"/>
</list>
<speaker>Nancy and Robert</speaker>
<stage type="delivery">(speaking simultaneously)</stage>
<p>The future? ...</p>
</sp>
<list type="speakers">
<item xml:id="ni"/>
<item xml:id="rsa"/>
</list>
<sp who="ko">
<speaker>Koch.</speaker>
<p>Ne risquez rien du tout, Monique ; rentrez.</p>
</sp>
<sp who="mo">
<speaker>Monique.</speaker>
<p>Rentrer ? comment voulez-vous que je rentre ? J'ai les clés de la voiture.</p>
</sp>
<sp who="ko">
<speaker>Koch.</speaker>
<p> Je rentrerai par mes propres moyens. </p>
</sp>
<sp who="mo">
<speaker>Monique.</speaker>
<p> Vous ? vos moyens ? quels moyens ? Seigneur ! Vous ne savez même pas conduire, vous ne
savez pas reconnaître votre gauche de votre droite, vous auriez été incapable de
retrouver ce fichu quartier tout seul, vous ne savez absolument rien faire tout seul. Je
me demande bien comment vous pourriez rentrer. </p>
</sp>
<sp who="ko">
<speaker>Koch.</speaker>
<p>J'appellerai un taxi.</p>
</sp>
<list type="speakers">
<item xml:id="fr_mo"/>
<item xml:id="fr_ko"/>
</list>
<speaker>Koch.</speaker>
<p>Ne risquez rien du tout, Monique ; rentrez.</p>
</sp>
<sp who="mo">
<speaker>Monique.</speaker>
<p>Rentrer ? comment voulez-vous que je rentre ? J'ai les clés de la voiture.</p>
</sp>
<sp who="ko">
<speaker>Koch.</speaker>
<p> Je rentrerai par mes propres moyens. </p>
</sp>
<sp who="mo">
<speaker>Monique.</speaker>
<p> Vous ? vos moyens ? quels moyens ? Seigneur ! Vous ne savez même pas conduire, vous ne
savez pas reconnaître votre gauche de votre droite, vous auriez été incapable de
retrouver ce fichu quartier tout seul, vous ne savez absolument rien faire tout seul. Je
me demande bien comment vous pourriez rentrer. </p>
</sp>
<sp who="ko">
<speaker>Koch.</speaker>
<p>J'appellerai un taxi.</p>
</sp>
<list type="speakers">
<item xml:id="fr_mo"/>
<item xml:id="fr_ko"/>
</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>
<p>梁山伯與祝英台，生不成雙死不分，生不成雙死不分。</p>
</sp>
<list type="speakers">
<item xml:id="zh-tw_ni"/>
<item xml:id="zh-tw_rsa"/>
</list>
<speaker>梁山伯與祝英台t</speaker>
<stage type="演講或歌唱">（同時)</stage>
<p>梁山伯與祝英台，生不成雙死不分，生不成雙死不分。</p>
</sp>
<list type="speakers">
<item xml:id="zh-tw_ni"/>
<item xml:id="zh-tw_rsa"/>
</list>
1 The TEI Infrastructure
<p xml:lang="en">The
constitution declares <q>that no bill of attainder or <term xml:lang="la">ex post
facto</term> law shall be passed.</q> ...</p>
constitution declares <q>that no bill of attainder or <term xml:lang="la">ex post
facto</term> law shall be passed.</q> ...</p>
1.3.1.1.3 Rendition Indicators
<p> ... 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:
...</p>
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:
...</p>
1.3.1.1.3 Rendition Indicators
<p> ... Their motives <emph style="font-style: italic">might</emph> be pure and pious; but he was equally alarmed by his knowledge of
the ambitious <name style="font-style: italic">Bohemond</name>, and his ignorance of
the Transalpine chiefs: ...</p>
the ambitious <name style="font-style: italic">Bohemond</name>, and his ignorance of
the Transalpine chiefs: ...</p>
1.3.1.1.3 Rendition Indicators
<tagsDecl>
<!-- define italic style using CSS, selecting it as default for emph and hi elements -->
<rendition xml:id="IT" scheme="css"
selector="emph, hi">font-style: italic;</rendition>
<!-- define a serif font family, selecting it as default for the text element -->
<rendition xml:id="FontRoman" scheme="css"
selector="text">font-family: serif;</rendition>
</tagsDecl>
<!-- ... -->
<text>
<body>
<div>
<p rendition="#IT">
<!-- this paragraph uses the seriffed font, but is in italic-->
</p>
<p>
<!-- this paragraph uses the seriffed font, but is not in italic -->
</p>
</div>
</body>
</text>
<!-- define italic style using CSS, selecting it as default for emph and hi elements -->
<rendition xml:id="IT" scheme="css"
selector="emph, hi">font-style: italic;</rendition>
<!-- define a serif font family, selecting it as default for the text element -->
<rendition xml:id="FontRoman" scheme="css"
selector="text">font-family: serif;</rendition>
</tagsDecl>
<!-- ... -->
<text>
<body>
<div>
<p rendition="#IT">
<!-- this paragraph uses the seriffed font, but is in italic-->
</p>
<p>
<!-- this paragraph uses the seriffed font, but is not in italic -->
</p>
</div>
</body>
</text>
1.3.1.1.4 Sources, certainty, and responsibility
<p>
<!-- ... -->
<quote source="#chicago-15_ed">Grammatical theories
are in flux, and the more we learn, the less we
seem to know.</quote>
<!-- ... -->
</p>
<!-- ... -->
<bibl xml:id="chicago-15_ed">
<title level="m">The Chicago Manual of Style</title>,
<edition>15th edition</edition>.
<pubPlace>Chicago</pubPlace>:
<publisher>University of Chicago Press</publisher>
(<date>2003</date>),
<biblScope unit="page">p.147</biblScope>.
</bibl>
<!-- ... -->
<quote source="#chicago-15_ed">Grammatical theories
are in flux, and the more we learn, the less we
seem to know.</quote>
<!-- ... -->
</p>
<!-- ... -->
<bibl xml:id="chicago-15_ed">
<title level="m">The Chicago Manual of Style</title>,
<edition>15th edition</edition>.
<pubPlace>Chicago</pubPlace>:
<publisher>University of Chicago Press</publisher>
(<date>2003</date>),
<biblScope unit="page">p.147</biblScope>.
</bibl>
1.3.1.1.4 Sources, certainty, and responsibility
<p>
<!-- ... -->
<quote source="http://www.chicagomanualofstyle.org/15/ch05/ch05_sec002.html">Grammatical theories
are in flux, and the more we learn, the less we
seem to know.</quote>
<!-- ... -->
</p>
<!-- ... -->
<quote source="http://www.chicagomanualofstyle.org/15/ch05/ch05_sec002.html">Grammatical theories
are in flux, and the more we learn, the less we
seem to know.</quote>
<!-- ... -->
</p>
<body>
<div xml:base="http://www.example.org/somewhere.xml">
<p>
<!--... -->
<ptr target="elsewhere.xml"/>
<!--... -->
</p>
</div>
<div>
<p>
<!--... -->
<ptr target="elsewhere.xml"/>
<!--... -->
</p>
</div>
</body>
<div xml:base="http://www.example.org/somewhere.xml">
<p>
<!--... -->
<ptr target="elsewhere.xml"/>
<!--... -->
</p>
</div>
<div>
<p>
<!--... -->
<ptr target="elsewhere.xml"/>
<!--... -->
</p>
</div>
</body>
<p>Alhazen died in Cairo on the
<date when="1040-03-06"
when-custom="431-06-12"> 12th day of Jumada t-Tania, 430 AH
</date>.</p>
<p>The current world will end at the
<date when="2012-12-21"
when-custom="13.0.0.0.0">end of B'ak'tun 13</date>.</p>
<p>The Battle of Meggidu
(<date when-custom="Thutmose_III:23">23rd year of reign of Thutmose III</date>).</p>
<p>Esidorus bixit in pace annos LXX plus minus sub
<date when-custom="Ind:4-10-11">die XI mensis Octobris indictione IIII</date>
</p>
<date when="1040-03-06"
when-custom="431-06-12"> 12th day of Jumada t-Tania, 430 AH
</date>.</p>
<p>The current world will end at the
<date when="2012-12-21"
when-custom="13.0.0.0.0">end of B'ak'tun 13</date>.</p>
<p>The Battle of Meggidu
(<date when-custom="Thutmose_III:23">23rd year of reign of Thutmose III</date>).</p>
<p>Esidorus bixit in pace annos LXX plus minus sub
<date when-custom="Ind:4-10-11">die XI mensis Octobris indictione IIII</date>
</p>
<event xml:id="FIRE1"
datingMethod="#julian" from-custom="1666-09-02"
to-custom="1666-09-05">
<head>The Great Fire of London</head>
<p>The Great Fire of London burned through a large part
of the city of London.</p>
</event>
datingMethod="#julian" from-custom="1666-09-02"
to-custom="1666-09-05">
<head>The Great Fire of London</head>
<p>The Great Fire of London burned through a large part
of the city of London.</p>
</event>
<p>
<date when="1945-10-24">24 Oct 45</date>
<date when="1996-09-24T07:25:00Z">September 24th, 1996 at 3:25 in the morning</date>
<time when="1999-01-04T20:42:00-05:00">Jan 4 1999 at 8 pm</time>
<time when="14:12:38">fourteen twelve and 38 seconds</time>
<date when="1962-10">October of 1962</date>
<date when="--06-12">June 12th</date>
<date when="---01">the first of the month</date>
<date when="--08">August</date>
<date when="2006">MMVI</date>
<date when="0056">AD 56</date>
<date when="-0056">56 BC</date>
</p>
<date when="1945-10-24">24 Oct 45</date>
<date when="1996-09-24T07:25:00Z">September 24th, 1996 at 3:25 in the morning</date>
<time when="1999-01-04T20:42:00-05:00">Jan 4 1999 at 8 pm</time>
<time when="14:12:38">fourteen twelve and 38 seconds</time>
<date when="1962-10">October of 1962</date>
<date when="--06-12">June 12th</date>
<date when="---01">the first of the month</date>
<date when="--08">August</date>
<date when="2006">MMVI</date>
<date when="0056">AD 56</date>
<date when="-0056">56 BC</date>
</p>
<p>
<date when="1945-10-24">24 Oct 45</date>
<date when="1996-09-24T07:25:00Z">24 septembre 1996 à 3h 25 du matin</date>
<time when="1999-01-04T20:42:00-05:00">4 janvier 1999 à 8h de l'après-midi.</time>
<time when="14:12:38">14 h 12 minutes et 38 secondes</time>
<date when="1962-10">octobre 1962</date>
<date when="--06-12">12 juin</date>
<date when="---01">premier du mois</date>
<date when="--08">Août</date>
<date when="2006">MMVI</date>
<date when="0056">56 ap. J.-C.</date>
<date when="-0056">56 av. J.-C.</date>
</p>
<date when="1945-10-24">24 Oct 45</date>
<date when="1996-09-24T07:25:00Z">24 septembre 1996 à 3h 25 du matin</date>
<time when="1999-01-04T20:42:00-05:00">4 janvier 1999 à 8h de l'après-midi.</time>
<time when="14:12:38">14 h 12 minutes et 38 secondes</time>
<date when="1962-10">octobre 1962</date>
<date when="--06-12">12 juin</date>
<date when="---01">premier du mois</date>
<date when="--08">Août</date>
<date when="2006">MMVI</date>
<date when="0056">56 ap. J.-C.</date>
<date when="-0056">56 av. J.-C.</date>
</p>
<p>
<!-- ... --> As Willard McCarty (<bibl xml:id="mcc_2012">2012, p.2</bibl>) tells us, <quote source="#mcc_2012">‘Collaboration’ is a problematic and should be a contested
term.</quote>
<!-- ... -->
</p>
<!-- ... --> As Willard McCarty (<bibl xml:id="mcc_2012">2012, p.2</bibl>) tells us, <quote source="#mcc_2012">‘Collaboration’ is a problematic and should be a contested
term.</quote>
<!-- ... -->
</p>
<p>
<!-- ... -->
<quote source="#chicago_15_ed">Grammatical theories are in flux, and the more we learn, the
less we seem to know.</quote>
<!-- ... -->
</p>
<!-- ... -->
<bibl xml:id="chicago_15_ed">
<title level="m">The Chicago Manual of Style</title>,
<edition>15th edition</edition>. <pubPlace>Chicago</pubPlace>: <publisher>University of
Chicago Press</publisher> (<date>2003</date>), <biblScope unit="page">p.147</biblScope>.
</bibl>
<!-- ... -->
<quote source="#chicago_15_ed">Grammatical theories are in flux, and the more we learn, the
less we seem to know.</quote>
<!-- ... -->
</p>
<!-- ... -->
<bibl xml:id="chicago_15_ed">
<title level="m">The Chicago Manual of Style</title>,
<edition>15th edition</edition>. <pubPlace>Chicago</pubPlace>: <publisher>University of
Chicago Press</publisher> (<date>2003</date>), <biblScope unit="page">p.147</biblScope>.
</bibl>
<p> … The consequences of
this rapid depopulation were the loss of the last
<foreign xml:lang="rap">ariki</foreign> or chief
(Routledge 1920:205,210) and their connections to
ancestral territorial organization.</p>
this rapid depopulation were the loss of the last
<foreign xml:lang="rap">ariki</foreign> or chief
(Routledge 1920:205,210) and their connections to
ancestral territorial organization.</p>
<listBibl>
<bibl xml:id="stapledon1937">
<author>Olaf Stapledon</author>,
<title>Starmaker</title>, <publisher>Methuen</publisher>, <date>1937</date>
</bibl>
<bibl xml:id="stapledon1968">
<author>Olaf Stapledon</author>,
<title>Starmaker</title>, <publisher>Dover</publisher>, <date>1968</date>
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<!-- ... -->
<p>Looking into the future aeons from the supreme moment of
the cosmos, I saw the populations still with all their
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still living their personal lives in zest and endless
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preserving, though with increasing difficulty, my lucid
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2 The TEI Header
2.1.1 The TEI Header and Its Components
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<title>Shakespeare: the first folio (1623) in electronic form</title>
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<idno type="OTA">119</idno>
<availability>
<p>Freely available on a non-commercial basis.</p>
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<date when="1968">1968</date>
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<title>Shakespeare: the first folio (1623) in electronic form</title>
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<respStmt>
<resp>Revised and edited by</resp>
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<publicationStmt>
<distributor>Oxford Text Archive</distributor>
<address>
<addrLine>13 Banbury Road, Oxford OX2 6NN, UK</addrLine>
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<idno type="OTA">119</idno>
<availability>
<p>Freely available on a non-commercial basis.</p>
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<date when="1968">1968</date>
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<sourceDesc>
<bibl>The first folio of Shakespeare, prepared by Charlton Hinman (The Norton Facsimile,
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<encodingDesc>
<projectDesc>
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<editorialDecl>
<correction>
<p>Turned letters are silently corrected.</p>
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<normalization>
<p>Original spelling and typography is retained, except that long s and ligatured
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<refsDecl xml:id="ASLREF">
<cRefPattern matchPattern="(\S+) ([^.]+)\.(.*)"
replacementPattern="#xpath(//div1[@n='$1']/div2/[@n='$2']//lb[@n='$3'])">
<p>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>
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<item>a period</item>
<item>the <att>n</att> value of the ancestor <gi>div2</gi>
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<item>a space</item>
<item>the <att>n</att> value of the parent <gi>div1</gi>
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<teiHeader>
<fileDesc>
<titleStmt>
<title>La Parisienne</title>
<author>Henry BECQUE</author>
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<publicationStmt>
<distributor>ATILF (Analyse et Traitement Informatique de la Langue Française)</distributor>
<idno type="FRANTEXT">L434</idno>
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<addrLine>BP 30687</addrLine>
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<availability status="free">
<p>Dans un cadre de recherche ou d'enseignement</p>
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<monogr>
<imprint>
<publisher>Paris : Fasquelle, 1922.</publisher>
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<profileDesc>
<creation>
<date>1885</date>
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<fileDesc>
<titleStmt>
<title>La Parisienne</title>
<author>Henry BECQUE</author>
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<publicationStmt>
<distributor>ATILF (Analyse et Traitement Informatique de la Langue Française)</distributor>
<idno type="FRANTEXT">L434</idno>
<address>
<addrLine>44, avenue de la Libération</addrLine>
<addrLine>BP 30687</addrLine>
<addrLine>54063 Nancy Cedex</addrLine>
<addrLine>FRANCE</addrLine>
</address>
<availability status="free">
<p>Dans un cadre de recherche ou d'enseignement</p>
</availability>
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<sourceDesc>
<biblStruct>
<monogr>
<imprint>
<publisher>Paris : Fasquelle, 1922.</publisher>
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<profileDesc>
<creation>
<date>1885</date>
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<fileDesc>
<titleStmt>
<title>Taisho Tripitaka, Electronic version, No. 251 般若波羅蜜多心經</title>
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<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>
<p>本資料使用限定於非營利性用途，並需附上本標頭資訊。</p>
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<date>1998年12月</date>
</publicationStmt>
<sourceDesc>
<bibl>Taisho Tripitaka Vol. 08, Nr. 251 般若波羅蜜多心經</bibl>
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<encodingDesc>
<projectDesc>
<p>預備格式轉換</p>
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<revisionDesc>
<list>
<item>
<date>19990721/18:35:54</date>CW以CBXML.BAT (99/6/30)轉換成XML</item>
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</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>
<p>本資料使用限定於非營利性用途，並需附上本標頭資訊。</p>
</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>
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</fileDesc>
<encodingDesc>
<projectDesc>
<p>預備格式轉換</p>
</projectDesc>
</encodingDesc>
<revisionDesc>
<list>
<item>
<date>19990721/18:35:54</date>CW以CBXML.BAT (99/6/30)轉換成XML</item>
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</teiHeader>
<teiHeader>
<fileDesc>
<titleStmt>
<title>
<!-- title of the resource -->
</title>
</titleStmt>
<editionStmt>
<p>
<!-- information about the edition of the resource -->
</p>
</editionStmt>
<extent>
<!-- description of the size of the resource -->
</extent>
<publicationStmt>
<p>
<!-- information about the distribution of the resource -->
</p>
</publicationStmt>
<seriesStmt>
<p>
<!-- information about any series to which the resource belongs -->
</p>
</seriesStmt>
<notesStmt>
<note>
<!-- notes on other aspects of the resource -->
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</notesStmt>
<sourceDesc>
<p>
<!-- information about the source from which the resource was derived -->
</p>
</sourceDesc>
</fileDesc>
</teiHeader>
<fileDesc>
<titleStmt>
<title>
<!-- title of the resource -->
</title>
</titleStmt>
<editionStmt>
<p>
<!-- information about the edition of the resource -->
</p>
</editionStmt>
<extent>
<!-- description of the size of the resource -->
</extent>
<publicationStmt>
<p>
<!-- information about the distribution of the resource -->
</p>
</publicationStmt>
<seriesStmt>
<p>
<!-- information about any series to which the resource belongs -->
</p>
</seriesStmt>
<notesStmt>
<note>
<!-- notes on other aspects of the resource -->
</note>
</notesStmt>
<sourceDesc>
<p>
<!-- information about the source from which the resource was derived -->
</p>
</sourceDesc>
</fileDesc>
</teiHeader>
<fileDesc>
<titleStmt>
<title>The shortest possible TEI document</title>
</titleStmt>
<publicationStmt>
<p>Distributed as part of TEI P5</p>
</publicationStmt>
<sourceDesc>
<p>No print source exists: this is an original digital text</p>
</sourceDesc>
</fileDesc>
<titleStmt>
<title>The shortest possible TEI document</title>
</titleStmt>
<publicationStmt>
<p>Distributed as part of TEI P5</p>
</publicationStmt>
<sourceDesc>
<p>No print source exists: this is an original digital text</p>
</sourceDesc>
</fileDesc>
<teiHeader>
<fileDesc>
<titleStmt>
<title>Le document TEI minimal</title>
</titleStmt>
<publicationStmt>
<p>Distribué comme partie de TEI P5</p>
</publicationStmt>
<sourceDesc>
<p>Aucune source : ce document est né numérique</p>
</sourceDesc>
</fileDesc>
</teiHeader>
<fileDesc>
<titleStmt>
<title>Le document TEI minimal</title>
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<publicationStmt>
<p>Distribué comme partie de TEI P5</p>
</publicationStmt>
<sourceDesc>
<p>Aucune source : ce document est né numérique</p>
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<p>Première édition électronique, Nancy, <date> 2002</date>, réalisée dans le cadre de la
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<p>初版<date>1991年，上學期</date>
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<p>初版<date>1991年，上學期</date>
</p>
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<editionStmt>
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<p>First edition, <date>Michaelmas Term, 1991.</date>
</p>
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2.2.4 Publication, Distribution, Licensing, etc.
<publicationStmt>
<publisher>Oxford University Press</publisher>
<pubPlace>Oxford</pubPlace>
<date>1989</date>
<idno type="ISBN">0-19-254705-4</idno>
<availability>
<p>Copyright 1989, Oxford University Press</p>
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<publisher>Oxford University Press</publisher>
<pubPlace>Oxford</pubPlace>
<date>1989</date>
<idno type="ISBN">0-19-254705-4</idno>
<availability>
<p>Copyright 1989, Oxford University Press</p>
</availability>
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2.2.4 Publication, Distribution, Licensing, 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>
<p>Available with prior consent of depositor for
purposes of academic research and teaching only.</p>
</availability>
<date>1994</date>
</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>
<p>Available with prior consent of depositor for
purposes of academic research and teaching only.</p>
</availability>
<date>1994</date>
</publicationStmt>
<publicationStmt>
<distributor>ATILF (Analyse et Traitement Informatique de la Langue Française)</distributor>
<idno type="FRANTEXT">L434</idno>
<address>
<addrLine>44, avenue de la Libération</addrLine>
<addrLine>BP 30687</addrLine>
<addrLine>54063 Nancy Cedex</addrLine>
<addrLine>FRANCE</addrLine>
</address>
<availability status="free">
<p>Dans un cadre de recherche ou d'enseignement</p>
</availability>
</publicationStmt>
<distributor>ATILF (Analyse et Traitement Informatique de la Langue Française)</distributor>
<idno type="FRANTEXT">L434</idno>
<address>
<addrLine>44, avenue de la Libération</addrLine>
<addrLine>BP 30687</addrLine>
<addrLine>54063 Nancy Cedex</addrLine>
<addrLine>FRANCE</addrLine>
</address>
<availability status="free">
<p>Dans un cadre de recherche ou d'enseignement</p>
</availability>
</publicationStmt>
<publicationStmt>
<publisher>大塊文化</publisher>
<pubPlace>台灣：台北</pubPlace>
<availability>
<p>版權所有 翻印必究</p>
</availability>
<date when="1992">1992</date>
</publicationStmt>
<publisher>大塊文化</publisher>
<pubPlace>台灣：台北</pubPlace>
<availability>
<p>版權所有 翻印必究</p>
</availability>
<date when="1992">1992</date>
</publicationStmt>
<publicationStmt>
<publisher>Chadwyck Healey</publisher>
<pubPlace>Cambridge</pubPlace>
<availability>
<p>Available under licence only</p>
</availability>
<date when="1992">1992</date>
</publicationStmt>
<publisher>Chadwyck Healey</publisher>
<pubPlace>Cambridge</pubPlace>
<availability>
<p>Available under licence only</p>
</availability>
<date when="1992">1992</date>
</publicationStmt>
<publicationStmt>
<publisher>Zea Books</publisher>
<pubPlace>Lincoln, NE</pubPlace>
<date>2017</date>
<availability>
<p>This is an open access work licensed under a Creative Commons Attribution 4.0 International license.</p>
</availability>
<ptr target="http://digitalcommons.unl.edu/zeabook/55"/>
</publicationStmt>
<publisher>Zea Books</publisher>
<pubPlace>Lincoln, NE</pubPlace>
<date>2017</date>
<availability>
<p>This is an open access work licensed under a Creative Commons Attribution 4.0 International license.</p>
</availability>
<ptr target="http://digitalcommons.unl.edu/zeabook/55"/>
</publicationStmt>
<availability status="restricted">
<p>Available for academic research purposes only.</p>
</availability>
<availability status="free">
<p>In the public domain</p>
</availability>
<availability status="restricted">
<p>Available under licence from the publishers.</p>
</availability>
<p>Available for academic research purposes only.</p>
</availability>
<availability status="free">
<p>In the public domain</p>
</availability>
<availability status="restricted">
<p>Available under licence from the publishers.</p>
</availability>
<availability status="restricted">
<p>L' ABES a adopté le système Créative Commons pour permettre à tous ceux qui le
souhaitent, de reproduire tout ou partie des rubriques du site de l'ABES sur support
papier ou support électronique.</p>
</availability>
<p>L' ABES a adopté le système Créative Commons pour permettre à tous ceux qui le
souhaitent, de reproduire tout ou partie des rubriques du site de l'ABES sur support
papier ou support électronique.</p>
</availability>
<availability status="restricted">
<p>僅供學術研究使用</p>
</availability>
<availability status="free">
<p>用於公共領域</p>
</availability>
<availability status="restricted">
<p>需徵求出版商授權</p>
</availability>
<p>僅供學術研究使用</p>
</availability>
<availability status="free">
<p>用於公共領域</p>
</availability>
<availability status="restricted">
<p>需徵求出版商授權</p>
</availability>
<availability>
<licence target="http://opensource.org/licenses/MIT">
<p>The MIT License
applies to this document.</p>
<p>Copyright (C) 2011 by The University of Victoria</p>
<p>Permission is hereby granted, free of charge, to any person obtaining a copy
of this software and associated documentation files (the "Software"), to deal
in the Software without restriction, including without limitation the rights
to use, copy, modify, merge, publish, distribute, sublicense, and/or sell
copies of the Software, and to permit persons to whom the Software is
furnished to do so, subject to the following conditions:</p>
<p>The above copyright notice and this permission notice shall be included in
all copies or substantial portions of the Software.</p>
<p>THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR
IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY,
FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE
AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER
LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM,
OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN
THE SOFTWARE.</p>
</licence>
</availability>
<licence target="http://opensource.org/licenses/MIT">
<p>The MIT License
applies to this document.</p>
<p>Copyright (C) 2011 by The University of Victoria</p>
<p>Permission is hereby granted, free of charge, to any person obtaining a copy
of this software and associated documentation files (the "Software"), to deal
in the Software without restriction, including without limitation the rights
to use, copy, modify, merge, publish, distribute, sublicense, and/or sell
copies of the Software, and to permit persons to whom the Software is
furnished to do so, subject to the following conditions:</p>
<p>The above copyright notice and this permission notice shall be included in
all copies or substantial portions of the Software.</p>
<p>THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR
IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY,
FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE
AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER
LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM,
OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN
THE SOFTWARE.</p>
</licence>
</availability>
<availability>
<licence target="http://creativecommons.org/licenses/by/3.0/"
notBefore="2013-01-01">
<p>The Creative Commons Attribution 3.0 Unported (CC BY 3.0) Licence
applies to this document.</p>
<p>The licence was added on January 1, 2013.</p>
</licence>
</availability>
<licence target="http://creativecommons.org/licenses/by/3.0/"
notBefore="2013-01-01">
<p>The Creative Commons Attribution 3.0 Unported (CC BY 3.0) Licence
applies to this document.</p>
<p>The licence was added on January 1, 2013.</p>
</licence>
</availability>
<sourceDesc>
<p>Born digital.</p>
</sourceDesc>
<p>Born digital.</p>
</sourceDesc>
<sourceDesc>
<p>Texte original : le texte a été créé sous sa forme électronique.</p>
</sourceDesc>
<p>Texte original : le texte a été créé sous sa forme électronique.</p>
</sourceDesc>
<sourceDesc>
<p>無來源：以電腦可讀格式建立</p>
</sourceDesc>
<p>無來源：以電腦可讀格式建立</p>
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<sourceDesc>
<p>Born digital: no previous source exists.</p>
</sourceDesc>
<p>Born digital: no previous source exists.</p>
</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>
<p>No source: this is an original work</p>
</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>
<p>No source: this is an original work</p>
</sourceDesc>
</biblFull>
<biblFull>
<titleStmt>
<title>Hydraulique fluviale. Tome 16, Écoulement et phénomènes de transport dans les
canaux à géométrie simple </title>
<editor> Mustafa Siddik Altinakar</editor>
<editor> René Walther</editor>
</titleStmt>
<editionStmt>
<edition>2e édition corrigée</edition>
</editionStmt>
<extent>627 p.</extent>
<publicationStmt>
<publisher>Presses polytechniques et universitaires romandes</publisher>
<pubPlace>Lausanne</pubPlace>
<date>2008</date>
</publicationStmt>
<sourceDesc>
<p>Pas de source : il s'agit d'un document original</p>
</sourceDesc>
</biblFull>
<titleStmt>
<title>Hydraulique fluviale. Tome 16, Écoulement et phénomènes de transport dans les
canaux à géométrie simple </title>
<editor> Mustafa Siddik Altinakar</editor>
<editor> René Walther</editor>
</titleStmt>
<editionStmt>
<edition>2e édition corrigée</edition>
</editionStmt>
<extent>627 p.</extent>
<publicationStmt>
<publisher>Presses polytechniques et universitaires romandes</publisher>
<pubPlace>Lausanne</pubPlace>
<date>2008</date>
</publicationStmt>
<sourceDesc>
<p>Pas de source : il s'agit d'un document original</p>
</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>
<p>譯自 Errata: An Examined Life (1997)</p>
</sourceDesc>
</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>
<p>譯自 Errata: An Examined Life (1997)</p>
</sourceDesc>
</biblFull>
<encodingDesc>
<p>Basic encoding, capturing lexical information only. All
hyphenation, punctuation, and variant spellings normalized. No
formatting or layout information preserved.</p>
</encodingDesc>
<p>Basic encoding, capturing lexical information only. All
hyphenation, punctuation, and variant spellings normalized. No
formatting or layout information preserved.</p>
</encodingDesc>
<encodingDesc>
<projectDesc>
<p>Corpus de
textes sélectionnés pour la formation MISAT, Frejus,
juillet 2010.
</p>
</projectDesc>
<samplingDecl>
<p>Corpus
d'échantillons de 2000 mots pris au début de chaque texte. </p>
</samplingDecl>
</encodingDesc>
<projectDesc>
<p>Corpus de
textes sélectionnés pour la formation MISAT, Frejus,
juillet 2010.
</p>
</projectDesc>
<samplingDecl>
<p>Corpus
d'échantillons de 2000 mots pris au début de chaque texte. </p>
</samplingDecl>
</encodingDesc>
<encodingDesc>
<projectDesc>
<p>Texts collected for use in the
Claremont Shakespeare Clinic, June 1990.</p>
</projectDesc>
</encodingDesc>
<projectDesc>
<p>Texts collected for use in the
Claremont Shakespeare Clinic, June 1990.</p>
</projectDesc>
</encodingDesc>
<projectDesc>
<p>Texts collected for use in the Claremont Shakespeare Clinic, June 1990</p>
</projectDesc>
<p>Texts collected for use in the Claremont Shakespeare Clinic, June 1990</p>
</projectDesc>
<projectDesc>
<p>La saisie a été effectuée par notre partenaire Datactivity. Le texte saisi a été
ensuite converti et remis en forme selon les normes du format XML, standard d’échange ou
d’affichage de documents permettant de séparer la forme et le contenu et offrant une
déclinaison d’outils qui donnent la possibilité d’exploiter un texte comme une véritable
base de données. La norme adoptée (DTD) est le TEI (Text Encoding Initiative). </p>
<p> Affichage et manipulation du texte (mise au format, filtrage, réorganisation) se font
sur un serveur Apache à l'aide de l'infrastructure Axkit.</p>
<p> Le moteur logiciel du site a été développé en Xpathscript et s'appuie sur les travaux
de Dominique Quatravaux (Alliance Francophone Pour l'Avancement d'XPathScript) et de
Yanick Champoux (support de Libxml via YPathScript).</p>
<p>Les programmes développés pour le site sont mis à la disposition en open-source sur
demande (contacter Alexandre Gefen). </p>
<p>Les fonctions de recherche plein texte sont fournies par Philologic dans le cadre du
partenariat du projet avec ARTFL.</p>
<p>L’architecture de travail, sous Linux, est destinée à garantir une haute disponibilité
et des performances optimales. La liaison avec Internet est assurée par les services
informatiques de l’Université de Neuchâtel (SITEL).</p>
</projectDesc>
<p>La saisie a été effectuée par notre partenaire Datactivity. Le texte saisi a été
ensuite converti et remis en forme selon les normes du format XML, standard d’échange ou
d’affichage de documents permettant de séparer la forme et le contenu et offrant une
déclinaison d’outils qui donnent la possibilité d’exploiter un texte comme une véritable
base de données. La norme adoptée (DTD) est le TEI (Text Encoding Initiative). </p>
<p> Affichage et manipulation du texte (mise au format, filtrage, réorganisation) se font
sur un serveur Apache à l'aide de l'infrastructure Axkit.</p>
<p> Le moteur logiciel du site a été développé en Xpathscript et s'appuie sur les travaux
de Dominique Quatravaux (Alliance Francophone Pour l'Avancement d'XPathScript) et de
Yanick Champoux (support de Libxml via YPathScript).</p>
<p>Les programmes développés pour le site sont mis à la disposition en open-source sur
demande (contacter Alexandre Gefen). </p>
<p>Les fonctions de recherche plein texte sont fournies par Philologic dans le cadre du
partenariat du projet avec ARTFL.</p>
<p>L’architecture de travail, sous Linux, est destinée à garantir une haute disponibilité
et des performances optimales. La liaison avec Internet est assurée par les services
informatiques de l’Université de Neuchâtel (SITEL).</p>
</projectDesc>
<projectDesc>
<p>文件收集於1990年7月，杭州杜甫詩作研討會使用</p>
</projectDesc>
<p>文件收集於1990年7月，杭州杜甫詩作研討會使用</p>
</projectDesc>
2.3.2 The Sampling Declaration
<samplingDecl>
<p>Samples of 2000 words taken from the beginning of the text.</p>
</samplingDecl>
<p>Samples of 2000 words taken from the beginning of the text.</p>
</samplingDecl>
2.3.2 The Sampling Declaration
<samplingDecl>
<p>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.</p>
</samplingDecl>
<p>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.</p>
</samplingDecl>
<samplingDecl>
<p>Samples of up to 2000 words taken at random from the beginning, middle, or end of each
text identified as relevant by respondents.</p>
</samplingDecl>
<p>Samples of up to 2000 words taken at random from the beginning, middle, or end of each
text identified as relevant by respondents.</p>
</samplingDecl>
<samplingDecl>
<p>Corpus
d'échantillons de 2000 mots pris au début de chaque texte. </p>
</samplingDecl>
<p>Corpus
d'échantillons de 2000 mots pris au début de chaque texte. </p>
</samplingDecl>
2.3.3 The Editorial Practices Declaration
<editorialDecl>
<segmentation>
<p>
<gi>s</gi> elements mark orthographic sentences and
are numbered sequentially
within their parent <gi>div</gi> element
</p>
</segmentation>
<interpretation>
<p>The part of speech analysis applied throughout section 4 was
added by hand and has not been checked.</p>
</interpretation>
<correction>
<p>Errors in transcription controlled by using the
WordPerfect spelling checker.</p>
</correction>
<normalization source="http://szotar.sztaki.hu/webster/">
<p>All words converted to Modern American spelling following
Websters 9th Collegiate dictionary.</p>
</normalization>
<quotation marks="all">
<p>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>.</p>
</quotation>
</editorialDecl>
<segmentation>
<p>
<gi>s</gi> elements mark orthographic sentences and
are numbered sequentially
within their parent <gi>div</gi> element
</p>
</segmentation>
<interpretation>
<p>The part of speech analysis applied throughout section 4 was
added by hand and has not been checked.</p>
</interpretation>
<correction>
<p>Errors in transcription controlled by using the
WordPerfect spelling checker.</p>
</correction>
<normalization source="http://szotar.sztaki.hu/webster/">
<p>All words converted to Modern American spelling following
Websters 9th Collegiate dictionary.</p>
</normalization>
<quotation marks="all">
<p>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>.</p>
</quotation>
</editorialDecl>
<editorialDecl>
<normalization>
<p>All words converted to Modern American spelling using
Websters 9th Collegiate dictionary
</p>
</normalization>
<quotation marks="all">
<p>All opening quotation marks converted to “ all closing
quotation marks converted to &cdq;.</p>
</quotation>
</editorialDecl>
<normalization>
<p>All words converted to Modern American spelling using
Websters 9th Collegiate dictionary
</p>
</normalization>
<quotation marks="all">
<p>All opening quotation marks converted to “ all closing
quotation marks converted to &cdq;.</p>
</quotation>
</editorialDecl>
<editorialDecl>
<normalization>
<p>Certains mots coupés par accident typographique en fin de ligne ont été réassemblés
sans commentaire.</p>
</normalization>
<quotation marks="all">
<p>Les "guillements français" ont été remplacée par des "guillemets droits" (sans
symétrie)</p>
</quotation>
</editorialDecl>
<normalization>
<p>Certains mots coupés par accident typographique en fin de ligne ont été réassemblés
sans commentaire.</p>
</normalization>
<quotation marks="all">
<p>Les "guillements français" ont été remplacée par des "guillemets droits" (sans
symétrie)</p>
</quotation>
</editorialDecl>
<editorialDecl>
<normalization>
<p> 所有字皆轉換為源自Websters 9th Collegiate字典的現代美語拼法</p>
</normalization>
<quotation marks="all">
<p>所有的前括號都改成" 後括號都改成 "</p>
</quotation>
</editorialDecl>
<normalization>
<p> 所有字皆轉換為源自Websters 9th Collegiate字典的現代美語拼法</p>
</normalization>
<quotation marks="all">
<p>所有的前括號都改成" 後括號都改成 "</p>
</quotation>
</editorialDecl>
<correction>
<p>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.</p>
</correction>
<p>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.</p>
</correction>
<correction>
<p>Les erreurs de transcriptions ont été détectées et corrigées à l'aide du correcteur
Cordial 2006 - Synapse</p>
</correction>
<p>Les erreurs de transcriptions ont été détectées et corrigées à l'aide du correcteur
Cordial 2006 - Synapse</p>
</correction>
<correction>
<p>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。</p>
</correction>
<p>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。</p>
</correction>
<editorialDecl>
<normalization method="markup">
<p>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. ... </p>
</normalization>
<normalization method="silent">
<p>Spacing between words and following punctuation has been regularized to zero spaces;
spacing between words has been regularized to one space.</p>
</normalization>
<normalization source="http://www.dict.sztaki.hu/webster">
<p>Spelling converted throughout to Modern American usage, based on Websters 9th
Collegiate dictionary.</p>
</normalization>
</editorialDecl>
<normalization method="markup">
<p>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. ... </p>
</normalization>
<normalization method="silent">
<p>Spacing between words and following punctuation has been regularized to zero spaces;
spacing between words has been regularized to one space.</p>
</normalization>
<normalization source="http://www.dict.sztaki.hu/webster">
<p>Spelling converted throughout to Modern American usage, based on Websters 9th
Collegiate dictionary.</p>
</normalization>
</editorialDecl>
<editorialDecl>
<normalization method="markup">
<p>Là où les majuscules et les minuscules i, j, u, v et vv ont été normalisées selon la
pratique typographique moderne, l'élément<gi> choice</gi> a été employé en association
avec <gi>orig</gi> et <gi>reg</gi>pour fournir à la fois les formes originales et les
formes nouvelles , respectivement ... </p>
</normalization>
<normalization method="silent">
<p> L'espace entre chaque mot a été régularisé à un espace. Un signe de ponctuation
simple est suivi d'un espace, un signe de ponctuation double est précédé et suivi d'un
espace.</p>
</normalization>
<normalization source="http://www.academie-francaise.fr/langue/orthographe/plan.html">
<p>Normalisation effectuée selon le Rapport Du Conseil Supérieur De La Langue Française
publié dans les documents administratifs du Journal officiel du 6 décembre 1990</p>
</normalization>
</editorialDecl>
<normalization method="markup">
<p>Là où les majuscules et les minuscules i, j, u, v et vv ont été normalisées selon la
pratique typographique moderne, l'élément<gi> choice</gi> a été employé en association
avec <gi>orig</gi> et <gi>reg</gi>pour fournir à la fois les formes originales et les
formes nouvelles , respectivement ... </p>
</normalization>
<normalization method="silent">
<p> L'espace entre chaque mot a été régularisé à un espace. Un signe de ponctuation
simple est suivi d'un espace, un signe de ponctuation double est précédé et suivi d'un
espace.</p>
</normalization>
<normalization source="http://www.academie-francaise.fr/langue/orthographe/plan.html">
<p>Normalisation effectuée selon le Rapport Du Conseil Supérieur De La Langue Française
publié dans les documents administratifs du Journal officiel du 6 décembre 1990</p>
</normalization>
</editorialDecl>
<editorialDecl>
<normalization method="markup">
<p>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。… </p>
</normalization>
<normalization method="silent">
<p>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。</p>
</normalization>
<normalization source="http://www.dict.sztaki.hu/webster">
<p>拼字源於Websters 9th Collegiate字典的現代美語用法</p>
</normalization>
</editorialDecl>
<normalization method="markup">
<p>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。… </p>
</normalization>
<normalization method="silent">
<p>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。</p>
</normalization>
<normalization source="http://www.dict.sztaki.hu/webster">
<p>拼字源於Websters 9th Collegiate字典的現代美語用法</p>
</normalization>
</editorialDecl>
<quotation marks="none">
<p>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>
</p>
</quotation>
<p>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>
</p>
</quotation>
<quotation marks="none">
<p>Aucun guillemet n'a été conservé. Au lieu de cela, on a utilisé l'attribut
<att>rend</att> pour l'élément <gi>q</gi> afin de spécifier quel type de guillemet a été
utilisé, selon la liste suivante : <list type="gloss">
<label>ga</label>
<item>guillemet allemand</item>
<label>gd</label>
<item>guillemet anglais ou guillemet dactylographique </item>
<label>gf</label>
<item>guillemet français</item>
</list>
</p>
</quotation>
<p>Aucun guillemet n'a été conservé. Au lieu de cela, on a utilisé l'attribut
<att>rend</att> pour l'élément <gi>q</gi> afin de spécifier quel type de guillemet a été
utilisé, selon la liste suivante : <list type="gloss">
<label>ga</label>
<item>guillemet allemand</item>
<label>gd</label>
<item>guillemet anglais ou guillemet dactylographique </item>
<label>gf</label>
<item>guillemet français</item>
</list>
</p>
</quotation>
<quotation marks="all">
<p>Tous les guillemets sont maintenus dans le texte et sont représentés par les caractères
Unicode appropriés.</p>
</quotation>
<p>Tous les guillemets sont maintenus dans le texte et sont représentés par les caractères
Unicode appropriés.</p>
</quotation>
<quotation marks="none">
<p>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>
</p>
</quotation>
<p>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>
</p>
</quotation>
<quotation marks="all">
<p>保留所有引號，以合適的Unicode字形表示。</p>
</quotation>
<p>保留所有引號，以合適的Unicode字形表示。</p>
</quotation>
<quotation marks="all">
<p>All quotation marks are retained in the text and are represented by appropriate Unicode
characters.</p>
</quotation>
<p>All quotation marks are retained in the text and are represented by appropriate Unicode
characters.</p>
</quotation>
<hyphenation eol="some">
<p>End-of-line hyphenation silently removed where appropriate</p>
</hyphenation>
<p>End-of-line hyphenation silently removed where appropriate</p>
</hyphenation>
<hyphenation eol="some">
<p>Le cas échéant, suppression du tiret de coupure de mot en de fin de ligne.</p>
</hyphenation>
<p>Le cas échéant, suppression du tiret de coupure de mot en de fin de ligne.</p>
</hyphenation>
<hyphenation eol="some">
<p>行末連字符號，必要時可以移除。</p>
</hyphenation>
<p>行末連字符號，必要時可以移除。</p>
</hyphenation>
<segmentation>
<p>
<gi>s</gi> elements mark orthographic sentences and are numbered sequentially within
their parent <gi>div</gi> element </p>
</segmentation>
<p>
<gi>s</gi> elements mark orthographic sentences and are numbered sequentially within
their parent <gi>div</gi> element </p>
</segmentation>
<p>
<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>
</p>
<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>
</p>
<stdVals>
<p>All integer numbers are left-filled with zeroes to 8 digits.</p>
</stdVals>
<p>All integer numbers are left-filled with zeroes to 8 digits.</p>
</stdVals>
<stdVals>
<p>Les nombres entiers sont précédés de 0 à 8 chiffres.</p>
</stdVals>
<p>Les nombres entiers sont précédés de 0 à 8 chiffres.</p>
</stdVals>
<stdVals>
<p>所有數字四捨五入至小數點第二位</p>
</stdVals>
<p>所有數字四捨五入至小數點第二位</p>
</stdVals>
<interpretation>
<p>The part of speech analysis applied throughout section 4 was added by hand and has not
been checked</p>
</interpretation>
<p>The part of speech analysis applied throughout section 4 was added by hand and has not
been checked</p>
</interpretation>
<interpretation>
<p>La partie concernant l'analyse de discours qui a été appliquée partout dans la section
4 a été ajoutée à la main et n'a pas été vérifiée.</p>
</interpretation>
<p>La partie concernant l'analyse de discours qui a été appliquée partout dans la section
4 a été ajoutée à la main et n'a pas été vérifiée.</p>
</interpretation>
<interpretation>
<p>第四節部份言說分析是手寫加上去的，尚未檢查。</p>
</interpretation>
<p>第四節部份言說分析是手寫加上去的，尚未檢查。</p>
</interpretation>
<punctuation marks="all"
placement="internal">
<p>All punctuation marks in the source text have been retained and represented using the
appropriate Unicode code point. In cases where a punctuation mark and nearby markup convey
the same information (for example, a sentence ends with a question mark and is also tagged
as <gi>s</gi>) the punctuation mark is captured as content within the element.</p>
</punctuation>
placement="internal">
<p>All punctuation marks in the source text have been retained and represented using the
appropriate Unicode code point. In cases where a punctuation mark and nearby markup convey
the same information (for example, a sentence ends with a question mark and is also tagged
as <gi>s</gi>) the punctuation mark is captured as content within the element.</p>
</punctuation>
<p>I would agree with Saint Augustine that “<quote>An unjust law is no law at all</quote>.”</p>
<p>I would agree with Saint Augustine that <quote>“An unjust law is no law at all.”</quote>
</p>
</p>
<refsDecl>
<p>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.</p>
<p>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.</p>
</refsDecl>
<p>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.</p>
<p>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.</p>
</refsDecl>
<refsDecl xml:id="fr_ASLREF">
<cRefPattern matchPattern="(\S+) ([^.]+)\.(.*)"
replacementPattern="#fr_xpath(//div1[@n='$1']/div2/[@n='$2']//lb[@n='$3'])">
<p>Une référence a été créée en assemblant les éléments suivants dans l'ordre inverse de
la liste qui suit : <list>
<item>la valeur <att>n</att> du précédent <gi>lb</gi>
</item>
<item>une période</item>
<item>la valeur <att>n</att> de l'ancêtre <gi>div2</gi>
</item>
<item>un espace</item>
<item>la valeur<att>n</att> du parent <gi>div1</gi>
</item>
</list>
</p>
</cRefPattern>
</refsDecl>
<cRefPattern matchPattern="(\S+) ([^.]+)\.(.*)"
replacementPattern="#fr_xpath(//div1[@n='$1']/div2/[@n='$2']//lb[@n='$3'])">
<p>Une référence a été créée en assemblant les éléments suivants dans l'ordre inverse de
la liste qui suit : <list>
<item>la valeur <att>n</att> du précédent <gi>lb</gi>
</item>
<item>une période</item>
<item>la valeur <att>n</att> de l'ancêtre <gi>div2</gi>
</item>
<item>un espace</item>
<item>la valeur<att>n</att> du parent <gi>div1</gi>
</item>
</list>
</p>
</cRefPattern>
</refsDecl>
<refsDecl>
<p>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。</p>
</refsDecl>
<p>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。</p>
</refsDecl>
<refsDecl>
<p>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>.</p>
</refsDecl>
<p>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>.</p>
</refsDecl>
<prefixDef ident="ref"
matchPattern="([a-z]+)"
replacementPattern="../../references/references.xml#$1">
<p> In the context of this project, private URIs with
the prefix "ref" point to <gi>div</gi> elements in
the project's global references.xml file.
</p>
</prefixDef>
matchPattern="([a-z]+)"
replacementPattern="../../references/references.xml#$1">
<p> In the context of this project, private URIs with
the prefix "ref" point to <gi>div</gi> elements in
the project's global references.xml file.
</p>
</prefixDef>
<listPrefixDef>
<prefixDef ident="psn"
matchPattern="([A-Z]+)"
replacementPattern="personography.xml#$1">
<p> Private URIs using the <code>psn</code>
prefix are pointers to <gi>person</gi>
elements in the personography.xml file.
For example, <code>psn:MDH</code>
dereferences to <code>personography.xml#MDH</code>.
</p>
</prefixDef>
<prefixDef ident="bibl"
matchPattern="([a-z]+[a-z0-9]*)"
replacementPattern="http://www.example.com/getBibl.xql?id=$1">
<p> Private URIs using the <code>bibl</code> prefix can be
expanded to form URIs which retrieve the relevant
bibliographical reference from www.example.com.
</p>
</prefixDef>
</listPrefixDef>
<prefixDef ident="psn"
matchPattern="([A-Z]+)"
replacementPattern="personography.xml#$1">
<p> Private URIs using the <code>psn</code>
prefix are pointers to <gi>person</gi>
elements in the personography.xml file.
For example, <code>psn:MDH</code>
dereferences to <code>personography.xml#MDH</code>.
</p>
</prefixDef>
<prefixDef ident="bibl"
matchPattern="([a-z]+[a-z0-9]*)"
replacementPattern="http://www.example.com/getBibl.xql?id=$1">
<p> Private URIs using the <code>bibl</code> prefix can be
expanded to form URIs which retrieve the relevant
bibliographical reference from www.example.com.
</p>
</prefixDef>
</listPrefixDef>
<handNote scope="sole">
<p>Written in insular
phase II half-uncial with interlinear Old English gloss in an Anglo-Saxon pointed
minuscule.</p>
</handNote>
<p>Written in insular
phase II half-uncial with interlinear Old English gloss in an Anglo-Saxon pointed
minuscule.</p>
</handNote>
<handNote scope="sole">
<p>以類似小篆字體書寫，行間有以隸書寫成的古文字。</p>
</handNote>
<p>以類似小篆字體書寫，行間有以隸書寫成的古文字。</p>
</handNote>
<profileDesc>
<abstract resp="#LB">
<p>Good database design involves the acquisition and deployment of
skills which have a wider relevance to the educational process. From
a set of more or less instinctive rules of thumb a formal discipline
or "methodology" of database design has evolved. Applying that
methodology can be of great benefit to a very wide range of academic
subjects: it requires fundamental skills of abstraction and
generalisation and it provides a simple mechanism whereby complex
ideas and information structures can be represented and manipulated,
even without the use of a computer. </p>
</abstract>
</profileDesc>
<abstract resp="#LB">
<p>Good database design involves the acquisition and deployment of
skills which have a wider relevance to the educational process. From
a set of more or less instinctive rules of thumb a formal discipline
or "methodology" of database design has evolved. Applying that
methodology can be of great benefit to a very wide range of academic
subjects: it requires fundamental skills of abstraction and
generalisation and it provides a simple mechanism whereby complex
ideas and information structures can be represented and manipulated,
even without the use of a computer. </p>
</abstract>
</profileDesc>
<profileDesc>
<abstract>
<p>This paper is a draft studying
various aspects of using the TEI
as a reference serialization framework
for LMF. Comments are welcome to bring
this to a useful document for the
community.
</p>
</abstract>
</profileDesc>
<abstract>
<p>This paper is a draft studying
various aspects of using the TEI
as a reference serialization framework
for LMF. Comments are welcome to bring
this to a useful document for the
community.
</p>
</abstract>
</profileDesc>
<profileDesc>
<abstract xml:lang="en">
<p>The recent archaeological emphasis
on the study of settlement patterns,
landscape and palaeoenvironments has
shaped and re-shaped our understanding
of the Viking settlement of Iceland.
This paper reviews the developments
in Icelandic archaeology, examining
both theoretical and practical advances.
Particular attention is paid to new
ideas in terms of settlement patterns
and resource exploitation. Finally,
some of the key studies of the ecological
consequences of the Norse
<foreign xml:lang="is">landnám</foreign>
are presented. </p>
</abstract>
<abstract xml:lang="fr">
<p>L’accent récent des
recherches archéologiques sur l’étude des
configurations spatiales des colonies, de la
géographie des sites ainsi que des éléments
paléo-environnementaux nous mène à réexaminer
et réévaluer nos connaissances acquises sur
la colonisation de l’Islande par les Vikings.
Cet article passe en revue le développement
de l’archéologie islandaise en examinant les
progrès théoriques et pratiques en la matière.
Une attention particulière est portée sur
l’étude des configurations spatiales des
colonies ainsi qu’une considération des
questions d’exploitation des ressources.
Finalement, l’article présente un aperçu des
études principales qui traitent des
conséquences écologiques du
<foreign xml:lang="is">landnám</foreign>
islandais.</p>
</abstract>
</profileDesc>
<abstract xml:lang="en">
<p>The recent archaeological emphasis
on the study of settlement patterns,
landscape and palaeoenvironments has
shaped and re-shaped our understanding
of the Viking settlement of Iceland.
This paper reviews the developments
in Icelandic archaeology, examining
both theoretical and practical advances.
Particular attention is paid to new
ideas in terms of settlement patterns
and resource exploitation. Finally,
some of the key studies of the ecological
consequences of the Norse
<foreign xml:lang="is">landnám</foreign>
are presented. </p>
</abstract>
<abstract xml:lang="fr">
<p>L’accent récent des
recherches archéologiques sur l’étude des
configurations spatiales des colonies, de la
géographie des sites ainsi que des éléments
paléo-environnementaux nous mène à réexaminer
et réévaluer nos connaissances acquises sur
la colonisation de l’Islande par les Vikings.
Cet article passe en revue le développement
de l’archéologie islandaise en examinant les
progrès théoriques et pratiques en la matière.
Une attention particulière est portée sur
l’étude des configurations spatiales des
colonies ainsi qu’une considération des
questions d’exploitation des ressources.
Finalement, l’article présente un aperçu des
études principales qui traitent des
conséquences écologiques du
<foreign xml:lang="is">landnám</foreign>
islandais.</p>
</abstract>
</profileDesc>
<calendarDesc>
<calendar xml:id="Gregorian">
<p>Gregorian calendar</p>
</calendar>
<calendar xml:id="Stardate">
<p>Fictional Stardate (from Star Trek series)</p>
</calendar>
<calendar xml:id="BP">
<p>Calendar years before present (measured from 1950)</p>
</calendar>
</calendarDesc>
<calendar xml:id="Gregorian">
<p>Gregorian calendar</p>
</calendar>
<calendar xml:id="Stardate">
<p>Fictional Stardate (from Star Trek series)</p>
</calendar>
<calendar xml:id="BP">
<p>Calendar years before present (measured from 1950)</p>
</calendar>
</calendarDesc>
<p>Captain's log <date calendar="#stardate">stardate 23.9 rounded off
to the nearest decimal point</date>...</p>
to the nearest decimal point</date>...</p>
<calendarDesc>
<calendar xml:id="cal_AD">
<p>Anno Domini (Christian Era)</p>
</calendar>
<calendar xml:id="cal_AH">
<p>Anno Hegirae (Muhammedan Era)</p>
</calendar>
<calendar xml:id="cal_AME">
<p>Mauludi Era (solar years since Mohammed's birth)</p>
</calendar>
<calendar xml:id="cal_AM">
<p>Anno Mundi (Jewish Calendar)</p>
</calendar>
<calendar xml:id="cal_AP">
<p>Anno Persici</p>
</calendar>
<calendar xml:id="cal_AS">
<p>Aji Saka Era (Java)</p>
</calendar>
<calendar xml:id="cal_BE">
<p>Buddhist Era</p>
</calendar>
<calendar xml:id="cal_CB">
<p>Cooch Behar Era</p>
</calendar>
<calendar xml:id="cal_CE">
<p>Common Era</p>
</calendar>
<calendar xml:id="cal_CL">
<p>Chinese Lunar Era</p>
</calendar>
<calendar xml:id="cal_CS">
<p>Chula Sakarat Era</p>
</calendar>
<calendar xml:id="cal_EE">
<p>Ethiopian Era</p>
</calendar>
<calendar xml:id="cal_FE">
<p>Fasli Era</p>
</calendar>
<calendar xml:id="cal_ISO">
<p>ISO 8601 calendar</p>
</calendar>
<calendar xml:id="cal_JE">
<p>Japanese Calendar</p>
</calendar>
<calendar xml:id="cal_KE">
<p>Khalsa Era (Sikh calendar)</p>
</calendar>
<calendar xml:id="cal_KY">
<p>Kali Yuga</p>
</calendar>
<calendar xml:id="cal_ME">
<p>Malabar Era</p>
</calendar>
<calendar xml:id="cal_MS">
<p>Monarchic Solar Era</p>
</calendar>
<calendar xml:id="cal_NS">
<p>Nepal Samwat Era</p>
</calendar>
<calendar xml:id="cal_OS">
<p>Old Style (Julian Calendar)</p>
</calendar>
<calendar xml:id="cal_RS">
<p>Rattanakosin (Bangkok) Era</p>
</calendar>
<calendar xml:id="cal_SE">
<p>Saka Era</p>
</calendar>
<calendar xml:id="cal_SH">
<p>Mohammedan Solar Era (Iran)</p>
</calendar>
<calendar xml:id="cal_SS">
<p>Saka Samvat</p>
</calendar>
<calendar xml:id="cal_TE">
<p>Tripurabda Era</p>
</calendar>
<calendar xml:id="cal_VE">
<p>Vikrama Era</p>
</calendar>
<calendar xml:id="cal_VS">
<p>Vikrama Samvat Era</p>
</calendar>
</calendarDesc>
<calendar xml:id="cal_AD">
<p>Anno Domini (Christian Era)</p>
</calendar>
<calendar xml:id="cal_AH">
<p>Anno Hegirae (Muhammedan Era)</p>
</calendar>
<calendar xml:id="cal_AME">
<p>Mauludi Era (solar years since Mohammed's birth)</p>
</calendar>
<calendar xml:id="cal_AM">
<p>Anno Mundi (Jewish Calendar)</p>
</calendar>
<calendar xml:id="cal_AP">
<p>Anno Persici</p>
</calendar>
<calendar xml:id="cal_AS">
<p>Aji Saka Era (Java)</p>
</calendar>
<calendar xml:id="cal_BE">
<p>Buddhist Era</p>
</calendar>
<calendar xml:id="cal_CB">
<p>Cooch Behar Era</p>
</calendar>
<calendar xml:id="cal_CE">
<p>Common Era</p>
</calendar>
<calendar xml:id="cal_CL">
<p>Chinese Lunar Era</p>
</calendar>
<calendar xml:id="cal_CS">
<p>Chula Sakarat Era</p>
</calendar>
<calendar xml:id="cal_EE">
<p>Ethiopian Era</p>
</calendar>
<calendar xml:id="cal_FE">
<p>Fasli Era</p>
</calendar>
<calendar xml:id="cal_ISO">
<p>ISO 8601 calendar</p>
</calendar>
<calendar xml:id="cal_JE">
<p>Japanese Calendar</p>
</calendar>
<calendar xml:id="cal_KE">
<p>Khalsa Era (Sikh calendar)</p>
</calendar>
<calendar xml:id="cal_KY">
<p>Kali Yuga</p>
</calendar>
<calendar xml:id="cal_ME">
<p>Malabar Era</p>
</calendar>
<calendar xml:id="cal_MS">
<p>Monarchic Solar Era</p>
</calendar>
<calendar xml:id="cal_NS">
<p>Nepal Samwat Era</p>
</calendar>
<calendar xml:id="cal_OS">
<p>Old Style (Julian Calendar)</p>
</calendar>
<calendar xml:id="cal_RS">
<p>Rattanakosin (Bangkok) Era</p>
</calendar>
<calendar xml:id="cal_SE">
<p>Saka Era</p>
</calendar>
<calendar xml:id="cal_SH">
<p>Mohammedan Solar Era (Iran)</p>
</calendar>
<calendar xml:id="cal_SS">
<p>Saka Samvat</p>
</calendar>
<calendar xml:id="cal_TE">
<p>Tripurabda Era</p>
</calendar>
<calendar xml:id="cal_VE">
<p>Vikrama Era</p>
</calendar>
<calendar xml:id="cal_VS">
<p>Vikrama Samvat Era</p>
</calendar>
</calendarDesc>
<calendarDesc>
<calendar xml:id="cal_Gregorian">
<p>Gregorian calendar</p>
</calendar>
<calendar xml:id="cal_Julian">
<p>Julian calendar</p>
</calendar>
<calendar xml:id="cal_Islamic">
<p>Islamic or Muslim (hijri) lunar calendar</p>
</calendar>
<calendar xml:id="cal_Hebrew">
<p>Hebrew or Jewish lunisolar calendar</p>
</calendar>
<calendar xml:id="cal_Revolutionary">
<p>French Revolutionary calendar</p>
</calendar>
<calendar xml:id="cal_Iranian">
<p>Iranian or Persian (Jalaali) solar calendar</p>
</calendar>
<calendar xml:id="cal_Coptic">
<p>Coptic or Alexandrian calendar</p>
</calendar>
<calendar xml:id="cal_Chinese">
<p>Chinese lunisolar calendar</p>
</calendar>
</calendarDesc>
<calendar xml:id="cal_Gregorian">
<p>Gregorian calendar</p>
</calendar>
<calendar xml:id="cal_Julian">
<p>Julian calendar</p>
</calendar>
<calendar xml:id="cal_Islamic">
<p>Islamic or Muslim (hijri) lunar calendar</p>
</calendar>
<calendar xml:id="cal_Hebrew">
<p>Hebrew or Jewish lunisolar calendar</p>
</calendar>
<calendar xml:id="cal_Revolutionary">
<p>French Revolutionary calendar</p>
</calendar>
<calendar xml:id="cal_Iranian">
<p>Iranian or Persian (Jalaali) solar calendar</p>
</calendar>
<calendar xml:id="cal_Coptic">
<p>Coptic or Alexandrian calendar</p>
</calendar>
<calendar xml:id="cal_Chinese">
<p>Chinese lunisolar calendar</p>
</calendar>
</calendarDesc>
<calendarDesc>
<calendar xml:id="cal_Egyptian"
target="http://en.wikipedia.org/wiki/Egyptian_calendar">
<p>Egyptian calendar (as defined by Wikipedia)</p>
</calendar>
</calendarDesc>
<calendar xml:id="cal_Egyptian"
target="http://en.wikipedia.org/wiki/Egyptian_calendar">
<p>Egyptian calendar (as defined by Wikipedia)</p>
</calendar>
</calendarDesc>
<calendarDesc>
<calendar xml:id="julianEngland">
<p>Julian Calendar (including proleptic)</p>
</calendar>
</calendarDesc>
<calendar xml:id="julianEngland">
<p>Julian Calendar (including proleptic)</p>
</calendar>
</calendarDesc>
<calendarDesc>
<calendar xml:id="egyptian"
target="http://en.wikipedia.org/wiki/Egyptian_calendar">
<p>Egyptian calendar (as defined by Wikipedia)</p>
</calendar>
</calendarDesc>
<calendar xml:id="egyptian"
target="http://en.wikipedia.org/wiki/Egyptian_calendar">
<p>Egyptian calendar (as defined by Wikipedia)</p>
</calendar>
</calendarDesc>
2.7 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>
<p>Editorial notes in the Foner edition have not
been reproduced. </p>
<p>Blank lines and multiple blank spaces, including paragraph
indents, have not been preserved. </p>
</samplingDecl>
<editorialDecl>
<correction status="high"
method="silent">
<p>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>
</p>
</correction>
<normalization>
<p>No normalization beyond that performed
by Foner, if any. </p>
</normalization>
<quotation marks="all">
<p>All double quotation marks
rendered with ", all single quotation marks with
apostrophe. </p>
</quotation>
<hyphenation eol="none">
<p>Hyphenated words that appear at the
end of the line in the Foner edition have been reformed.</p>
</hyphenation>
<stdVals>
<p>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.</p>
</stdVals>
<interpretation>
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<div type="part">
<head>Fallacies of Authority</head>
<p>The subject of which is Authority in various shapes, and the object, to repress all
exercise of the reasoning faculty.</p>
<div n="1" type="chapter">
<head>The Nature of Authority</head>
<p>With reference to any proposed measures having for their object the greatest
happiness of the greatest number [...]</p>
<div n="1.1" type="section">
<head>Analysis of Authority</head>
<p>What on any given occasion is the legitimate weight or influence to be attached to
authority [...] </p>
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<div n="1.2" type="section">
<head>Appeal to Authority, in What Cases Fallacious.</head>
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</body>
<div type="part">
<head>Fallacies of Authority</head>
<p>The subject of which is Authority in various shapes, and the object, to repress all
exercise of the reasoning faculty.</p>
<div n="1" type="chapter">
<head>The Nature of Authority</head>
<p>With reference to any proposed measures having for their object the greatest
happiness of the greatest number [...]</p>
<div n="1.1" type="section">
<head>Analysis of Authority</head>
<p>What on any given occasion is the legitimate weight or influence to be attached to
authority [...] </p>
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<div n="1.2" type="section">
<head>Appeal to Authority, in What Cases Fallacious.</head>
<p>Reference to authority is open to the charge of fallacy when [...] </p>
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</div>
</div>
</body>
<body>
<div type="oeuvre">
<head>Les Chouans </head>
<div n="1" type="partie">
<head> Première partie</head>
<head> L'embuscade</head>
<div n="1" type="chapitre">
<head>Chapitre premier </head>
<div n="1">
<head>I</head>
<p>Dans les premiers jours de l'an VIII, au commencement de vendémiaire, ou, pour
se conformer au calendrier actuel, vers la fin du mois de septembre 1799, une
centaine de paysans et un assez grand nombre de bourgeois, partis le matin de
Fougères pour se rendre à Mayenne, gravissaient la montagne de la Pèlerine,
située à mi-chemin environ de Fougères à Ernée, petite ville où les voyageurs
ont coutume de se reposer. </p>
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</div>
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</body>
<div type="oeuvre">
<head>Les Chouans </head>
<div n="1" type="partie">
<head> Première partie</head>
<head> L'embuscade</head>
<div n="1" type="chapitre">
<head>Chapitre premier </head>
<div n="1">
<head>I</head>
<p>Dans les premiers jours de l'an VIII, au commencement de vendémiaire, ou, pour
se conformer au calendrier actuel, vers la fin du mois de septembre 1799, une
centaine de paysans et un assez grand nombre de bourgeois, partis le matin de
Fougères pour se rendre à Mayenne, gravissaient la montagne de la Pèlerine,
située à mi-chemin environ de Fougères à Ernée, petite ville où les voyageurs
ont coutume de se reposer. </p>
</div>
</div>
</div>
</div>
</body>
<body>
<div type="part">
<head>對話的喧囂：巴赫汀文化理論述評</head>
<p>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。</p>
<div n="1" type="chapter">
<head>引言：巴赫汀對話論—轉型期的文化理論</head>
<p>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。...</p>
<div n="1.1" type="section">
<head>眾聲喧嘩：轉型期的文化理論</head>
<p>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。...
</p>
</div>
<div n="1.2" type="section">
<head>哲學建構論語對話美學</head>
<p>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。... </p>
</div>
</div>
</div>
</body>
<div type="part">
<head>對話的喧囂：巴赫汀文化理論述評</head>
<p>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。</p>
<div n="1" type="chapter">
<head>引言：巴赫汀對話論—轉型期的文化理論</head>
<p>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。...</p>
<div n="1.1" type="section">
<head>眾聲喧嘩：轉型期的文化理論</head>
<p>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。...
</p>
</div>
<div n="1.2" type="section">
<head>哲學建構論語對話美學</head>
<p>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。... </p>
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</div>
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</body>
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<head>Chap. I. Of Sense </head>
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<head>livre premier</head>
<div2 n="I " type="chapitre">
<head>La Grand'salle</head>
<p>Il y a aujourd'hui trois cent quarante-huit ans six mois et dix-neuf jours que les
parisiens s'éveillèrent au bruit de toutes les cloches sonnant à grande volée dans la
triple enceinte de la Cité, de l'Université et de la Ville. </p>
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</div1>
<div1 n="2" type="livre">
<head>livre deuxième</head>
<div2 n="I " type="chapitre">
<head>De Charybde en Scylla </head>
<p>La nuit arrive de bonne heure en janvier. Les rues étaient déjà sombres quand
Gringoire sortit du Palais.</p>
</div2>
</div1>
<head>livre premier</head>
<div2 n="I " type="chapitre">
<head>La Grand'salle</head>
<p>Il y a aujourd'hui trois cent quarante-huit ans six mois et dix-neuf jours que les
parisiens s'éveillèrent au bruit de toutes les cloches sonnant à grande volée dans la
triple enceinte de la Cité, de l'Université et de la Ville. </p>
</div2>
</div1>
<div1 n="2" type="livre">
<head>livre deuxième</head>
<div2 n="I " type="chapitre">
<head>De Charybde en Scylla </head>
<p>La nuit arrive de bonne heure en janvier. Les rues étaient déjà sombres quand
Gringoire sortit du Palais.</p>
</div2>
</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"
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<head>第一章</head>
<p>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。.. </p>
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</div1>
<div1 xml:id="zh-tw_levii" n="II"
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<head>第二部: 水深火熱</head>
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<head>第一部：陰錯陽差</head>
<div2 xml:id="zh-tw_levi1" n="1"
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<head>第一章</head>
<p>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。.. </p>
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</div1>
<div1 xml:id="zh-tw_levii" n="II"
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<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>
<p>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...
</p>
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</div3>
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<div2 n="2.2" type="section">
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<p/>
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<div2 n="2.3" type="section">
<div3 n="2.3.1" type="member">
<head>Sect. III. Memb. I</head>
<p/>
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<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>
<p>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...
</p>
</div4>
</div3>
</div2>
<div2 n="2.2" type="section">
<div3 n="2.2.1" type="member">
<head>Sect. II. Memb. I</head>
<p/>
</div3>
</div2>
<div2 n="2.3" type="section">
<div3 n="2.3.1" type="member">
<head>Sect. III. Memb. I</head>
<p/>
</div3>
</div2>
</div1>
<div1 n="II" type="chapitre">
<head>Chapitre II. Traitement électronique des données en histoire de la littérature
française : bilan provisoire</head>
<div2 n="2.1" type="section">
<div3 n="2.1.1" type="subsection">
<div4 n="2.1.1.1" type="article">
<head>Les objectifs</head>
<p>Chaque étudiant est convié à parcourir la banque à partir des différentes entrées
liées au cours magistral qu'il suit en amphithéâtre...</p>
</div4>
</div3>
</div2>
<div2 n="2.2" type="section">
<div3 n="2.2.1" type="subsection">
<head>Sect. II. Subsection I. Exploitation pédagogique de la BDHL</head>
<p>Pour la plupart des étudiants en Lettres des générations précédentes, un
enseignement de l'histoire de la littérature allait de soi... </p>
</div3>
</div2>
<div2 n="2.3" type="section">
<div3 n="2.3.1" type="subsection">
<head>Sect. III. Subsection I. Etudes permises par la BDHL</head>
<p>L'existence d'une banque de données, quelle qu'elle soit, permet d'envisager des
traitements statistiques. </p>
</div3>
</div2>
</div1>
<head>Chapitre II. Traitement électronique des données en histoire de la littérature
française : bilan provisoire</head>
<div2 n="2.1" type="section">
<div3 n="2.1.1" type="subsection">
<div4 n="2.1.1.1" type="article">
<head>Les objectifs</head>
<p>Chaque étudiant est convié à parcourir la banque à partir des différentes entrées
liées au cours magistral qu'il suit en amphithéâtre...</p>
</div4>
</div3>
</div2>
<div2 n="2.2" type="section">
<div3 n="2.2.1" type="subsection">
<head>Sect. II. Subsection I. Exploitation pédagogique de la BDHL</head>
<p>Pour la plupart des étudiants en Lettres des générations précédentes, un
enseignement de l'histoire de la littérature allait de soi... </p>
</div3>
</div2>
<div2 n="2.3" type="section">
<div3 n="2.3.1" type="subsection">
<head>Sect. III. Subsection I. Etudes permises par la BDHL</head>
<p>L'existence d'une banque de données, quelle qu'elle soit, permet d'envisager des
traitements statistiques. </p>
</div3>
</div2>
</div1>
<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>
<p>《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... </p>
</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>
<p>在二○年代的蘇聯文藝界，...</p>
</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>
<p>《社會學詩學》是巴赫汀對話美學的一個目標，...</p>
</div3>
</div2>
</div1>
<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>
<p>《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... </p>
</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>
<p>在二○年代的蘇聯文藝界，...</p>
</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>
<p>《社會學詩學》是巴赫汀對話美學的一個目標，...</p>
</div3>
</div2>
</div1>
<div2 n="2.2" type="section">
<div3 n="2.2.1" type="member">
<head>Sect. II. Memb. I</head>
<p/>
</div3>
<div3 n="2.2.2" type="member">
<head>Memb. II Retention and Evacuation rectified.</head>
<p/>
</div3>
<div3 n="2.2.3" type="member">
<head>Memb. III Ayr rectified. With a digression of the Ayr.</head>
<p/>
</div3>
</div2>
<div3 n="2.2.1" type="member">
<head>Sect. II. Memb. I</head>
<p/>
</div3>
<div3 n="2.2.2" type="member">
<head>Memb. II Retention and Evacuation rectified.</head>
<p/>
</div3>
<div3 n="2.2.3" type="member">
<head>Memb. III Ayr rectified. With a digression of the Ayr.</head>
<p/>
</div3>
</div2>
<div2 n="2.2" type="section">
<div3 n="2.2.1" type="subsection">
<head>Sect. II. Subsect. I Dictionnaires. </head>
<p> C'est un recueil de mots rangés dans un ordre convenu...</p>
</div3>
<div3 n="2.2.2" type="subsection">
<head>Sect. II. Subsect. II. Qu'est-ce qu'un dictionnaire de langue ? .</head>
<p>Un dictionnaire de langue est un dictionnaire donnant les mots d'une langue et leurs
emplois...</p>
</div3>
<div3 n="2.2.3" type="subsection">
<head>Sect. II. Subsect. III. Qu'est-ce qu'un dictionnaire encyclopédique ? </head>
<p>Un dictionnaire encyclopédique est un dictionnaire qui contient des renseignements
sur les choses, sur les idées </p>
</div3>
</div2>
<div3 n="2.2.1" type="subsection">
<head>Sect. II. Subsect. I Dictionnaires. </head>
<p> C'est un recueil de mots rangés dans un ordre convenu...</p>
</div3>
<div3 n="2.2.2" type="subsection">
<head>Sect. II. Subsect. II. Qu'est-ce qu'un dictionnaire de langue ? .</head>
<p>Un dictionnaire de langue est un dictionnaire donnant les mots d'une langue et leurs
emplois...</p>
</div3>
<div3 n="2.2.3" type="subsection">
<head>Sect. II. Subsect. III. Qu'est-ce qu'un dictionnaire encyclopédique ? </head>
<p>Un dictionnaire encyclopédique est un dictionnaire qui contient des renseignements
sur les choses, sur les idées </p>
</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>
<p>在二○年代的蘇聯文藝界，...</p>
</div3>
<div3 n="3.2.2" type="member">
<head>交流：藝術話語與生活話語的共性</head>
<p>林林總總的文理理論圍繞著作者、作品和讀者的關係問題，...</p>
</div3>
<div3 n="2.2.3" type="member">
<head>言談和音調</head>
<p>在這裡，巴赫汀為言談做了一個大膽的定義：...</p>
</div3>
</div2>
<div3 n="3.2.1" type="member">
<head>打破內在/外在、主觀/客觀的二元對立</head>
<p>在二○年代的蘇聯文藝界，...</p>
</div3>
<div3 n="3.2.2" type="member">
<head>交流：藝術話語與生活話語的共性</head>
<p>林林總總的文理理論圍繞著作者、作品和讀者的關係問題，...</p>
</div3>
<div3 n="2.2.3" type="member">
<head>言談和音調</head>
<p>在這裡，巴赫汀為言談做了一個大膽的定義：...</p>
</div3>
</div2>
<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>
<p>Diet, <term xml:lang="grc">diaitotiku</term>, <term xml:lang="la">victus</term> or
living </p>
</div4>
<div4 n="2.2.2.1" type="subsection">
<head>Subsect II. — Dyet rectified in quantity.</head>
<p>Man alone, saith Cardan, eates and drinks without appetite, and useth all his pleasures
without necessity </p>
</div4>
</div3>
<head>Sect. II. Memb. I</head>
<div4 n="2.2.1.1" type="subsection">
<head>Subsect I. — Dyet rectified in substance.</head>
<p>Diet, <term xml:lang="grc">diaitotiku</term>, <term xml:lang="la">victus</term> or
living </p>
</div4>
<div4 n="2.2.2.1" type="subsection">
<head>Subsect II. — Dyet rectified in quantity.</head>
<p>Man alone, saith Cardan, eates and drinks without appetite, and useth all his pleasures
without necessity </p>
</div4>
</div3>
<div3 n="2.2.1" type="subsection">
<head>Sect. II. Subsect. I</head>
<div4 n="2.2.1.1" type="alinéa">
<head>Alinéa I. <term>Horlogerie</term>Lame de ressort.</head>
<p> Bande d'acier enroulée formant le ressort d'une montre, d'une pendule. (Dict. XIXe
et XXe s.).</p>
</div4>
<div4 n="2.2.1.2" type="alinéa">
<head>Alinéa II. — <term>Menuiserie</term>Lame de parquet</head>
<p>Lame de parquet. Chacune des bandes de bois qui, emboîtées, constituent le
parquet</p>
</div4>
</div3>
<head>Sect. II. Subsect. I</head>
<div4 n="2.2.1.1" type="alinéa">
<head>Alinéa I. <term>Horlogerie</term>Lame de ressort.</head>
<p> Bande d'acier enroulée formant le ressort d'une montre, d'une pendule. (Dict. XIXe
et XXe s.).</p>
</div4>
<div4 n="2.2.1.2" type="alinéa">
<head>Alinéa II. — <term>Menuiserie</term>Lame de parquet</head>
<p>Lame de parquet. Chacune des bandes de bois qui, emboîtées, constituent le
parquet</p>
</div4>
</div3>
<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>
<p>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。...</p>
</div4>
<div4 n="3.2.2.1" type="subsection">
<head>美的本質</head>
<p>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。...</p>
</div4>
</div3>
<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>
<p>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。...</p>
</div4>
<div4 n="3.2.2.1" type="subsection">
<head>美的本質</head>
<p>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。...</p>
</div4>
</div3>
<div2 type="chapter">
<head>Recipes</head>
<head>Chapter VI.</head>
<div3>
<head>Fruit and vegetable soups</head>
<p>...</p>
<div4>
<head>Stocks for all kinds of soups</head>
<div5 type="recipe">
<head>Rich strong stock</head>
<!-- ... -->
</div5>
<div5 type="recipe">
<head>Medium Stock</head>
<!-- ... -->
</div5>
</div4>
<div4 type="recipe">
<head>Apple soup</head>
<div5>
<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>
</div5>
<div5>
<head>Mode</head>
<p>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.</p>
</div5>
<div5>
<head>Time</head>
<p>1 hour.</p>
</div5>
<div5>
<head>Average cost</head>
<p>per quart, 1s.</p>
</div5>
<div5>
<head>Seasonable</head>
<p>from September to December.</p>
</div5>
<div5>
<head>Sufficient</head>
<p> for 10 persons</p>
</div5>
<div5>
<head>The apple</head>
<p>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.</p>
</div5>
</div4>
<div4 type="recipe">
<head>Artichoke (Jerusalem) soup</head>
<p>...</p>
</div4>
<!-- other recipes here -->
</div3>
</div2>
<head>Recipes</head>
<head>Chapter VI.</head>
<div3>
<head>Fruit and vegetable soups</head>
<p>...</p>
<div4>
<head>Stocks for all kinds of soups</head>
<div5 type="recipe">
<head>Rich strong stock</head>
<!-- ... -->
</div5>
<div5 type="recipe">
<head>Medium Stock</head>
<!-- ... -->
</div5>
</div4>
<div4 type="recipe">
<head>Apple soup</head>
<div5>
<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>
</div5>
<div5>
<head>Mode</head>
<p>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.</p>
</div5>
<div5>
<head>Time</head>
<p>1 hour.</p>
</div5>
<div5>
<head>Average cost</head>
<p>per quart, 1s.</p>
</div5>
<div5>
<head>Seasonable</head>
<p>from September to December.</p>
</div5>
<div5>
<head>Sufficient</head>
<p> for 10 persons</p>
</div5>
<div5>
<head>The apple</head>
<p>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.</p>
</div5>
</div4>
<div4 type="recipe">
<head>Artichoke (Jerusalem) soup</head>
<p>...</p>
</div4>
<!-- other recipes here -->
</div3>
</div2>
<div2 type="chapter">
<head>Recipes</head>
<head>Chapter VI.</head>
<div3>
<head>Fruit and vegetable soups</head>
<p>...</p>
<div4>
<head>Stocks for all kinds of soups</head>
<div5 type="recipe">
<head>Rich strong stock</head>
<div6>
<head>Ingredients</head>
<list>
<item>4 lbs of shin of beef,</item>
<item>4 lbs of knuckle of veal,</item>
<!-- ... -->
<item>4 quarts of water</item>
</list>
</div6>
<div6>
<head>Mode</head>
<p>Line a delicately clean stewpan... Strain through a very
fine hair sieve, or tammy, and it will be fit for use</p>
</div6>
<div6>
<head>Time</head>
<p>5 hours.</p>
</div6>
<div6>
<head>Average cost</head>
<p>1s 3d. per quart</p>
</div6>
</div5>
<div5 type="recipe">
<head>Medium Stock</head>
<!-- ... -->
</div5>
</div4>
<!-- ... -->
</div3>
</div2>
<head>Recipes</head>
<head>Chapter VI.</head>
<div3>
<head>Fruit and vegetable soups</head>
<p>...</p>
<div4>
<head>Stocks for all kinds of soups</head>
<div5 type="recipe">
<head>Rich strong stock</head>
<div6>
<head>Ingredients</head>
<list>
<item>4 lbs of shin of beef,</item>
<item>4 lbs of knuckle of veal,</item>
<!-- ... -->
<item>4 quarts of water</item>
</list>
</div6>
<div6>
<head>Mode</head>
<p>Line a delicately clean stewpan... Strain through a very
fine hair sieve, or tammy, and it will be fit for use</p>
</div6>
<div6>
<head>Time</head>
<p>5 hours.</p>
</div6>
<div6>
<head>Average cost</head>
<p>1s 3d. per quart</p>
</div6>
</div5>
<div5 type="recipe">
<head>Medium Stock</head>
<!-- ... -->
</div5>
</div4>
<!-- ... -->
</div3>
</div2>
<div2 type="chapter">
<head>Recipes</head>
<head>Chapter VI.</head>
<div3>
<head>Fruit and vegetable soups</head>
<p>...</p>
<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>
<p>Put the beef, cut into pieces and rolled in flour, into a
stewpan...</p>
</div7>
<!-- ... -->
</div6>
<div6 type="altRecipe">
<head>II.</head>
<div7>
<head>Ingredients</head>
<list>
<item> ...</item>
</list>
</div7>
<div7>
<head>Mode</head>
<p>Boil the peas, and rub them through a sieve; add the gravy...</p>
</div7>
</div6>
</div5>
</div4>
</div3>
</div2>
<head>Recipes</head>
<head>Chapter VI.</head>
<div3>
<head>Fruit and vegetable soups</head>
<p>...</p>
<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>
<p>Put the beef, cut into pieces and rolled in flour, into a
stewpan...</p>
</div7>
<!-- ... -->
</div6>
<div6 type="altRecipe">
<head>II.</head>
<div7>
<head>Ingredients</head>
<list>
<item> ...</item>
</list>
</div7>
<div7>
<head>Mode</head>
<p>Boil the peas, and rub them through a sieve; add the gravy...</p>
</div7>
</div6>
</div5>
</div4>
</div3>
</div2>
<front>
<divGen type="toc"/>
<div>
<head>Préface</head>
<p> ... </p>
</div>
</front>
<divGen type="toc"/>
<div>
<head>Préface</head>
<p> ... </p>
</div>
</front>
<front>
<!--<titlePage>書名頁</titlePage>-->
<divGen type="toc"/>
<div>
<head>序</head>
<p> ... </p>
</div>
</front>
<!--<titlePage>書名頁</titlePage>-->
<divGen type="toc"/>
<div>
<head>序</head>
<p> ... </p>
</div>
</front>
<front>
<!--<titlePage>...</titlePage>-->
<divGen type="toc"/>
<div>
<head>Preface</head>
<p> ... </p>
</div>
</front>
<!--<titlePage>...</titlePage>-->
<divGen type="toc"/>
<div>
<head>Preface</head>
<p> ... </p>
</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>
<p>It is a trite but true observation, that examples work more forcibly on
the mind than precepts: ... </p>
<!-- remainder of chapter 1 here -->
</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>
<p>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 ... </p>
<!-- remainder of chapter 2 here -->
</div2>
<!-- remaining chapters of Book 1 here -->
<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>
<p>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 ... </p>
<p>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.</p>
</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>
<p>Mr. Adams and Joseph were now ready to depart different ways ... </p>
</div2>
</div1>
<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>
<p>It is a trite but true observation, that examples work more forcibly on
the mind than precepts: ... </p>
<!-- remainder of chapter 1 here -->
</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>
<p>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 ... </p>
<!-- remainder of chapter 2 here -->
</div2>
<!-- remaining chapters of Book 1 here -->
<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>
<p>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 ... </p>
<p>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.</p>
</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>
<p>Mr. Adams and Joseph were now ready to depart different ways ... </p>
</div2>
</div1>
4.1.3 Numbered or Un-numbered?
<body>
<div type="entry" n="1">
<div type="morning" n="1.1">
<p>[...]</p>
</div>
<div type="afternoon" n="1.2">
<p>[...]</p>
</div>
</div>
<div type="entry" n="2">
<div type="morning" n="2.1">
<p>[...]</p>
</div>
<div type="afternoon" n="2.2">
<p>[...]</p>
</div>
</div>
<!-- ...-->
</body>
<div type="entry" n="1">
<div type="morning" n="1.1">
<p>[...]</p>
</div>
<div type="afternoon" n="1.2">
<p>[...]</p>
</div>
</div>
<div type="entry" n="2">
<div type="morning" n="2.1">
<p>[...]</p>
</div>
<div type="afternoon" n="2.2">
<p>[...]</p>
</div>
</div>
<!-- ...-->
</body>
4.1.3 Numbered or Un-numbered?
<body>
<div1 type="entry" n="1">
<div2 type="morning" n="1.1">
<p>[...]</p>
</div2>
<div2 type="afternoon" n="1.2">
<p>[...]</p>
</div2>
</div1>
<div1 type="entry" n="2">
<div2 type="morning" n="2.1">
<p>[...]</p>
</div2>
<div2 type="afternoon" n="2.2">
<p>[...]</p>
</div2>
</div1>
<!-- ...-->
</body>
<div1 type="entry" n="1">
<div2 type="morning" n="1.1">
<p>[...]</p>
</div2>
<div2 type="afternoon" n="1.2">
<p>[...]</p>
</div2>
</div1>
<div1 type="entry" n="2">
<div2 type="morning" n="2.1">
<p>[...]</p>
</div2>
<div2 type="afternoon" n="2.2">
<p>[...]</p>
</div2>
</div1>
<!-- ...-->
</body>
4.1.3 Numbered or Un-numbered?
<body>
<my:diaryEntry type="entry" n="1">
<my:diaryEntry type="morning" n="1.1">
<p>[...]</p>
</my:diaryEntry>
<my:diaryEntry type="afternoon" n="1.2">
<p>[...]</p>
</my:diaryEntry>
</my:diaryEntry>
<my:diaryEntry type="entry" n="1">
<my:diaryEntry type="morning" n="1.1">
<p>[...]</p>
</my:diaryEntry>
<my:diaryEntry type="afternoon" n="1.2">
<p>[...]</p>
</my:diaryEntry>
</my:diaryEntry>
<!-- ...-->
</body>
<my:diaryEntry type="entry" n="1">
<my:diaryEntry type="morning" n="1.1">
<p>[...]</p>
</my:diaryEntry>
<my:diaryEntry type="afternoon" n="1.2">
<p>[...]</p>
</my:diaryEntry>
</my:diaryEntry>
<my:diaryEntry type="entry" n="1">
<my:diaryEntry type="morning" n="1.1">
<p>[...]</p>
</my:diaryEntry>
<my:diaryEntry type="afternoon" n="1.2">
<p>[...]</p>
</my:diaryEntry>
</my:diaryEntry>
<!-- ...-->
</body>
4.1.3 Numbered or Un-numbered?
<body>
<p>
<!-- ... -->
</p>
<my:diaryEntry type="entry" n="1">
<my:amEntry type="morning" n="1.1">
<p>[...]</p>
</my:amEntry>
<my:pmEntry type="afternoon" n="1.2">
<p>[...]</p>
</my:pmEntry>
</my:diaryEntry>
<my:diaryEntry type="entry" n="1">
<my:amEntry type="morning" n="1.1">
<p>[...]</p>
</my:amEntry>
<my:pmEntry type="afternoon" n="1.1">
<p>[...]</p>
</my:pmEntry>
</my:diaryEntry>
<!-- ... -->
</body>
<p>
<!-- ... -->
</p>
<my:diaryEntry type="entry" n="1">
<my:amEntry type="morning" n="1.1">
<p>[...]</p>
</my:amEntry>
<my:pmEntry type="afternoon" n="1.2">
<p>[...]</p>
</my:pmEntry>
</my:diaryEntry>
<my:diaryEntry type="entry" n="1">
<my:amEntry type="morning" n="1.1">
<p>[...]</p>
</my:amEntry>
<my:pmEntry type="afternoon" n="1.1">
<p>[...]</p>
</my:pmEntry>
</my:diaryEntry>
<!-- ... -->
</body>
4.1.4 Partial and Composite Divisions
<div n="xx" sample="initial" part="Y"
type="chapter">
<p> ... </p>
</div>
type="chapter">
<p> ... </p>
</div>
4.1.4 Partial and Composite Divisions
<div n="xx" part="M" type="chapter">
<p> ... </p>
<gap extent="2" reason="sampling"/>
<p> ... </p>
</div>
<p> ... </p>
<gap extent="2" reason="sampling"/>
<p> ... </p>
</div>
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>
<p>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.</p>
</div2>
<div2 type="story">
<head>Hotel blaze</head>
<p>Nearly 200 guests were evacuated before dawn
yesterday after fire broke out at the Scandic
Crown hotel in the Royal Mile, Edinburgh.</p>
</div2>
<div2 type="story">
<head>Test match split</head>
<p>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.</p>
</div2>
</div1>
<head>News in brief</head>
<div2 type="story">
<head>Police deny <soCalled>losing</soCalled> bomb</head>
<p>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.</p>
</div2>
<div2 type="story">
<head>Hotel blaze</head>
<p>Nearly 200 guests were evacuated before dawn
yesterday after fire broke out at the Scandic
Crown hotel in the Royal Mile, Edinburgh.</p>
</div2>
<div2 type="story">
<head>Test match split</head>
<p>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.</p>
</div2>
</div1>
<div1 n="Etym">
<head>Etymology</head>
<head>(Supplied by a late consumptive usher to a
grammar school)</head>
<p>The pale Usher — threadbare in coat, heart,
body and brain; I see him now. He was ever
dusting his old lexicons and grammars, ...</p>
</div1>
<head>Etymology</head>
<head>(Supplied by a late consumptive usher to a
grammar school)</head>
<p>The pale Usher — threadbare in coat, heart,
body and brain; I see him now. He was ever
dusting his old lexicons and grammars, ...</p>
</div1>
<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>
<p>Greater Western intervention in the conflict in
former Yugoslavia was pledged by President Bush ...</p>
</div>
<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>
<p>Greater Western intervention in the conflict in
former Yugoslavia was pledged by President Bush ...</p>
</div>
<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>
<item>
<!-- chapter head -->
</item>
<!-- further chapter heads omitted -->
</list>
</div>
<div>
<head>In the name of Christ here begins Book I of the history.</head>
<p>Proposing as I do ...</p>
<p>From the Passion of our Lord until the death of Saint Martin four
hundred and twelve years passed.</p>
<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>
<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>
<item>
<!-- chapter head -->
</item>
<!-- further chapter heads omitted -->
</list>
</div>
<div>
<head>In the name of Christ here begins Book I of the history.</head>
<p>Proposing as I do ...</p>
<p>From the Passion of our Lord until the death of Saint Martin four
hundred and twelve years passed.</p>
<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>
<div type="preface">
<head>To Henry Hope.</head>
<p>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.
</p>
<closer>
<signed xml:lang="el">D.</signed>
<dateline>Grosvenor Gate, May-Day, 1844</dateline>
</closer>
</div>
<head>To Henry Hope.</head>
<p>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.
</p>
<closer>
<signed xml:lang="el">D.</signed>
<dateline>Grosvenor Gate, May-Day, 1844</dateline>
</closer>
</div>
<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>
<p>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 ...</p>
<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>
<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>
<p>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 ...</p>
<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>
<div type="letter" n="14">
<head>Letter XIV: Miss Clarissa Harlowe to Miss Howe</head>
<opener>
<dateline>Thursday evening, March 2.</dateline>
</opener>
<p>On Hannah's depositing my long letter ...</p>
<p>An interruption obliges me to conclude myself
in some hurry, as well as fright, what I must ever be,</p>
<closer>
<salute>Yours more than my own,</salute>
<signed>Clarissa Harlowe</signed>
</closer>
</div>
<head>Letter XIV: Miss Clarissa Harlowe to Miss Howe</head>
<opener>
<dateline>Thursday evening, March 2.</dateline>
</opener>
<p>On Hannah's depositing my long letter ...</p>
<p>An interruption obliges me to conclude myself
in some hurry, as well as fright, what I must ever be,</p>
<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>
<p>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.</p>
</argument>
<p>It was a glorious morning, late spring or early summer, as you
care to take it ...</p>
</div>
<argument>
<p>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.</p>
</argument>
<p>It was a glorious morning, late spring or early summer, as you
care to take it ...</p>
</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>
<p>It was a glorious morning, late spring or early summer, as you
care to take it ...</p>
</div>
<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>
<p>It was a glorious morning, late spring or early summer, as you
care to take it ...</p>
</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>
<p>To say that Deronda was romantic would be to
misrepresent him: but under his calm and somewhat
self-repressed exterior ...</p>
</div>
<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>
<p>To say that Deronda was romantic would be to
misrepresent him: but under his calm and somewhat
self-repressed exterior ...</p>
</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>
<p>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</p>
<closer>
<salute>I am your most humble servant</salute>
<signed>Joseph Wanton Jr</signed>
</closer>
<postscript>
<label>P.S.</label>
<p>I have Mollases, Sugar,
<lb/>Coffee & Rum, which
<lb/>will Exchange with you
<lb/>for Candles or Oyl</p>
</postscript>
</div>
<opener>
<dateline>
<placeName>Newport</placeName>
<date when="1761-05-27">May ye 27th 1761</date>
</dateline>
<salute>Gentlemen</salute>
</opener>
<p>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</p>
<closer>
<salute>I am your most humble servant</salute>
<signed>Joseph Wanton Jr</signed>
</closer>
<postscript>
<label>P.S.</label>
<p>I have Mollases, Sugar,
<lb/>Coffee & Rum, which
<lb/>will Exchange with you
<lb/>for Candles or Oyl</p>
</postscript>
</div>
<div type="chapter">
<p>Et, sur cet océan bourdonnant de mille vaguelettes, se leva l'armée caressante et si
tendre des merveilleuses sirènes blondes aux seins durs comme ça. </p>
<closer>
<dateline>
<name type="place">Thionne-Paris</name>, <date>1950-1951.</date>
</dateline>
</closer>
</div>
<p>Et, sur cet océan bourdonnant de mille vaguelettes, se leva l'armée caressante et si
tendre des merveilleuses sirènes blondes aux seins durs comme ça. </p>
<closer>
<dateline>
<name type="place">Thionne-Paris</name>, <date>1950-1951.</date>
</dateline>
</closer>
</div>
<div type="chapter">
<p> 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。…… </p>
<closer>
<dateline>
<name type="place">南京</name>
<date>1918–1919</date>
</dateline>
</closer>
</div>
<p> 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。…… </p>
<closer>
<dateline>
<name type="place">南京</name>
<date>1918–1919</date>
</dateline>
</closer>
</div>
<div type="chapter">
<p>
<!-- ... --> and his heart was going like mad and yes I said yes I will Yes.</p>
<closer>
<dateline>
<name type="place">Trieste-Zürich-Paris,</name>
<date>1914–1921</date>
</dateline>
</closer>
</div>
<p>
<!-- ... --> and his heart was going like mad and yes I said yes I will Yes.</p>
<closer>
<dateline>
<name type="place">Trieste-Zürich-Paris,</name>
<date>1914–1921</date>
</dateline>
</closer>
</div>
<argument>
<p>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</p>
</argument>
<p>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</p>
</argument>
<argument>
<p>28 janvier. J’ai le plus grand mal à me réatteler aux Faux-Monnayeurs — La Bastide. Fin mars. Besoin de couper mon travail. — Cuverville . Fin mai. Mise au net et dactylographie de cinq chapitres des Faux-Monnayeurs. — 8 juin. Achevé les Faux- Monnayeurs. — 14 juillet. Départ pour le Congo. </p>
</argument>
<p>28 janvier. J’ai le plus grand mal à me réatteler aux Faux-Monnayeurs — La Bastide. Fin mars. Besoin de couper mon travail. — Cuverville . Fin mai. Mise au net et dactylographie de cinq chapitres des Faux-Monnayeurs. — 8 juin. Achevé les Faux- Monnayeurs. — 14 juillet. Départ pour le Congo. </p>
</argument>
<argument>
<p>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</p>
</argument>
<p>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</p>
</argument>
<opener>
<dateline>
<name type="place"> à Paris </name>, <date>le 2 septembre 1769</date>
</dateline>
</opener>
<p>Mais non, ma bonne amie, vous n' aviez pas raison de vous plaindre... </p>
<dateline>
<name type="place"> à Paris </name>, <date>le 2 septembre 1769</date>
</dateline>
</opener>
<p>Mais non, ma bonne amie, vous n' aviez pas raison de vous plaindre... </p>
<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>
<p>很抱歉，我今天有事無法赴約，希望您能諒解...</p>
<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>
<p>很抱歉，我今天有事無法赴約，希望您能諒解...</p>
<opener>
<dateline>
<name type="place">Great Marlborough Street</name>
<date>November 11, 1848</date>
</dateline>
<salute>My dear Sir,</salute>
</opener>
<p>I am sorry to say that absence from town and other circumstances have prevented me from
earlier enquiring...</p>
<dateline>
<name type="place">Great Marlborough Street</name>
<date>November 11, 1848</date>
</dateline>
<salute>My dear Sir,</salute>
</opener>
<p>I am sorry to say that absence from town and other circumstances have prevented me from
earlier enquiring...</p>
<div type="letter">
<p> perhaps you will favour me with a sight of it when convenient.</p>
<closer>
<salute>I remain, &c. &c.</salute>
<signed>H. Colburn</signed>
</closer>
</div>
<p> perhaps you will favour me with a sight of it when convenient.</p>
<closer>
<salute>I remain, &c. &c.</salute>
<signed>H. Colburn</signed>
</closer>
</div>
<div type="letter">
<p> N'y voyez que le signe de l'intérêt que je que je porte à une profession qui fut la
mienne. Je désire en effet, insérer votre article dans un ouvrage sur la presse
française contemporaine. </p>
<closer>
<salute>Veuillez agréer, je vous prie, Monsieur, l'assurance de mes sentiments les
meilleurs. </salute>
<signed> Françoise Giroud</signed>
</closer>
</div>
<p> N'y voyez que le signe de l'intérêt que je que je porte à une profession qui fut la
mienne. Je désire en effet, insérer votre article dans un ouvrage sur la presse
française contemporaine. </p>
<closer>
<salute>Veuillez agréer, je vous prie, Monsieur, l'assurance de mes sentiments les
meilleurs. </salute>
<signed> Françoise Giroud</signed>
</closer>
</div>
<div type="chapter">
<p>Voilà, cher Rhedi, ce que j' appelle le droit public. Voilà le droit des gens, ou
plutôt celui de la raison. </p>
<closer>
<dateline>
<name type="place">à Paris </name>, <date>le 4 de la lune de Zilhagé, 1716. </date>
</dateline>
</closer>
</div>
<p>Voilà, cher Rhedi, ce que j' appelle le droit public. Voilà le droit des gens, ou
plutôt celui de la raison. </p>
<closer>
<dateline>
<name type="place">à Paris </name>, <date>le 4 de la lune de Zilhagé, 1716. </date>
</dateline>
</closer>
</div>
<div type="letter">
<p> 不久，我們就能再見面。</p>
<closer>
<salute>祝事事順心</salute>
<signed>謝甯</signed>
</closer>
</div>
<p> 不久，我們就能再見面。</p>
<closer>
<salute>祝事事順心</salute>
<signed>謝甯</signed>
</closer>
</div>
<div type="chapter">
<p> 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。…… </p>
<closer>
<dateline>
<name type="place">南京</name>
<date>1918–1919</date>
</dateline>
</closer>
</div>
<p> 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。…… </p>
<closer>
<dateline>
<name type="place">南京</name>
<date>1918–1919</date>
</dateline>
</closer>
</div>
<div type="chapter">
<p>
<!-- ... --> and his heart was going like mad and yes I said yes I will Yes.</p>
<closer>
<dateline>
<name type="place">Trieste-Zürich-Paris,</name>
<date>1914–1921</date>
</dateline>
</closer>
</div>
<p>
<!-- ... --> and his heart was going like mad and yes I said yes I will Yes.</p>
<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>
<p>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.</p>
<closer>
<salute>Sincerely yours,</salute>
<signed>Seymour</signed>
</closer>
<postscript>
<label>P.S.</label>
<p>The collision occured on <date when="2001-07-06">06 Jul 01</date>.</p>
</postscript>
</div>
<opener>
<dateline>
<placeName>Rimaone</placeName>
<date when="2006-11-21">21 Nov 06</date>
</dateline>
<salute>Dear Susan,</salute>
</opener>
<p>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.</p>
<closer>
<salute>Sincerely yours,</salute>
<signed>Seymour</signed>
</closer>
<postscript>
<label>P.S.</label>
<p>The collision occured on <date when="2001-07-06">06 Jul 01</date>.</p>
</postscript>
</div>
<div type="letter">
<opener>
<dateline>
<date when="1942">Printemps 1942 </date>
</dateline>
<salute>Cher ami, </salute>
</opener>
<p>Le printemps vient maintenant. J'espère que là où tu es le climat à cette saison n'est
pas encore pénible. C'est le moment des travaux des champs ; peut-être arrivera-t-on à
quelque chose pour toi. S'il n'y a pas moyen de te faire venir en France, faut-il faire
des démarches pour essayer de te faire quitter l'Europe ? Écris-le-moi. </p>
<p>[...] </p>
<closer>
<salute> Crois à mon amitié fraternelle. </salute>
<signed>Simone Weil </signed>
</closer>
<postscript>
<label>P.S.</label>
<p>Voici la traduction de quelques vers grecs d'Eschyle. Ils sont prononcés par
Prométhée, le dieu qui, d'après les croyances des Grecs, avait sauvé les hommes de la
destruction, avait volé le feu pour le leur donner et leur avait appris le langage, le
nombre, l'astronomie, les métiers et les arts. Il en fut puni et fut cloué sur un
rocher. La tragédie d'Eschyle commence par la scène où on le cloue ; il se tait
pendant ce temps, puis, quand ses bourreaux sont partis, il dit : [...]</p>
</postscript>
</div>
<opener>
<dateline>
<date when="1942">Printemps 1942 </date>
</dateline>
<salute>Cher ami, </salute>
</opener>
<p>Le printemps vient maintenant. J'espère que là où tu es le climat à cette saison n'est
pas encore pénible. C'est le moment des travaux des champs ; peut-être arrivera-t-on à
quelque chose pour toi. S'il n'y a pas moyen de te faire venir en France, faut-il faire
des démarches pour essayer de te faire quitter l'Europe ? Écris-le-moi. </p>
<p>[...] </p>
<closer>
<salute> Crois à mon amitié fraternelle. </salute>
<signed>Simone Weil </signed>
</closer>
<postscript>
<label>P.S.</label>
<p>Voici la traduction de quelques vers grecs d'Eschyle. Ils sont prononcés par
Prométhée, le dieu qui, d'après les croyances des Grecs, avait sauvé les hommes de la
destruction, avait volé le feu pour le leur donner et leur avait appris le langage, le
nombre, l'astronomie, les métiers et les arts. Il en fut puni et fut cloué sur un
rocher. La tragédie d'Eschyle commence par la scène où on le cloue ; il se tait
pendant ce temps, puis, quand ses bourreaux sont partis, il dit : [...]</p>
</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>
<p>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。...</p>
<closer>
<signed>夜四鼓<name>意洞</name>手書</signed>
</closer>
</div>
<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>
<p>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。...</p>
<closer>
<signed>夜四鼓<name>意洞</name>手書</signed>
</closer>
</div>
<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>
<!-- any other front matter specific to this collection -->
</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>
<p>To Sherlock Holmes she is always
<emph>the</emph> woman. ... </p>
<!-- remainder of A Scandal in Bohemia here -->
</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>
<p>I had called upon my friend, Mr. Sherlock Holmes, one day
in the autumn of last year and found him in deep conversation
with a very stout, florid-faced, elderly gentleman with fiery red hair …
</p>
<!-- remainder of The Red Headed League here -->
</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>
<p>
<q>To the man who loves art for its
own sake,</q> remarked Sherlock Holmes ...
<!-- remainder of The Copper Beeches here -->
... she is now the head of a private school
at Walsall, where I believe that she has
met with considerable success.</p>
</body>
</text>
<!-- end of The Copper Beeches -->
</group>
</text>
<!-- end of the Adventures of Sherlock Holmes -->
<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>
<!-- any other front matter specific to this collection -->
</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>
<p>To Sherlock Holmes she is always
<emph>the</emph> woman. ... </p>
<!-- remainder of A Scandal in Bohemia here -->
</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>
<p>I had called upon my friend, Mr. Sherlock Holmes, one day
in the autumn of last year and found him in deep conversation
with a very stout, florid-faced, elderly gentleman with fiery red hair …
</p>
<!-- remainder of The Red Headed League here -->
</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>
<p>
<q>To the man who loves art for its
own sake,</q> remarked Sherlock Holmes ...
<!-- remainder of The Copper Beeches here -->
... she is now the head of a private school
at Walsall, where I believe that she has
met with considerable success.</p>
</body>
</text>
<!-- end of The Copper Beeches -->
</group>
</text>
<!-- end of the Adventures of Sherlock Holmes -->
<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>
<p>A few words are necessary ... </p>
</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>
<p>Learned Reader, The Author's friend will not usurp much
upon thy eye ... </p>
</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>
<!-- remaining poems of the Steps to the Temple appear here, each tagged as a distinct text element -->
</group>
<back>
<!-- back matter for the Steps to the Temple -->
</back>
</text>
<text>
<!-- start of Carmen deo Nostro -->
<front/>
<group>
<text/>
<text/>
<!-- more texts here -->
</group>
</text>
<text>
<!-- start of The Delights of the Muses -->
<group>
<text/>
<text/>
<!-- more texts here -->
</group>
</text>
</group>
<back>
<!-- back matter for the whole collection -->
</back>
</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>
<p>A few words are necessary ... </p>
</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>
<p>Learned Reader, The Author's friend will not usurp much
upon thy eye ... </p>
</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>
<!-- remaining poems of the Steps to the Temple appear here, each tagged as a distinct text element -->
</group>
<back>
<!-- back matter for the Steps to the Temple -->
</back>
</text>
<text>
<!-- start of Carmen deo Nostro -->
<front/>
<group>
<text/>
<text/>
<!-- more texts here -->
</group>
</text>
<text>
<!-- start of The Delights of the Muses -->
<group>
<text/>
<text/>
<!-- more texts here -->
</group>
</text>
</group>
<back>
<!-- back matter for the whole collection -->
</back>
</text>
<div n="2" type="chap">
<head>Extracts</head>
<head>(Supplied by a sub-sub-Librarian)</head>
<p>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!</p>
<p>
<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>
</p>
</div>
<head>Extracts</head>
<head>(Supplied by a sub-sub-Librarian)</head>
<p>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!</p>
<p>
<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>
</p>
</div>
<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>
<div type="dedication">
<p>To my parents, Ida and Max Fish</p>
</div>
<div type="preface">
<head>Preface</head>
<p>The answer this book gives to its title question is <q>there is
and there isn't</q>.</p>
<p>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.</p>
<signed>S.F.</signed>
</div>
<p>To my parents, Ida and Max Fish</p>
</div>
<div type="preface">
<head>Preface</head>
<p>The answer this book gives to its title question is <q>there is
and there isn't</q>.</p>
<p>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.</p>
<signed>S.F.</signed>
</div>
<front>
<div1 type="incipit">
<p>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.</p>
</div1>
<div1 type="prayer">
<head>Here biginneþ þe preyer on þe prologe.</head>
<p>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.</p>
</div1>
<div1 type="preface">
<head>Here biginneþ þe prolog.</head>
<p>In þe name of þe Fader & of þe Sone &
of þe Holy Goost.</p>
<p>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 ...</p>
</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>
<div1 type="incipit">
<p>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.</p>
</div1>
<div1 type="prayer">
<head>Here biginneþ þe preyer on þe prologe.</head>
<p>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.</p>
</div1>
<div1 type="preface">
<head>Here biginneþ þe prolog.</head>
<p>In þe name of þe Fader & of þe Sone &
of þe Holy Goost.</p>
<p>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 ...</p>
</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>
<p>Thou shalt labor till thou returne to duste</p>
<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>
<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>
<p>Thou shalt labor till thou returne to duste</p>
<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>
<p>紅樓夢圖詠</p>
<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>
<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>
<p>紅樓夢圖詠</p>
<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>
<epigraph>
<quote>Nam Sibyllam quidem Cumis ego ipse oculis meis vidi in ampulla
pendere, et cum illi pueri dicerent: <q xml:lang="gr">Σίβυλλα τί
θέλεις</q>; respondebat illa: <q xml:lang="gr">ὰποθανεῖν θέλω.</q>
</quote>
</epigraph>
<div type="dedication">
<p>For Ezra Pound <q xml:lang="it">il miglior fabbro.</q>
</p>
</div>
</front>
<epigraph>
<quote>Nam Sibyllam quidem Cumis ego ipse oculis meis vidi in ampulla
pendere, et cum illi pueri dicerent: <q xml:lang="gr">Σίβυλλα τί
θέλεις</q>; respondebat illa: <q xml:lang="gr">ὰποθανεῖν θέλω.</q>
</quote>
</epigraph>
<div type="dedication">
<p>For Ezra Pound <q xml:lang="it">il miglior fabbro.</q>
</p>
</div>
</front>
<front>
<div type="dedication">
<p>à la mémoire de Raymond Queneau</p>
</div>
<div type="avertissement">
<p>L'amitié, l'histoire et la littérature m'ont fourni quelques-uns
des.personnages de ce livre. Toute autre ressemblance avec des
individus vivants ou ayant réellement ou fictivement existé ne
saurait être que coïncidence.</p>
<epigraph>
<quote>Regarde de tous tes yeux, regarde <bibl>(Jules Verne, Michel
Strogoff )</bibl>
</quote>
</epigraph>
</div>
<div type="preambule">
<head>PRÉAMBULE</head>
<epigraph>
<quote>
<q>L'œil suit les chemins qui lui ont été ménagés dans l'oeuvre
<bibl>(Paul Klee, Pädagosisches Skizzenbuch)</bibl>
</q>
</quote>
</epigraph>
<p> Au départ, l'art du puzzle semble un art bref, un art mince, tout
entier contenu dans un maigre enseignement de la Gestalttheorie :
...</p>
</div>
</front>
<div type="dedication">
<p>à la mémoire de Raymond Queneau</p>
</div>
<div type="avertissement">
<p>L'amitié, l'histoire et la littérature m'ont fourni quelques-uns
des.personnages de ce livre. Toute autre ressemblance avec des
individus vivants ou ayant réellement ou fictivement existé ne
saurait être que coïncidence.</p>
<epigraph>
<quote>Regarde de tous tes yeux, regarde <bibl>(Jules Verne, Michel
Strogoff )</bibl>
</quote>
</epigraph>
</div>
<div type="preambule">
<head>PRÉAMBULE</head>
<epigraph>
<quote>
<q>L'œil suit les chemins qui lui ont été ménagés dans l'oeuvre
<bibl>(Paul Klee, Pädagosisches Skizzenbuch)</bibl>
</q>
</quote>
</epigraph>
<p> Au départ, l'art du puzzle semble un art bref, un art mince, tout
entier contenu dans un maigre enseignement de la Gestalttheorie :
...</p>
</div>
</front>
<front>
<div type="preface">
<head>Préface</head>
<p>Tant qu'il existera, par le fait des lois et des moeurs, une
damnation sociale créant artificiellement, en pleine civilisation,
des enfers, et compliquant d'une fatalité humaine la destinée qui
est divine ; tant que les trois problèmes du siècle, la dégradation
de l'homme par le prolétariat, la déchéance de la femme par la faim,
l'atrophie de l'enfant par la nuit, ne seront pas résolus; tant que,
dans certaines régions, l'asphyxie sociale sera possible; en
d'autres termes, et à un point de vue plus étendu encore, tant qu'il
aura sur la terre ignorance et misère, des livres de la nature de
celui-ci pourront ne pas être inutiles.</p>
<closer>
<dateline>
<name type="place">Hauteville-House</name>
<date>1er janvier 1862</date>
</dateline>
</closer>
</div>
</front>
<div type="preface">
<head>Préface</head>
<p>Tant qu'il existera, par le fait des lois et des moeurs, une
damnation sociale créant artificiellement, en pleine civilisation,
des enfers, et compliquant d'une fatalité humaine la destinée qui
est divine ; tant que les trois problèmes du siècle, la dégradation
de l'homme par le prolétariat, la déchéance de la femme par la faim,
l'atrophie de l'enfant par la nuit, ne seront pas résolus; tant que,
dans certaines régions, l'asphyxie sociale sera possible; en
d'autres termes, et à un point de vue plus étendu encore, tant qu'il
aura sur la terre ignorance et misère, des livres de la nature de
celui-ci pourront ne pas être inutiles.</p>
<closer>
<dateline>
<name type="place">Hauteville-House</name>
<date>1er janvier 1862</date>
</dateline>
</closer>
</div>
</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">
<p>《憶》第三十五首</p>
</div>
</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">
<p>《憶》第三十五首</p>
</div>
</front>
<front>
<div type="dedication">
<p>聲明啟事</p>
</div>
<div type="preface">
<head>作者聲明</head>
<p>書中所有情節內容皆為虛構，若有雷同，純屬巧合。</p>
</div>
</front>
<div type="dedication">
<p>聲明啟事</p>
</div>
<div type="preface">
<head>作者聲明</head>
<p>書中所有情節內容皆為虛構，若有雷同，純屬巧合。</p>
</div>
</front>
<front>
<div type="dedication">
<p>To our three selves</p>
</div>
<div type="preface">
<head>Author's Note</head>
<p>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. ...</p>
</div>
</front>
<div type="dedication">
<p>To our three selves</p>
</div>
<div type="preface">
<head>Author's Note</head>
<p>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. ...</p>
</div>
</front>
<front>
<div type="abstract">
<div>
<head> BACKGROUND:</head>
<p>Food insecurity can put children at greater risk of obesity because
of altered food choices and nonuniform consumption patterns.</p>
</div>
<div>
<head> OBJECTIVE:</head>
<p>We examined the association between obesity and both child-level
food insecurity and personal food insecurity in US children.</p>
</div>
<div>
<head> DESIGN:</head>
<p>Data from 9,701 participants in the National Health and Nutrition
Examination Survey, 2001-2010, aged 2 to 11 years were analyzed.
Child-level food insecurity was assessed with the US Department of
Agriculture's Food Security Survey Module based on eight
child-specific questions. Personal food insecurity was assessed with
five additional questions. Obesity was defined, using physical
measurements, as body mass index (calculated as kg/m2) greater than
or equal to the age- and sex-specific 95th percentile of the Centers
for Disease Control and Prevention growth charts. Logistic
regressions adjusted for sex, race/ethnic group, poverty level, and
survey year were conducted to describe associations between obesity
and food insecurity.</p>
</div>
<div>
<head> RESULTS:</head>
<p>Obesity was significantly associated with personal food insecurity
for children aged 6 to 11 years (odds ratio=1.81; 95% CI 1.33 to
2.48), but not in children aged 2 to 5 years (odds ratio=0.88; 95%
CI 0.51 to 1.51). Child-level food insecurity was not associated
with obesity among 2- to 5-year-olds or 6- to 11-year-olds.</p>
</div>
<div>
<head> CONCLUSIONS:</head>
<p>Personal food insecurity is associated with an increased risk of
obesity only in children aged 6 to 11 years. Personal
food-insecurity measures may give different results than aggregate
food-insecurity measures in children.</p>
</div>
</div>
</front>
<div type="abstract">
<div>
<head> BACKGROUND:</head>
<p>Food insecurity can put children at greater risk of obesity because
of altered food choices and nonuniform consumption patterns.</p>
</div>
<div>
<head> OBJECTIVE:</head>
<p>We examined the association between obesity and both child-level
food insecurity and personal food insecurity in US children.</p>
</div>
<div>
<head> DESIGN:</head>
<p>Data from 9,701 participants in the National Health and Nutrition
Examination Survey, 2001-2010, aged 2 to 11 years were analyzed.
Child-level food insecurity was assessed with the US Department of
Agriculture's Food Security Survey Module based on eight
child-specific questions. Personal food insecurity was assessed with
five additional questions. Obesity was defined, using physical
measurements, as body mass index (calculated as kg/m2) greater than
or equal to the age- and sex-specific 95th percentile of the Centers
for Disease Control and Prevention growth charts. Logistic
regressions adjusted for sex, race/ethnic group, poverty level, and
survey year were conducted to describe associations between obesity
and food insecurity.</p>
</div>
<div>
<head> RESULTS:</head>
<p>Obesity was significantly associated with personal food insecurity
for children aged 6 to 11 years (odds ratio=1.81; 95% CI 1.33 to
2.48), but not in children aged 2 to 5 years (odds ratio=0.88; 95%
CI 0.51 to 1.51). Child-level food insecurity was not associated
with obesity among 2- to 5-year-olds or 6- to 11-year-olds.</p>
</div>
<div>
<head> CONCLUSIONS:</head>
<p>Personal food insecurity is associated with an increased risk of
obesity only in children aged 6 to 11 years. Personal
food-insecurity measures may give different results than aggregate
food-insecurity measures in children.</p>
</div>
</div>
</front>
<back>
<div type="letter">
<head>A letter written to his wife, founde with this booke
after his death.</head>
<p>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.</p>
<signed>Thy repentant husband for his disloyaltie,
<name>Robert Greene.</name>
</signed>
<epigraph xml:lang="la">
<p>Faelicem fuisse infaustum</p>
</epigraph>
<trailer>FINIS</trailer>
</div>
</back>
<div type="letter">
<head>A letter written to his wife, founde with this booke
after his death.</head>
<p>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.</p>
<signed>Thy repentant husband for his disloyaltie,
<name>Robert Greene.</name>
</signed>
<epigraph xml:lang="la">
<p>Faelicem fuisse infaustum</p>
</epigraph>
<trailer>FINIS</trailer>
</div>
</back>
<back>
<div type="corrigenda">
<head>Addenda</head>
<salute xml:lang="la">M. Scriblerus Lectori</salute>
<p>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="grc">προλεγομενα</q>, lo!
<q xml:lang="grc">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.</p>
</div>
</back>
<div type="corrigenda">
<head>Addenda</head>
<salute xml:lang="la">M. Scriblerus Lectori</salute>
<p>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="grc">προλεγομενα</q>, lo!
<q xml:lang="grc">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.</p>
</div>
</back>
<back>
<div type="appendix">
<head>The Golden Dream or, the Ingenuous Confession</head>
<p>TO shew the Depravity of human Nature, and how apt the Mind is to be misled by Trinkets
and false Appearances, Mrs. Two-Shoes does acknowledge, that after she became rich, she
had like to have been, too fond of Money
<!-- .... -->
</p>
</div>
<!-- ... -->
<div type="epistle">
<head>A letter from the Printer, which he desires may be inserted</head>
<salute>Sir.</salute>
<p>I have done with your Copy, so you may return it to the Vatican, if you please;
<!-- ... -->
</p>
</div>
<div 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>
</div>
<div type="advert">
<head>By the KING's Royal Patent, 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>
</div>
</back>
<div type="appendix">
<head>The Golden Dream or, the Ingenuous Confession</head>
<p>TO shew the Depravity of human Nature, and how apt the Mind is to be misled by Trinkets
and false Appearances, Mrs. Two-Shoes does acknowledge, that after she became rich, she
had like to have been, too fond of Money
<!-- .... -->
</p>
</div>
<!-- ... -->
<div type="epistle">
<head>A letter from the Printer, which he desires may be inserted</head>
<salute>Sir.</salute>
<p>I have done with your Copy, so you may return it to the Vatican, if you please;
<!-- ... -->
</p>
</div>
<div 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>
</div>
<div type="advert">
<head>By the KING's Royal Patent, 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>
</div>
</back>
<back>
<div n="1" type="appendice">
<head>APPENDICE I </head>
<head>CHAPITRE XV bis </head>
<p>Des cruautez exercées par les Turcs, et autres peuples : et nommément par les
Espagnols, beaucoup plus barbares que les Sauvages mesmes </p>
<p>Premierement Chalcondile en son histoire de la decadence de l'Empire des Grecs, ...</p>
</div>
<div n="2" type="appendice">
<head> Appendice 2</head>
<head>Advertissement de l'autheur</head>
<p>Outre les augmentations bien amples, et la revision beaucoup plus exacte que je n'avoye
fait és precedentes Editions, j'ai pour le contentement des Lecteurs, plusieurs endroits
de ceste quatrieme et derniere monstré ...</p>
</div>
</back>
<div n="1" type="appendice">
<head>APPENDICE I </head>
<head>CHAPITRE XV bis </head>
<p>Des cruautez exercées par les Turcs, et autres peuples : et nommément par les
Espagnols, beaucoup plus barbares que les Sauvages mesmes </p>
<p>Premierement Chalcondile en son histoire de la decadence de l'Empire des Grecs, ...</p>
</div>
<div n="2" type="appendice">
<head> Appendice 2</head>
<head>Advertissement de l'autheur</head>
<p>Outre les augmentations bien amples, et la revision beaucoup plus exacte que je n'avoye
fait és precedentes Editions, j'ai pour le contentement des Lecteurs, plusieurs endroits
de ceste quatrieme et derniere monstré ...</p>
</div>
</back>
<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>
5 Characters, Glyphs, and Writing Modes
<p>Wo<g ref="#r1">r</g>ds in this
manusc<g ref="#r2">r</g>ipt are sometimes
written in a funny way.</p>
manusc<g ref="#r2">r</g>ipt are sometimes
written in a funny way.</p>
<p> ... <g ref="#Filig">Fi</g>lthy riches...</p>
<!-- in the charDecl -->
<glyph xml:id="Filig">
<glyphName>LATIN UPPER F AND LATIN LOWER I LIGATURE</glyphName>
<figure>
<graphic url="Filig.png"/>
</figure>
</glyph>
<!-- in the charDecl -->
<glyph xml:id="Filig">
<glyphName>LATIN UPPER F AND LATIN LOWER I LIGATURE</glyphName>
<figure>
<graphic url="Filig.png"/>
</figure>
</glyph>
<p> ... <abbr>
<g ref="#per">per</g>
</abbr> ardua</p>
<!-- in the charDecl -->
<glyph xml:id="per">
<glyphName>LATIN ABBREVIATION PER</glyphName>
<figure>
<graphic url="per.png"/>
</figure>
</glyph>
<g ref="#per">per</g>
</abbr> ardua</p>
<!-- in the charDecl -->
<glyph xml:id="per">
<glyphName>LATIN ABBREVIATION PER</glyphName>
<figure>
<graphic url="per.png"/>
</figure>
</glyph>
6 Verse
6.3 Encoding Textual Structures Across Verses
<lg type="couplet">
<l>
<seg xml:id="eg2-said1">Our lives</seg>, ſaid he,
<seg xml:id="eg2-said2">wee'll give before we yield</seg>,
</l>
<l>
<seg xml:id="eg2-said3">Wee'll win your battles, or dye in the field</seg>.
</l>
</lg>
<!-- Elsewhere in the document -->
<p>
<join result="said" scope="root"
target="#eg2-said1 #eg2-said2 #eg2-said3"/>
</p>
<l>
<seg xml:id="eg2-said1">Our lives</seg>, ſaid he,
<seg xml:id="eg2-said2">wee'll give before we yield</seg>,
</l>
<l>
<seg xml:id="eg2-said3">Wee'll win your battles, or dye in the field</seg>.
</l>
</lg>
<!-- Elsewhere in the document -->
<p>
<join result="said" scope="root"
target="#eg2-said1 #eg2-said2 #eg2-said3"/>
</p>
6.6 Metrical Notation Declaration
<metDecl>
<p>Metrically prominent syllables are marked '1' and other
syllables '0'. Foot divisions are marked by a vertical bar,
and line divisions with a solidus.</p>
<p>This notation may be applied to any metrical unit, of any
size (including, for example, individual feet as well as
groups of lines).</p>
</metDecl>
<p>Metrically prominent syllables are marked '1' and other
syllables '0'. Foot divisions are marked by a vertical bar,
and line divisions with a solidus.</p>
<p>This notation may be applied to any metrical unit, of any
size (including, for example, individual feet as well as
groups of lines).</p>
</metDecl>
7 Performance Texts
<front>
<castList>
<castItem> ... </castItem>
</castList>
<set>
<p>The action of the play is set in Chicago's
Southside, sometime between World War II and the
present.</p>
</set>
</front>
<castList>
<castItem> ... </castItem>
</castList>
<set>
<p>The action of the play is set in Chicago's
Southside, sometime between World War II and the
present.</p>
</set>
</front>
<front>
<titlePage type="half-title">
<docTitle>
<titlePart>Peer Gynt</titlePart>
</docTitle>
</titlePage>
<div type="copyright_page"/>
<div type="Contents"/>
<div type="Introduction"/>
<div type="note">
<head>Note on the Translation</head>
<p> ... </p>
</div>
<div type="Dramatis_Personae">
<head>Characters</head>
<castList>
<castItem>
<!-- ... -->
</castItem>
</castList>
</div>
<set>
<p>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.</p>
</set>
<performance>
<p>
<!-- ... -->
</p>
</performance>
</front>
<titlePage type="half-title">
<docTitle>
<titlePart>Peer Gynt</titlePart>
</docTitle>
</titlePage>
<div type="copyright_page"/>
<div type="Contents"/>
<div type="Introduction"/>
<div type="note">
<head>Note on the Translation</head>
<p> ... </p>
</div>
<div type="Dramatis_Personae">
<head>Characters</head>
<castList>
<castItem>
<!-- ... -->
</castItem>
</castList>
</div>
<set>
<p>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.</p>
</set>
<performance>
<p>
<!-- ... -->
</p>
</performance>
</front>
<set>
<p>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.</p>
</set>
<p>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.</p>
</set>
<set>
<p>Bel après-midi de printemps en 1899. Madame Claire Roc est assise dans un fauteuil en
osier et feuillette un magazine [...], on peut entendre des cris joyeux d'enfants. </p>
</set>
<p>Bel après-midi de printemps en 1899. Madame Claire Roc est assise dans un fauteuil en
osier et feuillette un magazine [...], on peut entendre des cris joyeux d'enfants. </p>
</set>
<set>
<head>Une représentation à l'hôtel de Bourgogne</head>
<p>La salle de l'Hôtel de Bourgogne, en 1640. Sorte de hangar de jeu de paume aménagé et
embelli pour des représentations.</p>
<p>La salle est un carré long ; on la voit en biais, de sorte qu'un de ses côtés forme le
fond qui part du premier plan, à droite, et va au dernier plan, à gauche, faire angle
avec la scène qu'on aperçoit en pan coupé.</p>
</set>
<head>Une représentation à l'hôtel de Bourgogne</head>
<p>La salle de l'Hôtel de Bourgogne, en 1640. Sorte de hangar de jeu de paume aménagé et
embelli pour des représentations.</p>
<p>La salle est un carré long ; on la voit en biais, de sorte qu'un de ses côtés forme le
fond qui part du premier plan, à droite, et va au dernier plan, à gauche, faire angle
avec la scène qu'on aperçoit en pan coupé.</p>
</set>
<set>
<p>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。</p>
</set>
<p>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。</p>
</set>
<set>
<head>場景</head>
<p>在一個秋高氣爽的下午，中正紀念堂前</p>
</set>
<head>場景</head>
<p>在一個秋高氣爽的下午，中正紀念堂前</p>
</set>
<set>
<head>SCENE</head>
<p>A Sub-Post Office on a late autumn evening</p>
</set>
<head>SCENE</head>
<p>A Sub-Post Office on a late autumn evening</p>
</set>
<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>
<p>London</p>
</set>
</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>
<p>London</p>
</set>
</front>
<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>
<p>The Scene, an un-inhabited Island.</p>
</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>
<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>
<p>The Scene, an un-inhabited Island.</p>
</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>
<prologue>
<head>Prologue</head>
<sp>
<speaker>Le Prologue.</speaker>
<p>Voilà. Ces personnages vont vous jouer l' histoire d' Antigone. Antigone, c' est la
petite maigre qui est assise là-bas, et qui ne dit rien. Elle regarde droit devant
elle. Elle pense. Elle pense qu' elle va être Antigone tout à l' heure, qu' elle va
surgir soudain de la maigre jeune fille noiraude et renfermée que personne ne prenait
au sérieux dans la famille et se dresser seule en face du monde, seule en face de
Créon, son oncle, qui est le roi. Elle pense qu' elle va mourir, qu' elle est jeune et
qu' elle aussi, elle aurait bien aimé vivre. Mais il n' y a rien à faire. Elle s'
appelle Antigone et il va falloir qu' elle joue son rôle jusqu' au bout... </p>
</sp>
</prologue>
<head>Prologue</head>
<sp>
<speaker>Le Prologue.</speaker>
<p>Voilà. Ces personnages vont vous jouer l' histoire d' Antigone. Antigone, c' est la
petite maigre qui est assise là-bas, et qui ne dit rien. Elle regarde droit devant
elle. Elle pense. Elle pense qu' elle va être Antigone tout à l' heure, qu' elle va
surgir soudain de la maigre jeune fille noiraude et renfermée que personne ne prenait
au sérieux dans la famille et se dresser seule en face du monde, seule en face de
Créon, son oncle, qui est le roi. Elle pense qu' elle va mourir, qu' elle est jeune et
qu' elle aussi, elle aurait bien aimé vivre. Mais il n' y a rien à faire. Elle s'
appelle Antigone et il va falloir qu' elle joue son rôle jusqu' au bout... </p>
</sp>
</prologue>
<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>
<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>
<performance>
<p>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> ... </p>
</performance>
<p>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> ... </p>
</performance>
<performance>
<p>
<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>
</p>
<p>Directed by <name>E. Martin Browne</name>
</p>
</performance>
<p>
<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>
</p>
<p>Directed by <name>E. Martin Browne</name>
</p>
</performance>
<performance>
<p>
<rs type="place">Théâtre national du Petit-Odéon, Paris</rs>, <date>du 10 Décembre 1974
au 12 Janvier 1975</date>
<castList>
<castItem>
<role>Paul Valéry</role>
<actor>Michel Duchaussoy</actor>
</castItem>
<castItem>
<role>Joseph</role>
<actor>Gérad Caillaud</actor>
</castItem>
<castItem>
<role>M. Teste</role>
<actor>Pierre Dux</actor>
</castItem>
<castItem>
<role>Mme Teste</role>
<actor>Claude Winter</actor>
</castItem>
<castItem>
<role>L'abbé Mosson</role>
<actor>Jacques Toja</actor>
</castItem>
</castList>
</p>
<p>Adaptation et mise en scène de <name>Pierre Franck</name>
</p>
</performance>
<p>
<rs type="place">Théâtre national du Petit-Odéon, Paris</rs>, <date>du 10 Décembre 1974
au 12 Janvier 1975</date>
<castList>
<castItem>
<role>Paul Valéry</role>
<actor>Michel Duchaussoy</actor>
</castItem>
<castItem>
<role>Joseph</role>
<actor>Gérad Caillaud</actor>
</castItem>
<castItem>
<role>M. Teste</role>
<actor>Pierre Dux</actor>
</castItem>
<castItem>
<role>Mme Teste</role>
<actor>Claude Winter</actor>
</castItem>
<castItem>
<role>L'abbé Mosson</role>
<actor>Jacques Toja</actor>
</castItem>
</castList>
</p>
<p>Adaptation et mise en scène de <name>Pierre Franck</name>
</p>
</performance>
<performance>
<p>Distribution <rs type="place">Comédie des Champs-Elysées, Paris,</rs>
<date>1923</date>(par ordre d'entrée en scène) <castList>
<castItem>Knock : Louis Jouvet</castItem>
</castList>
</p>
</performance>
<p>Distribution <rs type="place">Comédie des Champs-Elysées, Paris,</rs>
<date>1923</date>(par ordre d'entrée en scène) <castList>
<castItem>Knock : Louis Jouvet</castItem>
</castList>
</p>
</performance>
<performance>
<p>
<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>
</p>
<p>監製： <name>李永得</name>
</p>
</performance>
<p>
<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>
</p>
<p>監製： <name>李永得</name>
</p>
</performance>
<performance>
<p>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>
</p>
</performance>
<p>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>
</p>
</performance>
<performance>
<p>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>
</p>
</performance>
<p>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>
</p>
</performance>
<performance>
<p>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:</p>
<castList>
<castItem>Estragon: Peter Woodthorpe</castItem>
<castItem>Vladimir: Paul Daneman</castItem>
<castItem> ... </castItem>
</castList>
</performance>
<p>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:</p>
<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>
<p>Pschitt!</p>
</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>
<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>
<p>Pschitt!</p>
</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>
<castList>
<castItem>
<role xml:id="hh">Henry Higgins</role>
</castItem>
</castList>
<sp who="#hh">
<speaker>The Notetaker</speaker>
<p> ... </p>
</sp>
<castItem>
<role xml:id="hh">Henry Higgins</role>
</castItem>
</castList>
<sp who="#hh">
<speaker>The Notetaker</speaker>
<p> ... </p>
</sp>
<div1 n="1" type="act">
<stage type="setting">
<p>Scene. — A room furnished comfortably and
tastefully but not extravagantly ...
The floor is carpeted and a fire burns in the stove.
It is winter.</p>
<p>A bell rings in the hall; shortly afterwards the
door is heard to open. Enter NORA humming a tune ...</p>
</stage>
<sp>
<speaker>Nora</speaker>
<p>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?</p>
</sp>
</div1>
<stage type="setting">
<p>Scene. — A room furnished comfortably and
tastefully but not extravagantly ...
The floor is carpeted and a fire burns in the stove.
It is winter.</p>
<p>A bell rings in the hall; shortly afterwards the
door is heard to open. Enter NORA humming a tune ...</p>
</stage>
<sp>
<speaker>Nora</speaker>
<p>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?</p>
</sp>
</div1>
<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>
<p>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.</p>
</sp>
<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>
<p>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.</p>
</sp>
<sp>
<speaker>FRAULEIN SCHNEIDER:</speaker>
<p> Herr Schultz! Can I believe what I see? <stage>(HERR SCHULTZ nods
proudly)</stage> But this is — too much to accept. So rare — so costly —
so luxurious. </p>
</sp>
<stage>(She sings)</stage>
<spGrp n="4">
<sp>
<l>If you bought me diamonds, If you bought me pearls,</l>
<l>If you bought me roses like some other gents</l>
<l>Might bring to other girls,</l>
<l>It couldn't please me more</l>
<l>Than the gift I see -</l>
<stage>(She takes a large pineapple out of the bag)</stage>
<l>A pineapple for me!</l>
</sp>
<sp>
<speaker>SCHULTZ:</speaker>
<stage>(Singing) </stage>
<l>If, in your emotion, </l>
<l>You began to sway, </l>
<l>Went to get some air, </l>
<l>Or grabbed a chair </l>
<l>To keep from fainting dead away, </l>
<l>It couldn't please me more </l>
<l>Than to see you cling </l>
<l>To the pineapple I bring.</l>
</sp>
<sp>
<speaker>BOTH:</speaker>
<l>Ah, ah, ah, ah, ah, ah, ah, ah</l>
</sp>
<!-- ... -->
<stage>(They dance)</stage>
</spGrp>
<sp>
<speaker>FRAULEIN SCHNEIDER: </speaker>
<p>But you must not bring me
any more pineapples! Do you hear? It is not proper. It is a gift a
young man would present to his lady love. It makes me blush!
</p>
</sp>
<speaker>FRAULEIN SCHNEIDER:</speaker>
<p> Herr Schultz! Can I believe what I see? <stage>(HERR SCHULTZ nods
proudly)</stage> But this is — too much to accept. So rare — so costly —
so luxurious. </p>
</sp>
<stage>(She sings)</stage>
<spGrp n="4">
<sp>
<l>If you bought me diamonds, If you bought me pearls,</l>
<l>If you bought me roses like some other gents</l>
<l>Might bring to other girls,</l>
<l>It couldn't please me more</l>
<l>Than the gift I see -</l>
<stage>(She takes a large pineapple out of the bag)</stage>
<l>A pineapple for me!</l>
</sp>
<sp>
<speaker>SCHULTZ:</speaker>
<stage>(Singing) </stage>
<l>If, in your emotion, </l>
<l>You began to sway, </l>
<l>Went to get some air, </l>
<l>Or grabbed a chair </l>
<l>To keep from fainting dead away, </l>
<l>It couldn't please me more </l>
<l>Than to see you cling </l>
<l>To the pineapple I bring.</l>
</sp>
<sp>
<speaker>BOTH:</speaker>
<l>Ah, ah, ah, ah, ah, ah, ah, ah</l>
</sp>
<!-- ... -->
<stage>(They dance)</stage>
</spGrp>
<sp>
<speaker>FRAULEIN SCHNEIDER: </speaker>
<p>But you must not bring me
any more pineapples! Do you hear? It is not proper. It is a gift a
young man would present to his lady love. It makes me blush!
</p>
</sp>
<performance xml:id="perf1">
<p>First performance</p>
<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>
<p>First performance</p>
<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>
<performance xml:id="fr_perf1">
<p>Première apparition</p>
<castList>
<castItem>
<role xml:id="fr_clar">Clarence</role>
</castItem>
</castList>
</performance>
<stage type="entrance">
<move who="#fr_clar" type="enter"
perf="#perf1"/>(Entre Clarence,
entouré de gardes).
</stage>
<p>Première apparition</p>
<castList>
<castItem>
<role xml:id="fr_clar">Clarence</role>
</castItem>
</castList>
</performance>
<stage type="entrance">
<move who="#fr_clar" type="enter"
perf="#perf1"/>(Entre Clarence,
entouré de gardes).
</stage>
<performance xml:id="zh-tw_perf1">
<p>第一場戲</p>
<castList>
<castItem>
<role xml:id="zh-tw_bellaf">楊四郎</role>
</castItem>
<!-- 其他角色 -->
</castList>
</performance>
<!-- ... -->
<stage type="entrance">
<move who="#zh-tw_bellaf" type="enter"
where="L" perf="#perf1"/>
進場：楊四郎，鬱悶思鄉。
</stage>
<p>第一場戲</p>
<castList>
<castItem>
<role xml:id="zh-tw_bellaf">楊四郎</role>
</castItem>
<!-- 其他角色 -->
</castList>
</performance>
<!-- ... -->
<stage type="entrance">
<move who="#zh-tw_bellaf" type="enter"
where="L" perf="#perf1"/>
進場：楊四郎，鬱悶思鄉。
</stage>
<sp>
<speaker>Kelly</speaker>
<stage>(calmly).</stage>
<p>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.</p>
<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>
<p>This is more than a hurt to us: this hits at the
decency of the whole nation!</p>
</sp>
<speaker>Kelly</speaker>
<stage>(calmly).</stage>
<p>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.</p>
<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>
<p>This is more than a hurt to us: this hits at the
decency of the whole nation!</p>
</sp>
<sp>
<speaker>Kelly</speaker>
<stage>(calmly).</stage>
<p>Aha, so you've bad minds along with ...</p>
</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>
<speaker>Kelly</speaker>
<stage>(calmly).</stage>
<p>Aha, so you've bad minds along with ...</p>
</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>
<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>
<p>Where is the beauteous Majesty of Denmark?</p>
</sp>
<sp>
<speaker>Queen</speaker>
<p>How now, Ophelia?</p>
</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>
<p>Alas, sweet lady, what imports this song?</p>
</sp>
<sp>
<speaker>Ophelia</speaker>
<p>Say you? Nay, pray you mark.</p>
<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>
<p>O, ho!</p>
</sp>
</div2>
</div1>
<div2 n="5" type="scene">
<stage>Elsinore. A room in the Castle.</stage>
<stage type="setting">Enter Ophelia, distracted.</stage>
<sp>
<speaker>Ophelia</speaker>
<p>Where is the beauteous Majesty of Denmark?</p>
</sp>
<sp>
<speaker>Queen</speaker>
<p>How now, Ophelia?</p>
</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>
<p>Alas, sweet lady, what imports this song?</p>
</sp>
<sp>
<speaker>Ophelia</speaker>
<p>Say you? Nay, pray you mark.</p>
<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>
<p>O, ho!</p>
</sp>
</div2>
</div1>
<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>
<p>How now, Ophelia?</p>
</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>
<p>Alas, sweet lady, what imports this song?</p>
</sp>
<sp>
<speaker>Ophelia</speaker>
<p>Say you? Nay, pray you mark.</p>
<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>
<p>O, ho!</p>
<join type="lg" target="#TL1 #TL2"/>
</sp>
</div2>
</div1>
</body>
</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>
<p>How now, Ophelia?</p>
</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>
<p>Alas, sweet lady, what imports this song?</p>
</sp>
<sp>
<speaker>Ophelia</speaker>
<p>Say you? Nay, pray you mark.</p>
<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>
<p>O, ho!</p>
<join type="lg" target="#TL1 #TL2"/>
</sp>
</div2>
</div1>
</body>
</text>
<sp>
<speaker>Mangan</speaker>
<stage type="delivery">wildly</stage>
<p>Look here: I'm going to take off all my clothes.</p>
<stage type="action">he begins tearing off his coat.</stage>
</sp>
<spGrp type="simultaneous" rend="braced">
<sp>
<speaker>Lady Utterword</speaker>
<p>Mr Mangan!</p>
</sp>
<sp>
<speaker>Captain Shotover</speaker>
<p>Whats that?</p>
</sp>
<sp>
<speaker>Hector</speaker>
<p>Ha! ha! Do. Do.</p>
</sp>
<sp>
<speaker>Ellie</speaker>
<p>Please dont.</p>
</sp>
<stage type="delivery">in consternation</stage>
</spGrp>
<sp>
<speaker>Mrs. Hushabye</speaker>
<stage type="action">catching his arm and stopping him</stage>
<p>Alfred: for shame! Are you mad?</p>
</sp>
<speaker>Mangan</speaker>
<stage type="delivery">wildly</stage>
<p>Look here: I'm going to take off all my clothes.</p>
<stage type="action">he begins tearing off his coat.</stage>
</sp>
<spGrp type="simultaneous" rend="braced">
<sp>
<speaker>Lady Utterword</speaker>
<p>Mr Mangan!</p>
</sp>
<sp>
<speaker>Captain Shotover</speaker>
<p>Whats that?</p>
</sp>
<sp>
<speaker>Hector</speaker>
<p>Ha! ha! Do. Do.</p>
</sp>
<sp>
<speaker>Ellie</speaker>
<p>Please dont.</p>
</sp>
<stage type="delivery">in consternation</stage>
</spGrp>
<sp>
<speaker>Mrs. Hushabye</speaker>
<stage type="action">catching his arm and stopping him</stage>
<p>Alfred: for shame! Are you mad?</p>
</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>
<p>Several years ago, Jack Ryan was a highly
successful hydroplane racer ...</p>
</sp>
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>
<p>Several years ago, Jack Ryan was a highly
successful hydroplane racer ...</p>
</sp>
7.3 Other Types of Performance Text
<sp>
<speaker>TV Announcer VO</speaker>
<p>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 ...</p>
</sp>
<speaker>TV Announcer VO</speaker>
<p>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 ...</p>
</sp>
7.3 Other Types of Performance Text
<sp>
<speaker>Benjy</speaker>
<p>Now to business.</p>
</sp>
<sp>
<speaker>Ford and Zaphod</speaker>
<p>To business.</p>
</sp>
<sound>Glasses clink.</sound>
<sp>
<speaker>Benjy</speaker>
<p>I beg your pardon?</p>
</sp>
<sp>
<speaker>Ford</speaker>
<p>I'm sorry, I thought you were proposing a toast.</p>
</sp>
<speaker>Benjy</speaker>
<p>Now to business.</p>
</sp>
<sp>
<speaker>Ford and Zaphod</speaker>
<p>To business.</p>
</sp>
<sound>Glasses clink.</sound>
<sp>
<speaker>Benjy</speaker>
<p>I beg your pardon?</p>
</sp>
<sp>
<speaker>Ford</speaker>
<p>I'm sorry, I thought you were proposing a toast.</p>
</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>
<p>My congratulations, Wilde. Your latest play is a great success.</p>
</sp>
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>
<p>My congratulations, Wilde. Your latest play is a great success.</p>
</sp>
<view>
<p>
<camera>Plan d'ensemble</camera> des fillettes qui regardent Mouchette. <camera>Plan
rapproché</camera> de la main de l'institutrice pianotant nerveusement.<camera> Retour</camera> sur les fillettes qui ricanent. Mouchette, face à nous, ne peut retenir
ses larmes. N'y tenant plus, elle prend son visage dans ses mains et hoquète de
sanglots. <camera>Fondu enchaîné.</camera>
</p>
</view>
<p>
<camera>Plan d'ensemble</camera> des fillettes qui regardent Mouchette. <camera>Plan
rapproché</camera> de la main de l'institutrice pianotant nerveusement.<camera> Retour</camera> sur les fillettes qui ricanent. Mouchette, face à nous, ne peut retenir
ses larmes. N'y tenant plus, elle prend son visage dans ses mains et hoquète de
sanglots. <camera>Fondu enchaîné.</camera>
</p>
</view>
<div type="plan">
<view> Préfecture - bureau fonctionnaire - intérieur jour <camera>Plan américain</camera>
d'un fonctionnaire assis derrière un bureau (il est vu de profil), consultant un fichier
dans une boîte ouverte devant lui. Il sort une fiche et lève la tête. C'est un homme
d'une quarantaine d'années, un aspect solide, concret, et un air relativement bon
enfant. Dans son regard, pourtant, on voit passer par moments une lueur froide,
inquiétante. </view>
<sp>
<speaker>FONCTIONNAIRE</speaker>
<p>Robert Klein, vous avez dit ?</p>
</sp>
</div>
<view> Préfecture - bureau fonctionnaire - intérieur jour <camera>Plan américain</camera>
d'un fonctionnaire assis derrière un bureau (il est vu de profil), consultant un fichier
dans une boîte ouverte devant lui. Il sort une fiche et lève la tête. C'est un homme
d'une quarantaine d'années, un aspect solide, concret, et un air relativement bon
enfant. Dans son regard, pourtant, on voit passer par moments une lueur froide,
inquiétante. </view>
<sp>
<speaker>FONCTIONNAIRE</speaker>
<p>Robert Klein, vous avez dit ?</p>
</sp>
</div>
<div type="shot">
<view>香港鳳凰衛視台</view>
<sp>
<speaker>旁白</speaker>
<p>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。</p>
</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>
<p>大家好，我現在在香港的九龍。 </p>
</sp>
</div>
<view>香港鳳凰衛視台</view>
<sp>
<speaker>旁白</speaker>
<p>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。</p>
</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>
<p>大家好，我現在在香港的九龍。 </p>
</sp>
</div>
<div type="shot">
<view>BBC World symbol</view>
<sp>
<speaker>Voice Over</speaker>
<p>Monty Python's Flying Circus tonight comes to you live
from the Grillomat Snack Bar, Paignton.</p>
</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>
<p>Hello to you live from the Grillomat Snack Bar.
</p>
</sp>
</div>
<view>BBC World symbol</view>
<sp>
<speaker>Voice Over</speaker>
<p>Monty Python's Flying Circus tonight comes to you live
from the Grillomat Snack Bar, Paignton.</p>
</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>
<p>Hello to you live from the Grillomat Snack Bar.
</p>
</sp>
</div>
<sp>
<speaker>Benjy</speaker>
<p>Now to business.</p>
</sp>
<sp>
<speaker>Ford and Zaphod</speaker>
<p>To business.</p>
</sp>
<sound discrete="true">Glasses clink.</sound>
<sp>
<speaker>Benjy</speaker>
<p>I beg your pardon?</p>
</sp>
<sp>
<speaker>Ford</speaker>
<p>I'm sorry, I thought you were proposing a toast.</p>
</sp>
<speaker>Benjy</speaker>
<p>Now to business.</p>
</sp>
<sp>
<speaker>Ford and Zaphod</speaker>
<p>To business.</p>
</sp>
<sound discrete="true">Glasses clink.</sound>
<sp>
<speaker>Benjy</speaker>
<p>I beg your pardon?</p>
</sp>
<sp>
<speaker>Ford</speaker>
<p>I'm sorry, I thought you were proposing a toast.</p>
</sp>
<sp>
<speaker>班吉</speaker>
<p>現在，說到我們的事業。</p>
</sp>
<sp>
<speaker>福特和薩豐</speaker>
<p>敬我們的事業。</p>
</sp>
<sound discrete="true">玻璃杯敲擊聲</sound>
<sp>
<speaker>班吉</speaker>
<p>抱歉，您說什麼？</p>
</sp>
<sp>
<speaker>福特</speaker>
<p>不好意思，我以為你說乾杯。</p>
</sp>
<speaker>班吉</speaker>
<p>現在，說到我們的事業。</p>
</sp>
<sp>
<speaker>福特和薩豐</speaker>
<p>敬我們的事業。</p>
</sp>
<sound discrete="true">玻璃杯敲擊聲</sound>
<sp>
<speaker>班吉</speaker>
<p>抱歉，您說什麼？</p>
</sp>
<sp>
<speaker>福特</speaker>
<p>不好意思，我以為你說乾杯。</p>
</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>
<p>My congratulations, Wilde. Your latest play is a great success.
</p>
</sp>
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>
<p>My congratulations, Wilde. Your latest play is a great success.
</p>
</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>
<p>恭喜你，王爾德。你最近的戲劇是個大成功。</p>
</sp>
<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>
<p>恭喜你，王爾德。你最近的戲劇是個大成功。</p>
</sp>
8 Transcriptions of Speech
8.2 Documenting the Source of Transcribed Speech
<recordingStmt>
<recording type="video">
<p>U-matic recording made by college audio-visual department staff,
available as PAL-standard VHS transfer or sound-only cassette</p>
</recording>
</recordingStmt>
<recording type="video">
<p>U-matic recording made by college audio-visual department staff,
available as PAL-standard VHS transfer or sound-only cassette</p>
</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>
<p>Multiple close microphones mixed down to stereo Digital
Audio Tape, standard play, 44.1 KHz sampling frequency</p>
</equipment>
<date>12 Jan 1987</date>
</recording>
</recordingStmt>
<recording type="audio" dur="P30M">
<respStmt>
<resp>Location recording by</resp>
<name>Sound Services Ltd.</name>
</respStmt>
<equipment>
<p>Multiple close microphones mixed down to stereo Digital
Audio Tape, standard play, 44.1 KHz sampling frequency</p>
</equipment>
<date>12 Jan 1987</date>
</recording>
</recordingStmt>
8.2 Documenting the Source of Transcribed Speech
<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>
<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>
<recordingStmt>
<recording type="audio" dur="P30M">
<respStmt>
<resp>Location recording by</resp>
<name>Sound Services Ltd.</name>
</respStmt>
<equipment>
<p>Multiple close microphones mixed down to stereo Digital
Audio Tape, standard play, 44.1 KHz sampling frequency</p>
</equipment>
<date>12 Jan 1987</date>
</recording>
</recordingStmt>
<recording type="audio" dur="P30M">
<respStmt>
<resp>Location recording by</resp>
<name>Sound Services Ltd.</name>
</respStmt>
<equipment>
<p>Multiple close microphones mixed down to stereo Digital
Audio Tape, standard play, 44.1 KHz sampling frequency</p>
</equipment>
<date>12 Jan 1987</date>
</recording>
</recordingStmt>
<recordingStmt>
<p>Three
distinct recordings made by hidden microphone in early February
2001.</p>
</recordingStmt>
<p>Three
distinct recordings made by hidden microphone in early February
2001.</p>
</recordingStmt>
<recording type="audio" dur="P30M">
<equipment>
<p>Recorded on a Sony TR444 walkman by unknown participants; remastered
to digital tape at <placeName>Borehamwood Studios</placeName> by
<orgName>Transcription Services Inc</orgName>.</p>
</equipment>
</recording>
<equipment>
<p>Recorded on a Sony TR444 walkman by unknown participants; remastered
to digital tape at <placeName>Borehamwood Studios</placeName> by
<orgName>Transcription Services Inc</orgName>.</p>
</equipment>
</recording>
<recording type="audio" dur="P30M">
<p>
<orgName>Harmonia Mundi</orgName> S.A., enregistré à <placeName>Boughton Aluph Saints
Church</placeName>, <date>septembre 1977</date>.</p>
</recording>
<p>
<orgName>Harmonia Mundi</orgName> S.A., enregistré à <placeName>Boughton Aluph Saints
Church</placeName>, <date>septembre 1977</date>.</p>
</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</name>
</respStmt>
<series>
<title>Le Téléphone sonne</title>
</series>
<note>Marie Pezé est 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.</note>
<note>Première diffusion le <date when="2008-09-24"> mercredi 24 septembre
2008</date>
</note>
</bibl>
</broadcast>
</recording>
<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</name>
</respStmt>
<series>
<title>Le Téléphone sonne</title>
</series>
<note>Marie Pezé est 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.</note>
<note>Première diffusion le <date when="2008-09-24"> mercredi 24 septembre
2008</date>
</note>
</bibl>
</broadcast>
</recording>
<recording type="audio" dur="P30M">
<equipment>
<p>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。</p>
</equipment>
</recording>
<equipment>
<p>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。</p>
</equipment>
</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>
<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>
<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>
<equipment>
<p>"Hi-8" 8 mm NTSC camcorder with integral directional
microphone and windshield and stereo digital sound
recording channel.
</p>
</equipment>
<p>"Hi-8" 8 mm NTSC camcorder with integral directional
microphone and windshield and stereo digital sound
recording channel.
</p>
</equipment>
<equipment>
<p>Enregistreur numérique avec connexion USB et 512 Mo de mémoire intégrée</p>
</equipment>
<p>Enregistreur numérique avec connexion USB et 512 Mo de mémoire intégrée</p>
</equipment>
<equipment>
<p>enregistreur numérique 16 pistes</p>
</equipment>
<p>enregistreur numérique 16 pistes</p>
</equipment>
<broadcast>
<p>
<!-- ... -->
</p>
</broadcast>
<p>
<!-- ... -->
</p>
</broadcast>
<equipment>
<p>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。</p>
</equipment>
<p>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。</p>
</equipment>
<equipment>
<p>8-track analogue transfer mixed down to 19 cm/sec audio
tape for cassette mastering</p>
</equipment>
<p>8-track analogue transfer mixed down to 19 cm/sec audio
tape for cassette mastering</p>
</equipment>
<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>
<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>
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>
<p>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.</p>
<p>'Hic incipit Bruitus Anglie,' the De origine et gestis Regum Angliae of
Geoffrey of Monmouth (Galfridus Monumetensis: beg. 'Cum mecum multa & de
multis.'</p>
<p>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.</p>
</msDesc>
<msIdentifier>
<settlement>Oxford</settlement>
<repository>Bodleian Library</repository>
<idno>MS. Add. A. 61</idno>
<altIdentifier type="SC">
<idno>28843</idno>
</altIdentifier>
</msIdentifier>
<p>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.</p>
<p>'Hic incipit Bruitus Anglie,' the De origine et gestis Regum Angliae of
Geoffrey of Monmouth (Galfridus Monumetensis: beg. 'Cum mecum multa & de
multis.'</p>
<p>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.</p>
</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>
<p>
<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.</p>
</msContents>
<physDesc>
<p>
<material>Parchment</material>: written in more than one hand: 7¼ x 5⅜ in., i
+ 55 leaves, in double columns: with a few coloured capitals.</p>
</physDesc>
<history>
<p>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.</p>
</history>
</msDesc>
<msIdentifier>
<settlement>Oxford</settlement>
<repository>Bodleian Library</repository>
<idno>MS. Add. A. 61</idno>
<altIdentifier type="SC">
<idno>28843</idno>
</altIdentifier>
</msIdentifier>
<msContents>
<p>
<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.</p>
</msContents>
<physDesc>
<p>
<material>Parchment</material>: written in more than one hand: 7¼ x 5⅜ in., i
+ 55 leaves, in double columns: with a few coloured capitals.</p>
</physDesc>
<history>
<p>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.</p>
</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>
<p>Parchment.</p>
</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">
<p>In double columns.</p>
</layout>
</layoutDesc>
</objectDesc>
<handDesc>
<p>Written in more than one hand.</p>
</handDesc>
<decoDesc>
<p>With a few coloured capitals.</p>
</decoDesc>
</physDesc>
<history>
<origin>
<p>Written in <origPlace>England</origPlace> in the <origDate notAfter="1300"
notBefore="1200">13th cent.</origDate>
</p>
</origin>
<provenance>
<p>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.).</p>
</provenance>
<acquisition>
<p>Bought from the rev. <name key="MCRAYWD">W. D. Macray</name> on <date when="1863-03-17">March 17, 1863</date>, for £1 10s.</p>
</acquisition>
</history>
</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>
<p>Parchment.</p>
</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">
<p>In double columns.</p>
</layout>
</layoutDesc>
</objectDesc>
<handDesc>
<p>Written in more than one hand.</p>
</handDesc>
<decoDesc>
<p>With a few coloured capitals.</p>
</decoDesc>
</physDesc>
<history>
<origin>
<p>Written in <origPlace>England</origPlace> in the <origDate notAfter="1300"
notBefore="1200">13th cent.</origDate>
</p>
</origin>
<provenance>
<p>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.).</p>
</provenance>
<acquisition>
<p>Bought from the rev. <name key="MCRAYWD">W. D. Macray</name> on <date when="1863-03-17">March 17, 1863</date>, for £1 10s.</p>
</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>
<p>A parchment codex of 136 folios, measuring approx
28 by 19 inches, and containing 24 quires.</p>
<p>The pages are margined and ruled throughout.</p>
<p>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.</p>
</objectDesc>
</physDesc>
</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>
<p>A parchment codex of 136 folios, measuring approx
28 by 19 inches, and containing 24 quires.</p>
<p>The pages are margined and ruled throughout.</p>
<p>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.</p>
</objectDesc>
</physDesc>
</msDesc>
<msDesc>
<msIdentifier>
<country>France</country>
<settlement>Paris</settlement>
<repository xml:lang="fr">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>
</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>
<msIdentifier>
<country>France</country>
<settlement>Paris</settlement>
<repository xml:lang="fr">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>
</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>
<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>
<p>總共有600卷</p>
<p>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。</p>
<p>唯獨新纂卍續藏未收錄此經</p>
</objectDesc>
</physDesc>
</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>
<p>總共有600卷</p>
<p>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。</p>
<p>唯獨新纂卍續藏未收錄此經</p>
</objectDesc>
</physDesc>
</msDesc>
10.3.2 Material and Object Type
<binding>
<p>Brown <material>calfskin</material>, previously with two clasps.</p>
</binding>
<p>Brown <material>calfskin</material>, previously with two clasps.</p>
</binding>
10.3.2 Material and Object Type
<support>
<p>
<material>Parchment</material>
<objectType>codex</objectType> with half <material>goat-leather</material>
binding.</p>
</support>
<p>
<material>Parchment</material>
<objectType>codex</objectType> with half <material>goat-leather</material>
binding.</p>
</support>
<binding>
<p>Modern calf recasing with original armorial stamp <stamp>with legend
<mentioned xml:lang="LA">Ex Bibliotheca J. Richard
D.M.</mentioned>
</stamp>
</p>
</binding>
<p>Modern calf recasing with original armorial stamp <stamp>with legend
<mentioned xml:lang="LA">Ex Bibliotheca J. Richard
D.M.</mentioned>
</stamp>
</p>
</binding>
10.3.5 References to Locations within a Manuscript
<decoDesc>
<p>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.).</p>
</decoDesc>
<p>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.).</p>
</decoDesc>
<p>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>.</p>
<!-- ... -->
<p>A c. 8r fregio su due lati, <heraldry>stemma e imprese medicee</heraldry>
racchiudono l'inizio dell'epistolario di Paolino.</p>
passant within a bordure bezanty, in chief a crescent for difference</heraldry>
[Cole], crest, and the legend <quote>Cole Deum</quote>.</p>
<!-- ... -->
<p>A c. 8r fregio su due lati, <heraldry>stemma e imprese medicee</heraldry>
racchiudono l'inizio dell'epistolario di Paolino.</p>
<p>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 <q>Cole Deum</q>.</p>
<heraldry>A bull passant within a bordure bezanty,
in chief a crescent for difference</heraldry> [Cole],
crest, and the legend <q>Cole Deum</q>.</p>
<p>Barbey, en Normandie : <heraldry>d'azur, à deux bars adossés d'argent ; au chef cousu de
gueules, chargé de trois tourteaux d'or.</heraldry>.</p>
gueules, chargé de trois tourteaux d'or.</heraldry>.</p>
<p>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。</p>
<physDesc>
<p>
<material>Parchment</material> leaves with a
<material>sharkskin</material> binding.</p>
</physDesc>
<p>
<material>Parchment</material> leaves with a
<material>sharkskin</material> binding.</p>
</physDesc>
<p>
<index indexName="typo_decor">
<term>Entrelacs géométriques</term>
</index> Reliure en <material>maroquin</material> brun jaspé
</p>
<index indexName="typo_decor">
<term>Entrelacs géométriques</term>
</index> Reliure en <material>maroquin</material> brun jaspé
</p>
<physDesc>
<p>
<material>羊皮</material> 頁面用
<material>鯊魚皮</material>
捆綁</p>
</physDesc>
<p>
<material>羊皮</material> 頁面用
<material>鯊魚皮</material>
捆綁</p>
</physDesc>
<physDesc>
<p> Paper and vellum <objectType>codex</objectType> in modern cloth binding.</p>
</physDesc>
<p> Paper and vellum <objectType>codex</objectType> in modern cloth binding.</p>
</physDesc>
<physDesc>
<p>Fragment of a re-used marble <objectType>funerary stele</objectType>.
</p>
</physDesc>
<p>Fragment of a re-used marble <objectType>funerary stele</objectType>.
</p>
</physDesc>
<physDesc>
<p>
<objectType>Codex</objectType> avec feuilles de parchemin colorées avec la pourpre du murex.
</p>
</physDesc>
<p>
<objectType>Codex</objectType> avec feuilles de parchemin colorées avec la pourpre du murex.
</p>
</physDesc>
<physDesc>
<p>
<objectType>Socle</objectType> fragmentaire d'Aphrodite Anadyomène en terre cuite.</p>
</physDesc>
<p>
<objectType>Socle</objectType> fragmentaire d'Aphrodite Anadyomène en terre cuite.</p>
</physDesc>
<support>
<p>
<material>Rag paper</material> with <watermark>anchor</watermark> watermark</p>
</support>
<p>
<material>Rag paper</material> with <watermark>anchor</watermark> watermark</p>
</support>
<support>
<p>
<material>布漿紙</material>上有 <watermark>錨點</watermark>水印</p>
</support>
<p>
<material>布漿紙</material>上有 <watermark>錨點</watermark>水印</p>
</support>
<msContents>
<p>A collection of Lollard sermons</p>
</msContents>
<msContents>
<p>Atlas of the world from Western Europe and Africa to Indochina, containing 27
maps and 26 tables</p>
</msContents>
<msContents>
<p>Biblia sacra: Antiguo y Nuevo Testamento, con prefacios, prólogos y
argumentos de san Jerónimo y de otros. Interpretaciones de los nombres
hebreos.</p>
</msContents>
<p>A collection of Lollard sermons</p>
</msContents>
<msContents>
<p>Atlas of the world from Western Europe and Africa to Indochina, containing 27
maps and 26 tables</p>
</msContents>
<msContents>
<p>Biblia sacra: Antiguo y Nuevo Testamento, con prefacios, prólogos y
argumentos de san Jerónimo y de otros. Interpretaciones de los nombres
hebreos.</p>
</msContents>
<msItem class="#law #war">
<p>A treatise on Clausewitz</p>
<!-- details of the item here -->
</msItem>
<p>A treatise on Clausewitz</p>
<!-- details of the item here -->
</msItem>
<msItem>
<title>明藏</title>
<filiation>
<p>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。</p>
<p>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。</p>
</filiation>
</msItem>
<!--http://www.cbeta.org/data/budadata/hisutra.htm-->
<title>明藏</title>
<filiation>
<p>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。</p>
<p>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。</p>
</filiation>
</msItem>
<!--http://www.cbeta.org/data/budadata/hisutra.htm-->
<msItem>
<title>Guan-ben</title>
<filiation>
<p>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).</p>
<p>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.</p>
</filiation>
</msItem>
<!--http://www2.nkfust.edu.tw/~jochi/ed1.htm-->
<title>Guan-ben</title>
<filiation>
<p>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).</p>
<p>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.</p>
</filiation>
</msItem>
<!--http://www2.nkfust.edu.tw/~jochi/ed1.htm-->
<msContents class="#sermons">
<p>A collection of Lollard sermons</p>
</msContents>
<p>A collection of Lollard sermons</p>
</msContents>
<msContents>
<p>金剛般若波羅蜜經</p>
</msContents>
<p>金剛般若波羅蜜經</p>
</msContents>
<physDesc>
<p>Generic descriptive prose...</p>
<!-- other generic elements here -->
<objectDesc form="codex">
<!-- ... -->
</objectDesc>
<!-- other specific elements here -->
</physDesc>
<p>Generic descriptive prose...</p>
<!-- other generic elements here -->
<objectDesc form="codex">
<!-- ... -->
</objectDesc>
<!-- other specific elements here -->
</physDesc>
<objectDesc form="codex">
<supportDesc>
<p>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.</p>
</supportDesc>
</objectDesc>
<supportDesc>
<p>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.</p>
</supportDesc>
</objectDesc>
<support>
<p>
<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>.</p>
</support>
<p>
<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>.</p>
</support>
<collation>
<p>
<formula>1-3:8, 4:6, 5-13:8</formula>
</p>
</collation>
<collation>
<p>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>
</p>
</collation>
<collation>
<p>I (1, 2+9, 3+8, 4+7, 5+6, 10); II (11, 12+17, 13, 14, 15, 16, 18,
19).</p>
</collation>
<collation>
<p>
<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>
</p>
</collation>
<p>
<formula>1-3:8, 4:6, 5-13:8</formula>
</p>
</collation>
<collation>
<p>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>
</p>
</collation>
<collation>
<p>I (1, 2+9, 3+8, 4+7, 5+6, 10); II (11, 12+17, 13, 14, 15, 16, 18,
19).</p>
</collation>
<collation>
<p>
<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>
</p>
</collation>
<foliation>
<p>Neuere Foliierung, die auch das Vorsatzblatt mitgezählt
hat.</p>
</foliation>
<foliation>
<p>Folio numbers were added in brown ink by Árni Magnússon ca.
1720-1730 in the upper right corner of all recto-pages.</p>
</foliation>
<p>Neuere Foliierung, die auch das Vorsatzblatt mitgezählt
hat.</p>
</foliation>
<foliation>
<p>Folio numbers were added in brown ink by Árni Magnússon ca.
1720-1730 in the upper right corner of all recto-pages.</p>
</foliation>
<foliation xml:id="original">
<p>Original foliation in red roman numerals in the
middle of the outer margin of each recto</p>
</foliation>
<foliation xml:id="modern">
<p>Foliated in pencil in the top right corner of each
recto page.</p>
</foliation>
<!-- ... -->
<locus scheme="#modern">ff 1-20</locus>
<p>Original foliation in red roman numerals in the
middle of the outer margin of each recto</p>
</foliation>
<foliation xml:id="modern">
<p>Foliated in pencil in the top right corner of each
recto page.</p>
</foliation>
<!-- ... -->
<locus scheme="#modern">ff 1-20</locus>
<supportDesc>
<condition>
<p>The manuscript shows signs of damage from water and mould on its
outermost leaves.</p>
</condition>
</supportDesc>
<condition>
<p>The manuscript shows signs of damage from water and mould on its
outermost leaves.</p>
</condition>
</supportDesc>
<condition>
<p>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).</p>
</condition>
<p>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).</p>
</condition>
<layout ruledLines="25 32">
<p>Most pages have between 25 and 32 long lines ruled in lead.</p>
</layout>
<layout columns="1" writtenLines="24">
<p>Written in one column throughout; 24 lines per page.</p>
</layout>
<layout>
<p>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.</p>
</layout>
<p>Most pages have between 25 and 32 long lines ruled in lead.</p>
</layout>
<layout columns="1" writtenLines="24">
<p>Written in one column throughout; 24 lines per page.</p>
</layout>
<layout>
<p>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.</p>
</layout>
<layoutDesc>
<layout ruledLines="25 32">
<p>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.</p>
</layout>
<layout ruledLines="34 50">
<p>On <locus from="203r" to="209v">fols 203r-209v</locus> there are between 34
and 50 ruled lines.</p>
</layout>
</layoutDesc>
<layout ruledLines="25 32">
<p>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.</p>
</layout>
<layout ruledLines="34 50">
<p>On <locus from="203r" to="209v">fols 203r-209v</locus> there are between 34
and 50 ruled lines.</p>
</layout>
</layoutDesc>
<handDesc>
<p>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.</p>
</handDesc>
<p>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.</p>
</handDesc>
<handDesc hands="2">
<p>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.</p>
</handDesc>
<p>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.</p>
</handDesc>
<handDesc hands="3">
<handNote xml:id="Eirsp-1" scope="minor">
<p>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.</p>
</handNote>
<handNote xml:id="Eirsp-2" scope="major">
<p>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>.</p>
</handNote>
<handNote xml:id="Eirsp-3" scope="minor">
<p>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>.</p>
</handNote>
</handDesc>
<handNote xml:id="Eirsp-1" scope="minor">
<p>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.</p>
</handNote>
<handNote xml:id="Eirsp-2" scope="major">
<p>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>.</p>
</handNote>
<handNote xml:id="Eirsp-3" scope="minor">
<p>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>.</p>
</handNote>
</handDesc>
<typeDesc>
<p>Uses a mixture of Roman and Black Letter types.</p>
</typeDesc>
<p>Uses a mixture of Roman and Black Letter types.</p>
</typeDesc>
<decoDesc>
<p>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.</p>
</decoDesc>
<p>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.</p>
</decoDesc>
<decoDesc>
<decoNote type="miniature">
<p>One full-page miniature, facing the beginning of the first Penitential
Psalm.</p>
</decoNote>
<decoNote type="initial">
<p>One seven-line historiated initial, commencing the first Penitential
Psalm.</p>
</decoNote>
<decoNote type="initial">
<p>Six four-line decorated initials, commencing the second through the seventh
Penitential Psalm.</p>
</decoNote>
<decoNote type="initial">
<p>Some three hundred two-line versal initials with pen-flourishes, commencing
the psalm verses.</p>
</decoNote>
<decoNote type="border">
<p>Four-sided border decoration surrounding the miniatures and three-sided
border decoration accompanying the historiated and decorated initials.</p>
</decoNote>
</decoDesc>
<decoNote type="miniature">
<p>One full-page miniature, facing the beginning of the first Penitential
Psalm.</p>
</decoNote>
<decoNote type="initial">
<p>One seven-line historiated initial, commencing the first Penitential
Psalm.</p>
</decoNote>
<decoNote type="initial">
<p>Six four-line decorated initials, commencing the second through the seventh
Penitential Psalm.</p>
</decoNote>
<decoNote type="initial">
<p>Some three hundred two-line versal initials with pen-flourishes, commencing
the psalm verses.</p>
</decoNote>
<decoNote type="border">
<p>Four-sided border decoration surrounding the miniatures and three-sided
border decoration accompanying the historiated and decorated initials.</p>
</decoNote>
</decoDesc>
<decoDesc>
<decoNote type="miniatures">
<p>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>
</p>
</decoNote>
</decoDesc>
<decoNote type="miniatures">
<p>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>
</p>
</decoNote>
</decoDesc>
<musicNotation>
<p>Square notation on 4-line red staves.</p>
</musicNotation>
<p>Square notation on 4-line red staves.</p>
</musicNotation>
<musicNotation>
<p>Neumes in campo aperto of the St. Gall type.</p>
</musicNotation>
<p>Neumes in campo aperto of the St. Gall type.</p>
</musicNotation>
10.7.2.4 Additions and Marginalia
<additions>
<p>Doodles on most leaves, possibly by children, and often quite
amusing.</p>
</additions>
<p>Doodles on most leaves, possibly by children, and often quite
amusing.</p>
</additions>
10.7.2.4 Additions and Marginalia
<additions>
<p xml:lang="fr">Quelques annotations marginales des XVIe et XVIIe s.</p>
</additions>
<p xml:lang="fr">Quelques annotations marginales des XVIe et XVIIe s.</p>
</additions>
10.7.2.4 Additions and Marginalia
<additions>
<p>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.</p>
<p>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.</p>
</additions>
<p>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.</p>
<p>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.</p>
</additions>
10.7.2.4 Additions and Marginalia
<additions>
<p>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>.</p>
<p>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-century 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>
</p>
<p>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>.</p>
</additions>
<p>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>.</p>
<p>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-century 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>
</p>
<p>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>.</p>
</additions>
<bindingDesc>
<p>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.</p>
</bindingDesc>
<p>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.</p>
</bindingDesc>
<binding>
<p>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.</p>
<decoNote>
<p>On each cover: alternating circular stamps of the Holy Monogram, a
sunburst, and a flower.</p>
</decoNote>
<decoNote>
<p>On the cornerpieces, one of which is missing, a rectangular stamp
of the Agnus Dei.</p>
</decoNote>
<condition>Front and back leather inlaid panels very badly worn.</condition>
<p>Rebacked during the 19th century.</p>
</binding>
<p>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.</p>
<decoNote>
<p>On each cover: alternating circular stamps of the Holy Monogram, a
sunburst, and a flower.</p>
</decoNote>
<decoNote>
<p>On the cornerpieces, one of which is missing, a rectangular stamp
of the Agnus Dei.</p>
</decoNote>
<condition>Front and back leather inlaid panels very badly worn.</condition>
<p>Rebacked during the 19th century.</p>
</binding>
<sealDesc>
<seal n="1" type="pendant"
subtype="cauda_duplex">
<p>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>.</p>
</seal>
<seal n="2" type="pendant"
subtype="cauda_duplex">
<p>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>.</p>
</seal>
</sealDesc>
<seal n="1" type="pendant"
subtype="cauda_duplex">
<p>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>.</p>
</seal>
<seal n="2" type="pendant"
subtype="cauda_duplex">
<p>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>.</p>
</seal>
</sealDesc>
10.7.3.3 Accompanying Material
<accMat>
<p>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>
</p>
</accMat>
<p>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>
</p>
</accMat>
<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>
<p>Written in more than one hand.</p>
</handDesc>
<decoDesc>
<p>With a few coloured capitals.</p>
</decoDesc>
</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>
<p>Written in more than one hand.</p>
</handDesc>
<decoDesc>
<p>With a few coloured capitals.</p>
</decoDesc>
</physDesc>
<objectDesc form="codex">
<supportDesc material="mixed">
<p>Early modern
<material>parchment</material> and
<material>paper</material>.</p>
</supportDesc>
<layoutDesc>
<layout ruledLines="25 32"/>
</layoutDesc>
</objectDesc>
<supportDesc material="mixed">
<p>Early modern
<material>parchment</material> and
<material>paper</material>.</p>
</supportDesc>
<layoutDesc>
<layout ruledLines="25 32"/>
</layoutDesc>
</objectDesc>
<objectDesc form="codex">
<supportDesc material="mixed">
<p>現代早期 <material>羊皮紙</material>與<material>白紙</material>。</p>
</supportDesc>
<layoutDesc>
<layout ruledLines="25 32"/>
</layoutDesc>
</objectDesc>
<supportDesc material="mixed">
<p>現代早期 <material>羊皮紙</material>與<material>白紙</material>。</p>
</supportDesc>
<layoutDesc>
<layout ruledLines="25 32"/>
</layoutDesc>
</objectDesc>
<collation>
<p>
<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>
</p>
</collation>
<p>
<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>
</p>
</collation>
<collation>
<p>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。</p>
</collation>
<p>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。</p>
</collation>
<collation>
<p>
<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>
</p>
</collation>
<p>
<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>
</p>
</collation>
<condition>
<p>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. </p>
<p>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. </p>
<p>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>
</p>
</condition>
<p>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. </p>
<p>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. </p>
<p>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>
</p>
</condition>
<condition>
<p>輕度破損，本案第27至30頁缺頁。</p>
</condition>
<p>輕度破損，本案第27至30頁缺頁。</p>
</condition>
<layoutDesc>
<p>Most pages have between 25 and 32 long lines ruled in lead.</p>
</layoutDesc>
<p>Most pages have between 25 and 32 long lines ruled in lead.</p>
</layoutDesc>
<layoutDesc>
<p>Most pages have between 25 and 32 long lines ruled in lead.</p>
</layoutDesc>
<p>Most pages have between 25 and 32 long lines ruled in lead.</p>
</layoutDesc>
<layoutDesc>
<layout columns="2" ruledLines="42">
<p>
<locus from="f12r" to="f15v"/> 2 columns of 42 lines pricked and ruled in ink, with
central rule between the columns.</p>
</layout>
<layout columns="3">
<p>
<locus from="f16"/>Prickings for three columns are visible.</p>
</layout>
</layoutDesc>
<layout columns="2" ruledLines="42">
<p>
<locus from="f12r" to="f15v"/> 2 columns of 42 lines pricked and ruled in ink, with
central rule between the columns.</p>
</layout>
<layout columns="3">
<p>
<locus from="f16"/>Prickings for three columns are visible.</p>
</layout>
</layoutDesc>
<layoutDesc>
<p>每頁14行，每行40到43字不等；有 註文小字雙行，字數不等。</p>
</layoutDesc>
<p>每頁14行，每行40到43字不等；有 註文小字雙行，字數不等。</p>
</layoutDesc>
<layoutDesc>
<layout columns="2" ruledLines="42">
<p>
<locus from="f12r" to="f15v"/>兩欄共42行以墨水圈選、標誌，欄間有直線分隔。</p>
</layout>
<layout columns="3">
<p>
<locus from="f16"/>小孔的三欄可見.</p>
</layout>
</layoutDesc>
<layout columns="2" ruledLines="42">
<p>
<locus from="f12r" to="f15v"/>兩欄共42行以墨水圈選、標誌，欄間有直線分隔。</p>
</layout>
<layout columns="3">
<p>
<locus from="f16"/>小孔的三欄可見.</p>
</layout>
</layoutDesc>
<layoutDesc>
<layout columns="2" ruledLines="42">
<p>
<locus from="f12r" to="f15v"/>
2 columns of 42 lines pricked and ruled in ink, with
central rule between the columns.</p>
</layout>
<layout columns="3">
<p>
<locus from="f16"/>Prickings for three columns are visible.</p>
</layout>
</layoutDesc>
<layout columns="2" ruledLines="42">
<p>
<locus from="f12r" to="f15v"/>
2 columns of 42 lines pricked and ruled in ink, with
central rule between the columns.</p>
</layout>
<layout columns="3">
<p>
<locus from="f16"/>Prickings for three columns are visible.</p>
</layout>
</layoutDesc>
<layout columns="2" ruledLines="42">
<p>2 columns of 42 lines ruled in ink, with central rule between the columns.</p>
</layout>
<p>2 columns of 42 lines ruled in ink, with central rule between the columns.</p>
</layout>
<layout columns="1 2" writtenLines="40 50">
<p>Some pages have 2 columns, with central rule between the columns; each column with
between 40 and 50 lines of writing.</p>
</layout>
<p>Some pages have 2 columns, with central rule between the columns; each column with
between 40 and 50 lines of writing.</p>
</layout>
<layout columns="2" ruledLines="42">
<p>兩欄共42行油墨橫線，欄間有直線分隔。</p>
</layout>
<p>兩欄共42行油墨橫線，欄間有直線分隔。</p>
</layout>
<layout columns="1 2" writtenLines="40 50">
<p>有些頁面有兩欄，欄間有直線分隔；每欄有40至50行的字。</p>
</layout>
<p>有些頁面有兩欄，欄間有直線分隔；每欄有40至50行的字。</p>
</layout>
<layout columns="2" ruledLines="42">
<p>2 columns of 42 lines ruled in ink, with central rule
between the columns.</p>
</layout>
<p>2 columns of 42 lines ruled in ink, with central rule
between the columns.</p>
</layout>
<layout columns="1 2" writtenLines="40 50">
<p>Some pages have 2 columns, with central rule
between the columns; each column with between 40 and 50 lines of writing.</p>
</layout>
<p>Some pages have 2 columns, with central rule
between the columns; each column with between 40 and 50 lines of writing.</p>
</layout>
<handDesc hands="2">
<p>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.</p>
</handDesc>
<p>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.</p>
</handDesc>
<handDesc hands="1">
<p>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）。</p>
</handDesc>
<p>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）。</p>
</handDesc>
<handDesc hands="2">
<p>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.</p>
</handDesc>
<p>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.</p>
</handDesc>
<typeDesc>
<p>Uses an unidentified black letter font, probably from the
15th century</p>
</typeDesc>
<p>Uses an unidentified black letter font, probably from the
15th century</p>
</typeDesc>
<scriptDesc>
<p/>
</scriptDesc>
<p/>
</scriptDesc>
<musicNotation>
<p>Square notation of 4-line red staves.</p>
</musicNotation>
<p>Square notation of 4-line red staves.</p>
</musicNotation>
<musicNotation>
<p>Les clés se placent au commencement de la portée. Elles servent à fixer le nom des
notes et à indiquer en même temps la place que celles-ci occupent dans l'échelle
musicale.</p>
</musicNotation>
<p>Les clés se placent au commencement de la portée. Elles servent à fixer le nom des
notes et à indiquer en même temps la place que celles-ci occupent dans l'échelle
musicale.</p>
</musicNotation>
<musicNotation>
<p>紅色四線譜記號法</p>
</musicNotation>
<p>紅色四線譜記號法</p>
</musicNotation>
<decoDesc>
<p>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.</p>
</decoDesc>
<p>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.</p>
</decoDesc>
<decoDesc>
<p>Les miracles de la Vierge, par Gautier de Coinci ; un volume in-fol. de 285 feuilles,
orné d'initiales en or et en couleur,...</p>
</decoDesc>
<p>Les miracles de la Vierge, par Gautier de Coinci ; un volume in-fol. de 285 feuilles,
orné d'initiales en or et en couleur,...</p>
</decoDesc>
<decoDesc>
<p>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。</p>
</decoDesc>
<p>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。</p>
</decoDesc>
<decoDesc>
<decoNote type="initial">
<p>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.</p>
</decoNote>
</decoDesc>
<decoNote type="initial">
<p>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.</p>
</decoNote>
</decoDesc>
<decoDesc>
<decoNote type="initial">
<p>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。</p>
</decoNote>
</decoDesc>
<decoNote type="initial">
<p>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。</p>
</decoNote>
</decoDesc>
<additions>
<p>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>.</p>
</additions>
<p>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>.</p>
</additions>
<additions>
<p>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>.</p>
</additions>
<p>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>.</p>
</additions>
<bindingDesc>
<p>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.</p>
</bindingDesc>
<p>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.</p>
</bindingDesc>
<bindingDesc>
<binding contemporary="true">
<p>
<index indexName="typo_reliure">
<term>Reliure à décor</term>
</index>
<index indexName="typo_decor">
<term>Décor mosaïqué, avec formes géométriques à répétition</term>
</index> Reliure en <material>maroquin</material> citron</p>
<decoNote type="plats">à décor mosaïqué dit à répétition, dont l’effet de dallage est
obtenu par des pièces polylobées de maroquin noir, ornée chacune d’une composition de
petits fers plein or, cantonnées de petits disques de maroquin rouge ponctué chacun
d’un cercle plein or, le tout serti de filets dorés courbes.</decoNote>
<decoNote type="plat_sup"/>
<decoNote type="plat_inf"/>
<decoNote type="dos">Dos à 5 nerfs à décor analogue (pièce polylobée de maroquin noir
avec composition identique, cantonnée de quatre disques rouges, ponctués du même
cercle plein or) ; filets dorés sur les nerfs ; pièce de titre rouge dans le 2e
caisson, soulignée de deux lignes de points dorés identiques à celle portée en tête et
queue du dos, sur une bande de maroquin noir.</decoNote>
<decoNote type="tranchefiles">Tranchefiles simples droites, tricolores (noir, bleu et
rose).</decoNote>
<decoNote type="coupes">Coupes dorées, proposant en alternance un filet simple et une
succession de traits obliques.</decoNote>
<decoNote type="annexes">Signet de soie rose.</decoNote>
<decoNote type="tranches">Tranches dorées sur marbrure à motif caillouté, dans les tons
bleu et rose.</decoNote>
<decoNote type="contreplats"/>
<decoNote type="chasses">Chasses ornées d’une roulette à motif de zigzag.</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 plein or et gardes blanches (1 + 1), sans
filigrane.<watermark/>
</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"/>
<condition/>
</binding>
</bindingDesc>
<binding contemporary="true">
<p>
<index indexName="typo_reliure">
<term>Reliure à décor</term>
</index>
<index indexName="typo_decor">
<term>Décor mosaïqué, avec formes géométriques à répétition</term>
</index> Reliure en <material>maroquin</material> citron</p>
<decoNote type="plats">à décor mosaïqué dit à répétition, dont l’effet de dallage est
obtenu par des pièces polylobées de maroquin noir, ornée chacune d’une composition de
petits fers plein or, cantonnées de petits disques de maroquin rouge ponctué chacun
d’un cercle plein or, le tout serti de filets dorés courbes.</decoNote>
<decoNote type="plat_sup"/>
<decoNote type="plat_inf"/>
<decoNote type="dos">Dos à 5 nerfs à décor analogue (pièce polylobée de maroquin noir
avec composition identique, cantonnée de quatre disques rouges, ponctués du même
cercle plein or) ; filets dorés sur les nerfs ; pièce de titre rouge dans le 2e
caisson, soulignée de deux lignes de points dorés identiques à celle portée en tête et
queue du dos, sur une bande de maroquin noir.</decoNote>
<decoNote type="tranchefiles">Tranchefiles simples droites, tricolores (noir, bleu et
rose).</decoNote>
<decoNote type="coupes">Coupes dorées, proposant en alternance un filet simple et une
succession de traits obliques.</decoNote>
<decoNote type="annexes">Signet de soie rose.</decoNote>
<decoNote type="tranches">Tranches dorées sur marbrure à motif caillouté, dans les tons
bleu et rose.</decoNote>
<decoNote type="contreplats"/>
<decoNote type="chasses">Chasses ornées d’une roulette à motif de zigzag.</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 plein or et gardes blanches (1 + 1), sans
filigrane.<watermark/>
</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"/>
<condition/>
</binding>
</bindingDesc>
<bindingDesc>
<p>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。</p>
</bindingDesc>
<p>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。</p>
</bindingDesc>
<binding contemporary="true">
<p>Contemporary blind stamped leather over wooden boards with evidence of a fore edge clasp
closing to the back cover.</p>
</binding>
<p>Contemporary blind stamped leather over wooden boards with evidence of a fore edge clasp
closing to the back cover.</p>
</binding>
<binding contemporary="true">
<p>
<index indexName="typo_reliure">
<term>Reliure à la grecque, sur ais</term>
</index>
<index indexName="typo_decor">
<term>Décor de rinceaux</term>
</index> Reliure à la grecque en <material>maroquin</material> orange</p>
<decoNote type="plats"> aux armes de Henri II dorées sur une pièce de maroquin olive
découpée à la forme exacte des armes (104 mm), mosaïquée dans un rectangle central aux
angles orné d'un léger motif de rinceaux peints en noir, le tout encadré d'une large
bordure mosaïquée de maroquin rouge, à plein décor de rinceaux dorés (incluant un
croissant dans les angles) dessinés en réserve sur un fond pointillé doré.</decoNote>
<decoNote type="plat_sup">Au plat supérieur, titre <q>i • schonerii • opera •</q> doré
au-dessus du bloc armorial.</decoNote>
<decoNote type="plat_inf"/>
<decoNote type="dos">Dos long à décor analogue avec pièces losangées de maroquin rouge et
brun mosaïquées, respectivement au centre et aux deux extrémités du dos, ornées d'un
décor de rinceaux doré en réserve sur un fond doré pointillé, avec fer azuré au chapeau
à chaque extrémité ; chaque pièce de maroquin est redessinée par un encadrement argenté,
lui-même complété de rinceaux sur les côtés et relevé par des traits tracés de plume à
effet de rayures.</decoNote>
<decoNote type="tranchefiles">Tranchefiles doubles bicolores : points droits sur chevrons,
bleus et jaunes.</decoNote>
<decoNote type="coupes">Chants des ais rainurés.</decoNote>
<decoNote type="annexes">Traces de petits boulons aux angles du rectangle intérieur ;
traces des quatre lanières tressées d'origine sur les deux plats ; pas de traces de
sabots.</decoNote>
<decoNote type="tranches">Tranches dorées, ciselées et peintes (teinte rosée), à décor de
rinceaux incluant des éléments de l'héraldique royale : triple croissant en tête, grand
H couronné associé à un croissant en gouttière, chiffre HH en queue.</decoNote>
<decoNote type="contreplats"/>
<decoNote type="chasses">Absence de 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 (3+2), filigrane <watermark>B</watermark>. </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"/>
<condition/>
</binding>
<p>
<index indexName="typo_reliure">
<term>Reliure à la grecque, sur ais</term>
</index>
<index indexName="typo_decor">
<term>Décor de rinceaux</term>
</index> Reliure à la grecque en <material>maroquin</material> orange</p>
<decoNote type="plats"> aux armes de Henri II dorées sur une pièce de maroquin olive
découpée à la forme exacte des armes (104 mm), mosaïquée dans un rectangle central aux
angles orné d'un léger motif de rinceaux peints en noir, le tout encadré d'une large
bordure mosaïquée de maroquin rouge, à plein décor de rinceaux dorés (incluant un
croissant dans les angles) dessinés en réserve sur un fond pointillé doré.</decoNote>
<decoNote type="plat_sup">Au plat supérieur, titre <q>i • schonerii • opera •</q> doré
au-dessus du bloc armorial.</decoNote>
<decoNote type="plat_inf"/>
<decoNote type="dos">Dos long à décor analogue avec pièces losangées de maroquin rouge et
brun mosaïquées, respectivement au centre et aux deux extrémités du dos, ornées d'un
décor de rinceaux doré en réserve sur un fond doré pointillé, avec fer azuré au chapeau
à chaque extrémité ; chaque pièce de maroquin est redessinée par un encadrement argenté,
lui-même complété de rinceaux sur les côtés et relevé par des traits tracés de plume à
effet de rayures.</decoNote>
<decoNote type="tranchefiles">Tranchefiles doubles bicolores : points droits sur chevrons,
bleus et jaunes.</decoNote>
<decoNote type="coupes">Chants des ais rainurés.</decoNote>
<decoNote type="annexes">Traces de petits boulons aux angles du rectangle intérieur ;
traces des quatre lanières tressées d'origine sur les deux plats ; pas de traces de
sabots.</decoNote>
<decoNote type="tranches">Tranches dorées, ciselées et peintes (teinte rosée), à décor de
rinceaux incluant des éléments de l'héraldique royale : triple croissant en tête, grand
H couronné associé à un croissant en gouttière, chiffre HH en queue.</decoNote>
<decoNote type="contreplats"/>
<decoNote type="chasses">Absence de 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 (3+2), filigrane <watermark>B</watermark>. </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"/>
<condition/>
</binding>
<bindingDesc>
<binding contemporary="true">
<p>
<index indexName="typo_reliure">
<term>Reliure à décor</term>
</index>
<index indexName="typo_decor">
<term>Compartiments espacés</term>
</index> Reliure en <material>maroquin</material> rouge sombre</p>
<decoNote type="plats"> aux armes du chancelier Pierre Séguier, à décor de compartiments
complétés de fers filigranés, parmi lesquels un fer à la petite tête (type B).</decoNote>
<decoNote type="plat_sup"/>
<decoNote type="plat_inf"/>
<decoNote type="dos">Dos à 6 nerfs, à décor filigrané analogue ; palette ornée sur les
nerfs et en tête et queue du dos ; titrage dans le 2e caisson.</decoNote>
<decoNote type="tranchefiles">Tranchefiles à chapiteau tricolore (bleu, blanc et rose).</decoNote>
<decoNote type="coupes">Coupes ornées.</decoNote>
<decoNote type="annexes"/>
<decoNote type="tranches">Tranches dorées.</decoNote>
<decoNote type="contreplats">Contregardes en papier marbré à petit peigne, dans les tons
bleu, blanc, jaune, rouge et blanc.</decoNote>
<decoNote type="chasses">Chasses ornées.</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">
<watermark/>
</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"/>
<condition>Quelques taches sombres
<!--surla --> sur le plat supérieur et larges
éraflures du cuir au plat inférieur. Restauration en queue du mors inférieur (bande de
cuir).</condition>
</binding>
</bindingDesc>
<binding contemporary="true">
<p>
<index indexName="typo_reliure">
<term>Reliure à décor</term>
</index>
<index indexName="typo_decor">
<term>Compartiments espacés</term>
</index> Reliure en <material>maroquin</material> rouge sombre</p>
<decoNote type="plats"> aux armes du chancelier Pierre Séguier, à décor de compartiments
complétés de fers filigranés, parmi lesquels un fer à la petite tête (type B).</decoNote>
<decoNote type="plat_sup"/>
<decoNote type="plat_inf"/>
<decoNote type="dos">Dos à 6 nerfs, à décor filigrané analogue ; palette ornée sur les
nerfs et en tête et queue du dos ; titrage dans le 2e caisson.</decoNote>
<decoNote type="tranchefiles">Tranchefiles à chapiteau tricolore (bleu, blanc et rose).</decoNote>
<decoNote type="coupes">Coupes ornées.</decoNote>
<decoNote type="annexes"/>
<decoNote type="tranches">Tranches dorées.</decoNote>
<decoNote type="contreplats">Contregardes en papier marbré à petit peigne, dans les tons
bleu, blanc, jaune, rouge et blanc.</decoNote>
<decoNote type="chasses">Chasses ornées.</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">
<watermark/>
</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"/>
<condition>Quelques taches sombres
<!--surla --> sur le plat supérieur et larges
éraflures du cuir au plat inférieur. Restauration en queue du mors inférieur (bande de
cuir).</condition>
</binding>
</bindingDesc>
<binding contemporary="true">
<p>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。</p>
</binding>
<p>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。</p>
</binding>
<bindingDesc>
<binding contemporary="false">
<p> 使用與書寫的貝葉非同時代的樹條捆住</p>
</binding>
<binding contemporary="false">
<p>以十九世紀的不知名棉繩重綁；裁切邊緣並鍍金</p>
</binding>
</bindingDesc>
<binding contemporary="false">
<p> 使用與書寫的貝葉非同時代的樹條捆住</p>
</binding>
<binding contemporary="false">
<p>以十九世紀的不知名棉繩重綁；裁切邊緣並鍍金</p>
</binding>
</bindingDesc>
<bindingDesc>
<binding contemporary="false">
<p>Quarter bound by the Phillipps' binder, Bretherton, with his sticker on the front
pastedown.</p>
</binding>
<binding contemporary="false">
<p>Rebound by an unknown 19th c. company; edges cropped and gilt.</p>
</binding>
</bindingDesc>
<binding contemporary="false">
<p>Quarter bound by the Phillipps' binder, Bretherton, with his sticker on the front
pastedown.</p>
</binding>
<binding contemporary="false">
<p>Rebound by an unknown 19th c. company; edges cropped and gilt.</p>
</binding>
</bindingDesc>
<sealDesc>
<seal type="pendant" contemporary="true">
<p>Green wax vertical oval seal attached at base.</p>
</seal>
</sealDesc>
<seal type="pendant" contemporary="true">
<p>Green wax vertical oval seal attached at base.</p>
</seal>
</sealDesc>
<sealDesc>
<p>Parchment strip for seal in place; seal missing.</p>
</sealDesc>
<p>Parchment strip for seal in place; seal missing.</p>
</sealDesc>
<seal n="2" type="pendant"
subtype="cauda_duplex">
<p>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>.</p>
</seal>
subtype="cauda_duplex">
<p>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>.</p>
</seal>
<seal n="2" type="pendant"
subtype="cauda_duplex">
<p>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>.</p>
</seal>
subtype="cauda_duplex">
<p>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>.</p>
</seal>
<seal>
<p>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。</p>
</seal>
<p>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。</p>
</seal>
<history>
<origin>
<p>Written in <origPlace>Durham</origPlace> during <origDate notBefore="1125"
notAfter="1175">the mid-twelfth
century</origDate>.</p>
</origin>
<provenance>
<p>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>.</p>
</provenance>
<provenance>
<p>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.</p>
</provenance>
<acquisition>
<p>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>.</p>
</acquisition>
</history>
<origin>
<p>Written in <origPlace>Durham</origPlace> during <origDate notBefore="1125"
notAfter="1175">the mid-twelfth
century</origDate>.</p>
</origin>
<provenance>
<p>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>.</p>
</provenance>
<provenance>
<p>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.</p>
</provenance>
<acquisition>
<p>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>.</p>
</acquisition>
</history>
<history>
<origin>
<p>Written in Durham during the mid twelfth
century.</p>
</origin>
<provenance>
<p>Recorded in two medieval
catalogues of the books belonging to Durham Priory, made in 1391 and
1405.</p>
</provenance>
<provenance>
<p>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.</p>
</provenance>
<acquisition>
<p>Presented to Trinity College in 1738 by
Thomas Gale and his son Roger.</p>
</acquisition>
</history>
<origin>
<p>Written in Durham during the mid twelfth
century.</p>
</origin>
<provenance>
<p>Recorded in two medieval
catalogues of the books belonging to Durham Priory, made in 1391 and
1405.</p>
</provenance>
<provenance>
<p>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.</p>
</provenance>
<acquisition>
<p>Presented to Trinity College in 1738 by
Thomas Gale and his son Roger.</p>
</acquisition>
</history>
<history>
<origin>
<p>最早由迦葉尊者以梵文手寫。</p>
</origin>
<provenance>
<p>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。</p>
<p>淨嚴和尚於1694年以梵文悉曇體手寫抄錄。</p>
<p>穆勒（Max Muller）於1884年轉寫成天城體及羅馬拼音，傳至歐美國家。</p>
</provenance>
<acquisition>
<p>現收藏於東京博物館。</p>
</acquisition>
</history>
<origin>
<p>最早由迦葉尊者以梵文手寫。</p>
</origin>
<provenance>
<p>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。</p>
<p>淨嚴和尚於1694年以梵文悉曇體手寫抄錄。</p>
<p>穆勒（Max Muller）於1884年轉寫成天城體及羅馬拼音，傳至歐美國家。</p>
</provenance>
<acquisition>
<p>現收藏於東京博物館。</p>
</acquisition>
</history>
<additional>
<adminInfo>
<recordHist>
<p>
<!-- record history here -->
</p>
</recordHist>
<custodialHist>
<p>
<!-- custodial history here -->
</p>
</custodialHist>
</adminInfo>
<surrogates>
<p>
<!-- information about surrogates here -->
</p>
</surrogates>
<listBibl>
<bibl>
<!-- ... -->
</bibl>
<!-- full bibliography here -->
</listBibl>
</additional>
<adminInfo>
<recordHist>
<p>
<!-- record history here -->
</p>
</recordHist>
<custodialHist>
<p>
<!-- custodial history here -->
</p>
</custodialHist>
</adminInfo>
<surrogates>
<p>
<!-- information about surrogates here -->
</p>
</surrogates>
<listBibl>
<bibl>
<!-- ... -->
</bibl>
<!-- full bibliography here -->
</listBibl>
</additional>
<additional>
<adminInfo>
<recordHist>
<p>
<!-- ... -->
</p>
</recordHist>
<custodialHist>
<p>
<!-- ... -->
</p>
</custodialHist>
</adminInfo>
<surrogates>
<p>
<!-- ... -->
</p>
</surrogates>
<listBibl>
<bibl>
<!-- ... -->
</bibl>
</listBibl>
</additional>
<adminInfo>
<recordHist>
<p>
<!-- ... -->
</p>
</recordHist>
<custodialHist>
<p>
<!-- ... -->
</p>
</custodialHist>
</adminInfo>
<surrogates>
<p>
<!-- ... -->
</p>
</surrogates>
<listBibl>
<bibl>
<!-- ... -->
</bibl>
</listBibl>
</additional>
<additional>
<adminInfo>
<recordHist>
<p>
<!-- 檔案歷史紀錄 -->
</p>
</recordHist>
<custodialHist>
<p>
<!-- 保管歷史紀錄 -->
</p>
</custodialHist>
</adminInfo>
<surrogates>
<p>
<!-- 代用品資訊 -->
</p>
</surrogates>
<listBibl>
<bibl>
<!-- ... -->
</bibl>
<!-- 完整參考書目 -->
</listBibl>
</additional>
<adminInfo>
<recordHist>
<p>
<!-- 檔案歷史紀錄 -->
</p>
</recordHist>
<custodialHist>
<p>
<!-- 保管歷史紀錄 -->
</p>
</custodialHist>
</adminInfo>
<surrogates>
<p>
<!-- 代用品資訊 -->
</p>
</surrogates>
<listBibl>
<bibl>
<!-- ... -->
</bibl>
<!-- 完整參考書目 -->
</listBibl>
</additional>
<source>
<p>Directly catalogued from the original manuscript.</p>
</source>
<p>Directly catalogued from the original manuscript.</p>
</source>
<recordHist>
<source>
<p>Information transcribed from <bibl>
<title>The index of Middle English
verse</title>
<biblScope>123</biblScope>
</bibl>.</p>
</source>
</recordHist>
<source>
<p>Information transcribed from <bibl>
<title>The index of Middle English
verse</title>
<biblScope>123</biblScope>
</bibl>.</p>
</source>
</recordHist>
<additional>
<adminInfo>
<recordHist>
<source>
<p>Information transcribed from <bibl>
<ref target="#IMEV">IMEV</ref>
123</bibl>.</p>
</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>
<!-- other bibliographic records relating to this manuscript here -->
</listBibl>
</additional>
<adminInfo>
<recordHist>
<source>
<p>Information transcribed from <bibl>
<ref target="#IMEV">IMEV</ref>
123</bibl>.</p>
</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>
<!-- other bibliographic records relating to this manuscript here -->
</listBibl>
</additional>
10.9.1.2 Availability and Custodial History
<availability>
<p>Viewed by appointment only, to be arranged with curator.</p>
</availability>
<availability>
<p>In conservation, Jan. - Mar., 2002. On loan to the Bayerische
Staatsbibliothek, April - July, 2002.</p>
</availability>
<availability>
<p>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.</p>
</availability>
<p>Viewed by appointment only, to be arranged with curator.</p>
</availability>
<availability>
<p>In conservation, Jan. - Mar., 2002. On loan to the Bayerische
Staatsbibliothek, April - July, 2002.</p>
</availability>
<availability>
<p>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.</p>
</availability>
10.9.1.2 Availability and Custodial History
<custodialHist>
<custEvent type="conservation"
notBefore="1961-03-01" notAfter="1963-02-28">
<p>Conserved between March 1961 and February 1963 at Birgitte Dalls
Konserveringsværksted.</p>
</custEvent>
<custEvent type="photography"
notBefore="1988-05-01" notAfter="1988-05-30">
<p>Photographed in May 1988 by AMI/FA.</p>
</custEvent>
<custEvent type="transfer"
notBefore="1989-11-13" notAfter="1989-11-13">
<p>Dispatched to Iceland 13 November 1989.</p>
</custEvent>
</custodialHist>
<custEvent type="conservation"
notBefore="1961-03-01" notAfter="1963-02-28">
<p>Conserved between March 1961 and February 1963 at Birgitte Dalls
Konserveringsværksted.</p>
</custEvent>
<custEvent type="photography"
notBefore="1988-05-01" notAfter="1988-05-30">
<p>Photographed in May 1988 by AMI/FA.</p>
</custEvent>
<custEvent type="transfer"
notBefore="1989-11-13" notAfter="1989-11-13">
<p>Dispatched to Iceland 13 November 1989.</p>
</custEvent>
</custodialHist>
<adminInfo>
<recordHist>
<source>Record created <date>1 Aug 2004</date>
</source>
</recordHist>
<availability>
<p>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.</p>
</availability>
<custodialHist>
<p>Collection donated to the Manuscript Library by the Estate of
Edgar Holden in 1993. Donor number: 1993-034.</p>
</custodialHist>
</adminInfo>
<recordHist>
<source>Record created <date>1 Aug 2004</date>
</source>
</recordHist>
<availability>
<p>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.</p>
</availability>
<custodialHist>
<p>Collection donated to the Manuscript Library by the Estate of
Edgar Holden in 1993. Donor number: 1993-034.</p>
</custodialHist>
</adminInfo>
<adminInfo>
<recordHist>
<source>紀錄建立於<date>2004年8月1日</date>
</source>
</recordHist>
<availability>
<p>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。</p>
</availability>
<custodialHist>
<p>此收藏1993年捐贈於故宮博物院。贈與編號：1993-034。</p>
</custodialHist>
</adminInfo>
<recordHist>
<source>紀錄建立於<date>2004年8月1日</date>
</source>
</recordHist>
<availability>
<p>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。</p>
</availability>
<custodialHist>
<p>此收藏1993年捐贈於故宮博物院。贈與編號：1993-034。</p>
</custodialHist>
</adminInfo>
<recordHist>
<source>
<p>Derived from <ref target="#IMEV">IMEV 123</ref> with additional research
by P.M.W.Robinson</p>
</source>
<change when="1999-06-23">
<name>LDB</name> (editor)
checked examples against DTD version 3.6
</change>
</recordHist>
<source>
<p>Derived from <ref target="#IMEV">IMEV 123</ref> with additional research
by P.M.W.Robinson</p>
</source>
<change when="1999-06-23">
<name>LDB</name> (editor)
checked examples against DTD version 3.6
</change>
</recordHist>
<recordHist>
<source>
<p>Derived from <ref target="#fr_IMEV">IMEV 123</ref> with additional research by
P.M.W.Robinson</p>
</source>
<change when="1999-06-23">
<name>LDB</name> (editor) checked examples against DTD version
3.6 </change>
</recordHist>
<source>
<p>Derived from <ref target="#fr_IMEV">IMEV 123</ref> with additional research by
P.M.W.Robinson</p>
</source>
<change when="1999-06-23">
<name>LDB</name> (editor) checked examples against DTD version
3.6 </change>
</recordHist>
<recordHist>
<source>
<p>源自<ref target="#IMEV">IMEV 123</ref>及P.M.W.羅賓森的附加研究。</p>
</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>
<source>
<p>源自<ref target="#IMEV">IMEV 123</ref>及P.M.W.羅賓森的附加研究。</p>
</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>
<surrogates>
<p>
<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>
</p>
</surrogates>
<p>
<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>
</p>
</surrogates>
<msDesc>
<msIdentifier>
<msName>Letter of Carl Maria von Weber to Caroline Brandt. Dresden, 21st to 23rd May 1817 </msName>
</msIdentifier>
<history>
<p>The second part of the letter (Weberiana Cl.II A a 2, 9) was given to Friedrich Jähns by Caroline von Weber,
the widow of Carl Maria von Weber. Jähns then handed this fragment over to the Berlin state library in 1881,
whereas the first part (Mus.ep. Weber, C. M. v. 96) remained with the family estate and found its way into the library not until 1956.
Yet, the identification was already obvious to Jähns who noted <quote>Zu No. 50. 21. Mai 1817 gehörig</quote>
at the top of his fragment.</p>
</history>
<msFrag>
<msIdentifier>
<country>D</country>
<settlement>Berlin</settlement>
<repository>Staatsbibliothek zu Berlin Preußischer Kulturbesitz</repository>
<idno>Mus.ep. Weber, C. M. v. 96</idno>
</msIdentifier>
<physDesc>
<objectDesc>
<supportDesc>
<p>One double leaf, four written pages without address.</p>
</supportDesc>
</objectDesc>
</physDesc>
</msFrag>
<msFrag>
<msIdentifier>
<country>D</country>
<settlement>Berlin</settlement>
<repository>Staatsbibliothek zu Berlin Preußischer Kulturbesitz</repository>
<idno>Weberiana Cl.II A a 2, 9</idno>
</msIdentifier>
<physDesc>
<objectDesc>
<supportDesc>
<p>One leaf, two written pages including address.</p>
</supportDesc>
</objectDesc>
</physDesc>
</msFrag>
</msDesc>
<msIdentifier>
<msName>Letter of Carl Maria von Weber to Caroline Brandt. Dresden, 21st to 23rd May 1817 </msName>
</msIdentifier>
<history>
<p>The second part of the letter (Weberiana Cl.II A a 2, 9) was given to Friedrich Jähns by Caroline von Weber,
the widow of Carl Maria von Weber. Jähns then handed this fragment over to the Berlin state library in 1881,
whereas the first part (Mus.ep. Weber, C. M. v. 96) remained with the family estate and found its way into the library not until 1956.
Yet, the identification was already obvious to Jähns who noted <quote>Zu No. 50. 21. Mai 1817 gehörig</quote>
at the top of his fragment.</p>
</history>
<msFrag>
<msIdentifier>
<country>D</country>
<settlement>Berlin</settlement>
<repository>Staatsbibliothek zu Berlin Preußischer Kulturbesitz</repository>
<idno>Mus.ep. Weber, C. M. v. 96</idno>
</msIdentifier>
<physDesc>
<objectDesc>
<supportDesc>
<p>One double leaf, four written pages without address.</p>
</supportDesc>
</objectDesc>
</physDesc>
</msFrag>
<msFrag>
<msIdentifier>
<country>D</country>
<settlement>Berlin</settlement>
<repository>Staatsbibliothek zu Berlin Preußischer Kulturbesitz</repository>
<idno>Weberiana Cl.II A a 2, 9</idno>
</msIdentifier>
<physDesc>
<objectDesc>
<supportDesc>
<p>One leaf, two written pages including address.</p>
</supportDesc>
</objectDesc>
</physDesc>
</msFrag>
</msDesc>
11 Representation of Primary Sources
<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.<lb/> Chapitre septiesme</head>
<div n="1">
<p>Le son & accord des cloches pendans en ung mesme <lb/> axe, est faict en
contraires parties.</p>
<p rend="it" facs="#B49rPara2">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>
</p>
</div>
<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.<lb/> Chapitre septiesme</head>
<div n="1">
<p>Le son & accord des cloches pendans en ung mesme <lb/> axe, est faict en
contraires parties.</p>
<p rend="it" facs="#B49rPara2">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>
</p>
</div>
11.3.1.3 Correction and Conjecture
<correction>
<p>The following codes are used to categorize 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>
</p>
</correction>
<p>The following codes are used to categorize 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>
</p>
</correction>
11.3.3.1 Damage, Illegibility, and Supplied Text
<p>
<!-- ... -->
<pb n="5r"/>
<damageSpan agent="rubbing"
extent="whole leaf" spanTo="#damageEnd"/>
</p>
<p> [...] </p>
<p> [...] <pb n="5v" xml:id="damageEnd"/>
</p>
<!-- ... -->
<pb n="5r"/>
<damageSpan agent="rubbing"
extent="whole leaf" spanTo="#damageEnd"/>
</p>
<p> [...] </p>
<p> [...] <pb n="5v" xml:id="damageEnd"/>
</p>
<p>Paragraph partially damaged. This is the undamaged
portion <damageSpan spanTo="#a34"/>and this the damaged
portion of the paragraph.</p>
<p>This paragraph is entirely damaged.</p>
<p>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. ...</p>
portion <damageSpan spanTo="#a34"/>and this the damaged
portion of the paragraph.</p>
<p>This paragraph is entirely damaged.</p>
<p>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. ...</p>
<p>Paragraph partially damaged. This is the undamaged portion <damageSpan spanTo="#fr_a34"/>and
this the damaged portion of the paragraph.</p>
<p>This paragraph is entirely damaged.</p>
<p>Paragraph partially damaged; in the middle of this paragraph the damage ends and the
anchor point marks the start of the <anchor xml:id="fr_a34"/> undamaged part of the text.
...</p>
this the damaged portion of the paragraph.</p>
<p>This paragraph is entirely damaged.</p>
<p>Paragraph partially damaged; in the middle of this paragraph the damage ends and the
anchor point marks the start of the <anchor xml:id="fr_a34"/> undamaged part of the text.
...</p>
<p>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。</p>
<p>此段全部毀損。</p>
<p>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。</p>
<p>此段全部毀損。</p>
<p>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。</p>
<p>Paragraph partially deleted. This is the undeleted
portion <delSpan spanTo="#a23"/>and this the deleted
portion of the paragraph.</p>
<p>Paragraph deleted together with adjacent material.</p>
<p>Second fully deleted paragraph.</p>
<p>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. ...</p>
portion <delSpan spanTo="#a23"/>and this the deleted
portion of the paragraph.</p>
<p>Paragraph deleted together with adjacent material.</p>
<p>Second fully deleted paragraph.</p>
<p>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. ...</p>
<p>Paragraph partially deleted. This is the undeleted portion <delSpan spanTo="#fr_a23"/>and
this the deleted portion of the paragraph.</p>
<p>Paragraph deleted together with adjacent material.</p>
<p>Second fully deleted paragraph.</p>
<p>Paragraph partially deleted; in the middle of this paragraph the deletion ends and the
anchor point marks the resumption <anchor xml:id="fr_a23"/> of the text. ...</p>
this the deleted portion of the paragraph.</p>
<p>Paragraph deleted together with adjacent material.</p>
<p>Second fully deleted paragraph.</p>
<p>Paragraph partially deleted; in the middle of this paragraph the deletion ends and the
anchor point marks the resumption <anchor xml:id="fr_a23"/> of the text. ...</p>
<p>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。</p>
<p>此段落以及與它相關的資料一同被刪除。</p>
<p>第二個完全刪除的段落。</p>
<p>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。</p>
<p>此段落以及與它相關的資料一同被刪除。</p>
<p>第二個完全刪除的段落。</p>
<p>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。</p>
13 Names, Dates, People, and Places
<p>The <roleName role="#solicitor_general">S.G.</roleName> is the only national public official,
including the Supreme Court justices, required by statute to be “learned in the law.”</p>
including the Supreme Court justices, required by statute to be “learned in the law.”</p>
<p>
<persName ref="#NJF">
<roleName role="#solicitor_general">Solicitor General</roleName> Noel J. Francisco</persName>,
representing the administration, asserted in rebuttal that there was nothing to disavow (...)
<persName ref="#NJF">Francisco</persName> had violated the scrupulous standard of candor about the facts and
the law that <roleName role="#solicitor_general">S.G.s</roleName>, in Republican and Democratic administrations
alike, have repeatedly said they must honor.
</p>
<persName ref="#NJF">
<roleName role="#solicitor_general">Solicitor General</roleName> Noel J. Francisco</persName>,
representing the administration, asserted in rebuttal that there was nothing to disavow (...)
<persName ref="#NJF">Francisco</persName> had violated the scrupulous standard of candor about the facts and
the law that <roleName role="#solicitor_general">S.G.s</roleName>, in Republican and Democratic administrations
alike, have repeatedly said they must honor.
</p>
<p> The <objectName ref="#MinsterLovellJewel">Minster Lovell Jewel</objectName> is probably the most similar to the
<objectName ref="#AlfredJewel">Alfred Jewel</objectName> and was found in <placeName ref="#MinsterLovell">Minster
Lovell</placeName> in <placeName ref="#Oxfordshire">Oxfordshire</placeName> and is kept at the <orgName ref="#AshmoleanMuseum">Ashmolean Museum</orgName>. </p>
<objectName ref="#AlfredJewel">Alfred Jewel</objectName> and was found in <placeName ref="#MinsterLovell">Minster
Lovell</placeName> in <placeName ref="#Oxfordshire">Oxfordshire</placeName> and is kept at the <orgName ref="#AshmoleanMuseum">Ashmolean Museum</orgName>. </p>
13.3.2.1 Personal Characteristics
<langKnowledge tags="ff fr wo en">
<p>Speaks fluent Fulani, Wolof, and French. Some knowledge of
English.</p>
</langKnowledge>
<p>Speaks fluent Fulani, Wolof, and French. Some knowledge of
English.</p>
</langKnowledge>
13.3.2.1 Personal Characteristics
<state type="office" from="1777-04-07"
to="1780-07-12">
<p>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"
ref="tag:projectname.org,2012:ThorJon">sr. Þórður Jónsson</name> at <name type="place">Kálfafell á Síðu</name>,
<name type="place">Skaftafellssýsla</name>.</p>
<bibl>ÞÍ, Stms I.15, p. 733.</bibl>
<bibl>ÞÍ, Stms I.17, p.
102.</bibl>
</state>
to="1780-07-12">
<p>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"
ref="tag:projectname.org,2012:ThorJon">sr. Þórður Jónsson</name> at <name type="place">Kálfafell á Síðu</name>,
<name type="place">Skaftafellssýsla</name>.</p>
<bibl>ÞÍ, Stms I.15, p. 733.</bibl>
<bibl>ÞÍ, Stms I.17, p.
102.</bibl>
</state>
<event type="birth" resp="#XYZ" cert="high">
<p>Born in <name type="place">Brixton</name> on 8 January
1947.</p>
</event>
<event type="birth" resp="#ABC" cert="low">
<p>Born in <name type="place">Berkhamsted</name> on 9 January
1947.</p>
</event>
<p>Born in <name type="place">Brixton</name> on 8 January
1947.</p>
</event>
<event type="birth" resp="#ABC" cert="low">
<p>Born in <name type="place">Berkhamsted</name> on 9 January
1947.</p>
</event>
<p>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>
</p>
<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>
</p>
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">
<p>Constitutional republic</p>
</state>
<state type="governance" notAfter="1944">
<p>Part of the kingdom of <placeName key="DK">Denmark</placeName>
</p>
</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">
<p>An independent republic since June 1944</p>
</state>
</place>
<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">
<p>Constitutional republic</p>
</state>
<state type="governance" notAfter="1944">
<p>Part of the kingdom of <placeName key="DK">Denmark</placeName>
</p>
</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">
<p>An independent republic since June 1944</p>
</state>
</place>
<langKnowledge tags="en-GB fr">
<p>British English and French</p>
</langKnowledge>
<p>British English and French</p>
</langKnowledge>
<langKnowledge tags="en-GB fr">
<p>Anglais britannique et français</p>
</langKnowledge>
<p>Anglais britannique et français</p>
</langKnowledge>
<langKnowledge tags="en-GB fr">
<p>英式英文與法文</p>
</langKnowledge>
<p>英式英文與法文</p>
</langKnowledge>
<listRelation>
<p>Tous les locuteurs sont membres de la famille Ceruli, et sont nés à Naples.</p>
</listRelation>
<p>Tous les locuteurs sont membres de la famille Ceruli, et sont nés à Naples.</p>
</listRelation>
<listRelation>
<p>所有說話者都是林家的人，生於台北板橋。</p>
</listRelation>
<p>所有說話者都是林家的人，生於台北板橋。</p>
</listRelation>
<listRelation>
<p>All speakers are members of the Ceruli family, born in Naples.</p>
</listRelation>
<p>All speakers are members of the Ceruli family, born in Naples.</p>
</listRelation>
<person sex="F" age="adult">
<p>Female respondent, well-educated, born in Shropshire UK, 12 Jan 1950, of unknown occupation. Speaks French fluently. Socio-Economic
status B2.</p>
</person>
<p>Female respondent, well-educated, born in Shropshire UK, 12 Jan 1950, of unknown occupation. Speaks French fluently. Socio-Economic
status B2.</p>
</person>
<person sex="2" age="adult">
<p>Personne interrogée, de sexe féminin, instruite, née à Shropshire, au ROYAUME-UNI le 12
Janvier 1950, d'occupation inconnue. Parle le français couramment. Statut
socio-économique B2.</p>
</person>
<p>Personne interrogée, de sexe féminin, instruite, née à Shropshire, au ROYAUME-UNI le 12
Janvier 1950, d'occupation inconnue. Parle le français couramment. Statut
socio-économique B2.</p>
</person>
<person sex="2" age="adult">
<p>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。</p>
</person>
<p>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。</p>
</person>
<object xml:id="Excalibur-shortIdentifier">
<objectIdentifier>
<objectName>Excalibur</objectName>
</objectIdentifier>
<p>Excalibur is the name for the legendary sword of King Arthur.</p>
</object>
<objectIdentifier>
<objectName>Excalibur</objectName>
</objectIdentifier>
<p>Excalibur is the name for the legendary sword of King Arthur.</p>
</object>
<object xml:id="Excalibur-longerIdentifier">
<objectIdentifier>
<objectName type="main">Excalibur</objectName>
<objectName type="alt">Caliburn</objectName>
<objectName xml:lang="cy">Caledfwlch</objectName>
<objectName xml:lang="cor">Calesvol</objectName>
<objectName xml:lang="br">Kaledvoulc'h</objectName>
<objectName xml:lang="la">Caliburnus</objectName>
<country>Wales</country>
</objectIdentifier>
<p>Excalibur is the name for the legendary sword of King Arthur, in Welsh it is called Caledfwlch, in Cornish it is
called Calesvol, in Breton it is called Kaledvoulc'h, and in Latin it is called Caliburnus. In some versions
Excalibur's blade was engraved with phrases on opposite sides: "Take me up" and "Cast me away" (or similar).</p>
</object>
<objectIdentifier>
<objectName type="main">Excalibur</objectName>
<objectName type="alt">Caliburn</objectName>
<objectName xml:lang="cy">Caledfwlch</objectName>
<objectName xml:lang="cor">Calesvol</objectName>
<objectName xml:lang="br">Kaledvoulc'h</objectName>
<objectName xml:lang="la">Caliburnus</objectName>
<country>Wales</country>
</objectIdentifier>
<p>Excalibur is the name for the legendary sword of King Arthur, in Welsh it is called Caledfwlch, in Cornish it is
called Calesvol, in Breton it is called Kaledvoulc'h, and in Latin it is called Caliburnus. In some versions
Excalibur's blade was engraved with phrases on opposite sides: "Take me up" and "Cast me away" (or similar).</p>
</object>
<listObject>
<object xml:id="TutankhamunMask">
<objectIdentifier>
<objectName xml:lang="en">Mask of Tutankhamun</objectName>
<idno type="carter">256a</idno>
<idno type="JournalD'Entrée">60672</idno>
<idno type="exhibition">220</idno>
<institution>Museum of Egyptian Antiquities</institution>
<address>
<street>15 Meret Basha</street>
<district>Ismailia</district>
<settlement>Cairo</settlement>
<country>Egypt</country>
<location>
<geo>30.047778, 31.233333</geo>
</location>
</address>
</objectIdentifier>
<msContents>
<p>The back and shoulders of the mask is inscribed with a protective spell in Egyptian hieroglyphs formed of ten
vertical and horizontal lines. This spell first appeared on masks in the Middle Kingdom at least 500 years
before Tutankhamun, and comes from chapter 151 of the <title>Book of the Dead</title>.</p>
</msContents>
<physDesc>
<p> The mask of Tutankhamun is 54cm x 39.3cm x 49cm. It is constructed from two layers of high-karat gold that
varies in thickness from 1.5-3mm. It weighs approximately 10.23kg and x-ray crystallography shows that it is
composed of two alloys of gold with a lighter 18.4 karat shade being used for the face and neck while a heavier
22.5 karat gold was used for the rest of the mask.</p>
<p>In the mask Tutankhamun wears a nemes headcloth which has the royal insignia of a cobra (Wadjet) and vulture
(Nekhbet) on it. These are thought respectively to symbolise Tutankhamun's rule of both Lower Egypt and Upper
Egypt. His ears are pierced for earrings. The mask has rich inlays of coloured glass and gemstones, including
lapis lazuli surrounding the eye and eyebrows, quartz for the eyes, obsidian for the pupils. The broad collar is
made up of carnelian, feldspar, turquoise, amazonite, faience and other stones.</p>
</physDesc>
<history>
<origin>
<p>The mask of Tutankhamun was created in <origPlace>Egypt</origPlace> around <origDate when="-1323" type="circa">1323 BC</origDate>. It is a death mask of the 18th-dynasty ancient Egyptian Pharaoh Tutankhamun
who reigned 1332–1323 BC. </p>
</origin>
<provenance>
<p>The mask of Tutankhamun was found in his burial chamber at Theban Necropolis in the Valley of the Kings in
1922. On 28 October 1925 the excavation team led by English archaeologist Howard Carter opened the heavy
sarcophagus and three coffins and were the first people in around 3,250 years to see the mask of Tutankhamun.
Carter wrote in his diary: <quote> The pins removed, the lid was raised. The penultimate scene was disclosed –
a very neatly wrapped mummy of the young king, with golden mask of sad but tranquil expression, symbolizing
Osiris … the mask bears that god's attributes, but the likeness is that of Tut.Ankh.Amen – placid and
beautiful, with the same features as we find upon his statues and coffins. The mask has fallen slightly
back, thus its gaze is straight up to the heavens. </quote>
</p>
</provenance>
<acquisition> In December 1925, the mask was removed from the tomb, placed in a crate and transported 635
kilometres (395 mi) to the Egyptian Museum in Cairo, where it remains on public display. </acquisition>
</history>
<additional>
<adminInfo>
<custodialHist>
<custEvent when="1944">When it was discovered in 1925, the 2.5kg narrow gold beard was no longer attached to
the mask and was reattached to the chin by use of a wooden dowel in 1944.</custEvent>
<custEvent when="2014-08"> In August 2014 when the mask was removed from its display case for cleaning, the
beard fell off again. Those working in the museum unadvisedly used a quick-drying epoxy to attempt to fix
it, but left the beard off-centre. </custEvent>
<custEvent when="2015-01">The damage was noticed and repaired in January 2015 by a German-Egyptian team who
used beeswax, a material known to be used as adhesives by the ancient Egyptians.</custEvent>
</custodialHist>
</adminInfo>
</additional>
</object>
</listObject>
<object xml:id="TutankhamunMask">
<objectIdentifier>
<objectName xml:lang="en">Mask of Tutankhamun</objectName>
<idno type="carter">256a</idno>
<idno type="JournalD'Entrée">60672</idno>
<idno type="exhibition">220</idno>
<institution>Museum of Egyptian Antiquities</institution>
<address>
<street>15 Meret Basha</street>
<district>Ismailia</district>
<settlement>Cairo</settlement>
<country>Egypt</country>
<location>
<geo>30.047778, 31.233333</geo>
</location>
</address>
</objectIdentifier>
<msContents>
<p>The back and shoulders of the mask is inscribed with a protective spell in Egyptian hieroglyphs formed of ten
vertical and horizontal lines. This spell first appeared on masks in the Middle Kingdom at least 500 years
before Tutankhamun, and comes from chapter 151 of the <title>Book of the Dead</title>.</p>
</msContents>
<physDesc>
<p> The mask of Tutankhamun is 54cm x 39.3cm x 49cm. It is constructed from two layers of high-karat gold that
varies in thickness from 1.5-3mm. It weighs approximately 10.23kg and x-ray crystallography shows that it is
composed of two alloys of gold with a lighter 18.4 karat shade being used for the face and neck while a heavier
22.5 karat gold was used for the rest of the mask.</p>
<p>In the mask Tutankhamun wears a nemes headcloth which has the royal insignia of a cobra (Wadjet) and vulture
(Nekhbet) on it. These are thought respectively to symbolise Tutankhamun's rule of both Lower Egypt and Upper
Egypt. His ears are pierced for earrings. The mask has rich inlays of coloured glass and gemstones, including
lapis lazuli surrounding the eye and eyebrows, quartz for the eyes, obsidian for the pupils. The broad collar is
made up of carnelian, feldspar, turquoise, amazonite, faience and other stones.</p>
</physDesc>
<history>
<origin>
<p>The mask of Tutankhamun was created in <origPlace>Egypt</origPlace> around <origDate when="-1323" type="circa">1323 BC</origDate>. It is a death mask of the 18th-dynasty ancient Egyptian Pharaoh Tutankhamun
who reigned 1332–1323 BC. </p>
</origin>
<provenance>
<p>The mask of Tutankhamun was found in his burial chamber at Theban Necropolis in the Valley of the Kings in
1922. On 28 October 1925 the excavation team led by English archaeologist Howard Carter opened the heavy
sarcophagus and three coffins and were the first people in around 3,250 years to see the mask of Tutankhamun.
Carter wrote in his diary: <quote> The pins removed, the lid was raised. The penultimate scene was disclosed –
a very neatly wrapped mummy of the young king, with golden mask of sad but tranquil expression, symbolizing
Osiris … the mask bears that god's attributes, but the likeness is that of Tut.Ankh.Amen – placid and
beautiful, with the same features as we find upon his statues and coffins. The mask has fallen slightly
back, thus its gaze is straight up to the heavens. </quote>
</p>
</provenance>
<acquisition> In December 1925, the mask was removed from the tomb, placed in a crate and transported 635
kilometres (395 mi) to the Egyptian Museum in Cairo, where it remains on public display. </acquisition>
</history>
<additional>
<adminInfo>
<custodialHist>
<custEvent when="1944">When it was discovered in 1925, the 2.5kg narrow gold beard was no longer attached to
the mask and was reattached to the chin by use of a wooden dowel in 1944.</custEvent>
<custEvent when="2014-08"> In August 2014 when the mask was removed from its display case for cleaning, the
beard fell off again. Those working in the museum unadvisedly used a quick-drying epoxy to attempt to fix
it, but left the beard off-centre. </custEvent>
<custEvent when="2015-01">The damage was noticed and repaired in January 2015 by a German-Egyptian team who
used beeswax, a material known to be used as adhesives by the ancient Egyptians.</custEvent>
</custodialHist>
</adminInfo>
</additional>
</object>
</listObject>
<listObject>
<object xml:id="Alfred-Jewel">
<objectIdentifier>
<country>United Kingdom</country>
<region>Oxfordshire</region>
<settlement>Oxford</settlement>
<institution>University of Oxford</institution>
<repository>Ashmolean Museum</repository>
<collection>English Treasures</collection>
<idno type="ashmolean">AN1836p.135.371</idno>
<idno type="wikipedia">https://en.wikipedia.org/wiki/Alfred_Jewel</idno>
<objectName>Alfred Jewel</objectName>
</objectIdentifier>
<physDesc>
<p> The Alfred Jewel is about 6.4 cm in length and is made of combination of filigreed <material>gold</material>
surrounding a polished teardrop shaped piece of transparent <material>quartz</material>. Underneath the rock
crystal is a cloisonné enamel image of a man with ecclesiastical symbols. The sides of the jewel holding the
crystal in place contain an openwork inscription saying "AELFRED MEC HEHT GEWYRCAN", meaning 'Alfred ordered me
made'. </p>
</physDesc>
<history>
<origin>It is generally accepted that the Alfred Jewel dates from the <origDate>late 9th Century</origDate> and
was most likely made in <origPlace>England</origPlace>. </origin>
<provenance when="1693">The jewel was discovered in 1693 at Petherton Park, North Petherton in the English county
of Somerset, on land owned by Sir Thomas Wroth. North Petherton is about 8 miles away from Athelney, where King
Alfred founded a monastery. </provenance>
<provenance when="1698">A description of the Alfred Jewel was first published in 1698, in the Philosophical
Transactions of the Royal Society.</provenance>
<acquisition> It was bequeathed to Oxford University by Colonel Nathaniel Palmer (c. 1661-1718) and today is in
the Ashmolean Museum in Oxford. </acquisition>
</history>
</object>
</listObject>
<!-- Elsewhere in document -->
<p> The <objectName ref="#MinsterLovellJewel">Minster Lovell Jewel</objectName> is probably the most similar to the
<objectName ref="#Alfred-Jewel">Alfred Jewel</objectName> and was found in <placeName ref="#MinsterLovell">Minster
Lovell</placeName> in <placeName ref="#Oxfordshire">Oxfordshire</placeName> and is kept at the <orgName ref="#AshmoleanMuseum">Ashmolean Museum</orgName>.
</p>
<object xml:id="Alfred-Jewel">
<objectIdentifier>
<country>United Kingdom</country>
<region>Oxfordshire</region>
<settlement>Oxford</settlement>
<institution>University of Oxford</institution>
<repository>Ashmolean Museum</repository>
<collection>English Treasures</collection>
<idno type="ashmolean">AN1836p.135.371</idno>
<idno type="wikipedia">https://en.wikipedia.org/wiki/Alfred_Jewel</idno>
<objectName>Alfred Jewel</objectName>
</objectIdentifier>
<physDesc>
<p> The Alfred Jewel is about 6.4 cm in length and is made of combination of filigreed <material>gold</material>
surrounding a polished teardrop shaped piece of transparent <material>quartz</material>. Underneath the rock
crystal is a cloisonné enamel image of a man with ecclesiastical symbols. The sides of the jewel holding the
crystal in place contain an openwork inscription saying "AELFRED MEC HEHT GEWYRCAN", meaning 'Alfred ordered me
made'. </p>
</physDesc>
<history>
<origin>It is generally accepted that the Alfred Jewel dates from the <origDate>late 9th Century</origDate> and
was most likely made in <origPlace>England</origPlace>. </origin>
<provenance when="1693">The jewel was discovered in 1693 at Petherton Park, North Petherton in the English county
of Somerset, on land owned by Sir Thomas Wroth. North Petherton is about 8 miles away from Athelney, where King
Alfred founded a monastery. </provenance>
<provenance when="1698">A description of the Alfred Jewel was first published in 1698, in the Philosophical
Transactions of the Royal Society.</provenance>
<acquisition> It was bequeathed to Oxford University by Colonel Nathaniel Palmer (c. 1661-1718) and today is in
the Ashmolean Museum in Oxford. </acquisition>
</history>
</object>
</listObject>
<!-- Elsewhere in document -->
<p> The <objectName ref="#MinsterLovellJewel">Minster Lovell Jewel</objectName> is probably the most similar to the
<objectName ref="#Alfred-Jewel">Alfred Jewel</objectName> and was found in <placeName ref="#MinsterLovell">Minster
Lovell</placeName> in <placeName ref="#Oxfordshire">Oxfordshire</placeName> and is kept at the <orgName ref="#AshmoleanMuseum">Ashmolean Museum</orgName>.
</p>
<object type="building" xml:lang="en"
xml:id="UNAM-CL">
<objectIdentifier>
<objectName type="abbr">The Central Library of UNAM</objectName>
<objectName type="full">The Central Library of the National Autonomous University of Mexico</objectName>
<objectName xml:lang="es">La Biblioteca Central de la Universidad Nacional Autónoma de México</objectName>
<settlement>Mexico City</settlement>
<region>Coyoacán</region>
<country>Mexico</country>
</objectIdentifier>
<physDesc>
<objectDesc>
<p> The Central Library encompasses an area of <dim unit="m" quantity="16000"
type="area">16 thousand square
meters</dim> and is built on a three meter platform. The base contains two <material>basalt</material>
<objectType>fountains</objectType> and <objectType>decorative reliefs</objectType> inspired by
pre-Hispanic art.</p>
<p>The library has ten windowless floors for book storage, each having enough space for 120 thousand volumes.
These storage areas have the necessary lighting, temperature and humidty conditions for book conservation.
In the reading room, flanked by a garden on each side, the diffuse and matte light is filtered through
<material>thin tecali stone slabs</material>. The semi-basement of the building contains the service
and administrative offices of the library.</p>
<p>The building facades are covered with one of the largest murals in the world and is made from naturally
colored stone tiles. It is entitled <title>Historical Representation of Culture</title> and is by
<persName role="artist">Juan O'Gorman</persName>.</p>
</objectDesc>
<decoDesc>
<decoNote>
<label>Base</label> At the base of the building there are two basalt fountains and decorative reliefs
around the outside that are inspired by pre-Hispanic art. The color of the stone in these elements is left
exposed to take advantage of the stone's texture as an aesthetic and expressive element, and to give a
sense of continuity to the external pavement.</decoNote>
<decoNote>
<label>Murals</label>
<p>The outside windowless portion of the building contains one of the largest murals in the world. This is
called <title>Historical Representation of the Culture</title> and is a <material>stone polychromatic
mosaic</material> based on the combination of 12 basic colors. The mural is created in an
impressionist style where the coloured tiles when seen from a distance form specific figures. The 12
colors where chosen from 150 samples of original stones with the criteria including the stone's
resistance to degredation by weather. According to the artist, <persName role="artist">Juan
O'Gorman</persName>, in the mosaic he represented three fundamental historical facets of the Mexican
culture: the pre-Hispanic era, the Spanish colonial era, and the modern age. For example with the North
Wall, this represents the pre-Hispanic era and is dominated by mythical elements relating to the
life-death duality. The left side of the main axis there are
deities and scenes pertaining to the creation of life. The right hand side of the mural contains figures
relating to death. For a more detailed description see <ref target="https://en.wikipedia.org/wiki/Central_Library_(UNAM)#Murals">https://en.wikipedia.org/wiki/Central_Library_(UNAM)#Murals</ref>. </p>
</decoNote>
</decoDesc>
</physDesc>
<history>
<origin> In <origDate when="1948" type="conceptual">1948</origDate> the architect and artist Juan O'Gorman, in
collaboration with architects Gustavo Saavedra and Juan Martinez de Velasco designed the building with a
functionalist approach, as part of the greater project of the construction of the University City on the
grounds of the Pedregal de San Angel in Mexico City. Originally the building was planned to host the National
Library and National Newspaper Library of Mexico. The library finally opened its doors for the first time on
<origDate when="1956-04-05"
type="opening">5 April 1956</origDate>. In July 2007 it was declared a UNESCO
world heritage site. </origin>
</history>
<additional>
<adminInfo>
<custodialHist>
<custEvent from="1981" to="1983"> The library was significantly remodelled from 1981 - 1983 with the
purpose of changing from closed shelving to open stacks, providing users more direct access to the
collections. </custEvent>
</custodialHist>
</adminInfo>
</additional>
</object>
xml:id="UNAM-CL">
<objectIdentifier>
<objectName type="abbr">The Central Library of UNAM</objectName>
<objectName type="full">The Central Library of the National Autonomous University of Mexico</objectName>
<objectName xml:lang="es">La Biblioteca Central de la Universidad Nacional Autónoma de México</objectName>
<settlement>Mexico City</settlement>
<region>Coyoacán</region>
<country>Mexico</country>
</objectIdentifier>
<physDesc>
<objectDesc>
<p> The Central Library encompasses an area of <dim unit="m" quantity="16000"
type="area">16 thousand square
meters</dim> and is built on a three meter platform. The base contains two <material>basalt</material>
<objectType>fountains</objectType> and <objectType>decorative reliefs</objectType> inspired by
pre-Hispanic art.</p>
<p>The library has ten windowless floors for book storage, each having enough space for 120 thousand volumes.
These storage areas have the necessary lighting, temperature and humidty conditions for book conservation.
In the reading room, flanked by a garden on each side, the diffuse and matte light is filtered through
<material>thin tecali stone slabs</material>. The semi-basement of the building contains the service
and administrative offices of the library.</p>
<p>The building facades are covered with one of the largest murals in the world and is made from naturally
colored stone tiles. It is entitled <title>Historical Representation of Culture</title> and is by
<persName role="artist">Juan O'Gorman</persName>.</p>
</objectDesc>
<decoDesc>
<decoNote>
<label>Base</label> At the base of the building there are two basalt fountains and decorative reliefs
around the outside that are inspired by pre-Hispanic art. The color of the stone in these elements is left
exposed to take advantage of the stone's texture as an aesthetic and expressive element, and to give a
sense of continuity to the external pavement.</decoNote>
<decoNote>
<label>Murals</label>
<p>The outside windowless portion of the building contains one of the largest murals in the world. This is
called <title>Historical Representation of the Culture</title> and is a <material>stone polychromatic
mosaic</material> based on the combination of 12 basic colors. The mural is created in an
impressionist style where the coloured tiles when seen from a distance form specific figures. The 12
colors where chosen from 150 samples of original stones with the criteria including the stone's
resistance to degredation by weather. According to the artist, <persName role="artist">Juan
O'Gorman</persName>, in the mosaic he represented three fundamental historical facets of the Mexican
culture: the pre-Hispanic era, the Spanish colonial era, and the modern age. For example with the North
Wall, this represents the pre-Hispanic era and is dominated by mythical elements relating to the
life-death duality. The left side of the main axis there are
deities and scenes pertaining to the creation of life. The right hand side of the mural contains figures
relating to death. For a more detailed description see <ref target="https://en.wikipedia.org/wiki/Central_Library_(UNAM)#Murals">https://en.wikipedia.org/wiki/Central_Library_(UNAM)#Murals</ref>. </p>
</decoNote>
</decoDesc>
</physDesc>
<history>
<origin> In <origDate when="1948" type="conceptual">1948</origDate> the architect and artist Juan O'Gorman, in
collaboration with architects Gustavo Saavedra and Juan Martinez de Velasco designed the building with a
functionalist approach, as part of the greater project of the construction of the University City on the
grounds of the Pedregal de San Angel in Mexico City. Originally the building was planned to host the National
Library and National Newspaper Library of Mexico. The library finally opened its doors for the first time on
<origDate when="1956-04-05"
type="opening">5 April 1956</origDate>. In July 2007 it was declared a UNESCO
world heritage site. </origin>
</history>
<additional>
<adminInfo>
<custodialHist>
<custEvent from="1981" to="1983"> The library was significantly remodelled from 1981 - 1983 with the
purpose of changing from closed shelving to open stacks, providing users more direct access to the
collections. </custEvent>
</custodialHist>
</adminInfo>
</additional>
</object>
<p>
The <objectName ref="#MinsterLovellJewel">Minster Lovell Jewel</objectName> is probably the most similar to the
<objectName ref="#AlfredJewel">Alfred Jewel</objectName> and was found in <placeName ref="#MinsterLovell">Minster
Lovell</placeName> in <placeName ref="#Oxfordshire">Oxfordshire</placeName> and is kept at the <orgName ref="#AshmoleanMuseum">Ashmolean Museum</orgName>.
</p>
The <objectName ref="#MinsterLovellJewel">Minster Lovell Jewel</objectName> is probably the most similar to the
<objectName ref="#AlfredJewel">Alfred Jewel</objectName> and was found in <placeName ref="#MinsterLovell">Minster
Lovell</placeName> in <placeName ref="#Oxfordshire">Oxfordshire</placeName> and is kept at the <orgName ref="#AshmoleanMuseum">Ashmolean Museum</orgName>.
</p>
<listObject>
<object xml:id="Alfred_Jewel">
<objectIdentifier>
<country>United Kingdom</country>
<region>Oxfordshire</region>
<settlement>Oxford</settlement>
<institution>University of Oxford</institution>
<repository>Ashmolean Museum</repository>
<collection>English Treasures</collection>
<idno type="ashmolean">AN1836p.135.371</idno>
<idno type="wikipedia">https://en.wikipedia.org/wiki/Alfred_Jewel</idno>
<objectName>Alfred Jewel</objectName>
</objectIdentifier>
<physDesc>
<p> The Alfred Jewel is about 6.4 cm in length and is made of combination of filigreed <material>gold</material>
surrounding a polished teardrop shaped piece of transparent <material>quartz</material>. Underneath the rock
crystal is a cloisonné enamel image of a man with ecclesiastical symbols. The sides of the jewel holding the
crystal in place contain an openwork inscription saying "AELFRED MEC HEHT GEWYRCAN", meaning 'Alfred ordered
me made'. </p>
</physDesc>
<history>
<origin>It is generally accepted that the Alfred Jewel dates from the <origDate>late 9th Century</origDate> and
was most likely made in <origPlace>England</origPlace>. </origin>
<provenance when="1693">The jewel was discovered in 1693 at Petherton Park, North Petherton in the English
county of Somerset, on land owned by Sir Thomas Wroth. North Petherton is about 8 miles away from Athelney,
where King Alfred founded a monastery. </provenance>
<provenance when="1698">A description of the Alfred Jewel was first published in 1698, in the Philosophical
Transactions of the Royal Society.</provenance>
<acquisition> It was bequeathed to Oxford University by Colonel Nathaniel Palmer (c. 1661-1718) and today is in
the Ashmolean Museum in Oxford. </acquisition>
</history>
</object>
</listObject>
<!-- Elsewhere in document -->
<p> The <objectName ref="#MinsterLovellJewel">Minster Lovell Jewel</objectName> is probably the most similar to the
<objectName ref="#Alfred_Jewel">Alfred Jewel</objectName> and was found in <placeName ref="#MinsterLovell">Minster
Lovell</placeName> in <placeName ref="#Oxfordshire">Oxfordshire</placeName> and is kept at the <orgName ref="#AshmoleanMuseum">Ashmolean Museum</orgName>.
</p>
<object xml:id="Alfred_Jewel">
<objectIdentifier>
<country>United Kingdom</country>
<region>Oxfordshire</region>
<settlement>Oxford</settlement>
<institution>University of Oxford</institution>
<repository>Ashmolean Museum</repository>
<collection>English Treasures</collection>
<idno type="ashmolean">AN1836p.135.371</idno>
<idno type="wikipedia">https://en.wikipedia.org/wiki/Alfred_Jewel</idno>
<objectName>Alfred Jewel</objectName>
</objectIdentifier>
<physDesc>
<p> The Alfred Jewel is about 6.4 cm in length and is made of combination of filigreed <material>gold</material>
surrounding a polished teardrop shaped piece of transparent <material>quartz</material>. Underneath the rock
crystal is a cloisonné enamel image of a man with ecclesiastical symbols. The sides of the jewel holding the
crystal in place contain an openwork inscription saying "AELFRED MEC HEHT GEWYRCAN", meaning 'Alfred ordered
me made'. </p>
</physDesc>
<history>
<origin>It is generally accepted that the Alfred Jewel dates from the <origDate>late 9th Century</origDate> and
was most likely made in <origPlace>England</origPlace>. </origin>
<provenance when="1693">The jewel was discovered in 1693 at Petherton Park, North Petherton in the English
county of Somerset, on land owned by Sir Thomas Wroth. North Petherton is about 8 miles away from Athelney,
where King Alfred founded a monastery. </provenance>
<provenance when="1698">A description of the Alfred Jewel was first published in 1698, in the Philosophical
Transactions of the Royal Society.</provenance>
<acquisition> It was bequeathed to Oxford University by Colonel Nathaniel Palmer (c. 1661-1718) and today is in
the Ashmolean Museum in Oxford. </acquisition>
</history>
</object>
</listObject>
<!-- Elsewhere in document -->
<p> The <objectName ref="#MinsterLovellJewel">Minster Lovell Jewel</objectName> is probably the most similar to the
<objectName ref="#Alfred_Jewel">Alfred Jewel</objectName> and was found in <placeName ref="#MinsterLovell">Minster
Lovell</placeName> in <placeName ref="#Oxfordshire">Oxfordshire</placeName> and is kept at the <orgName ref="#AshmoleanMuseum">Ashmolean Museum</orgName>.
</p>
<listObject>
<object xml:id="MaskOfTutankhamun">
<objectIdentifier>
<objectName xml:lang="en">Mask of Tutankhamun</objectName>
<idno type="carter">256a</idno>
<idno type="JournalD'Entrée">60672</idno>
<idno type="exhibition">220</idno>
<institution>Museum of Egyptian Antiquities</institution>
<address>
<street>15 Meret Basha</street>
<district>Ismailia</district>
<settlement>Cairo</settlement>
<country>Egypt</country>
<location>
<geo>30.047778, 31.233333</geo>
</location>
</address>
</objectIdentifier>
<msContents>
<p>The back and shoulders of the mask is inscribed with a protective spell in Egyptian hieroglyphs formed of ten
vertical and horizontal lines. This spell first appeared on masks in the Middle Kingdom at least 500 years
before Tutankhamun, and comes from chapter 151 of the <title>Book of the Dead</title>.</p>
</msContents>
<physDesc>
<p> The mask of Tutankhamun is 54cm x 39.3cm x 49cm. It is constructed from two layers of high-karat gold that
varies in thickness from 1.5-3mm. It weighs approximately 10.23kg and x-ray crystallography shows that it is
composed of two alloys of gold with a lighter 18.4 karat shade being used for the face and neck while a heavier
22.5 karat gold was used for the rest of the mask.</p>
<p>In the mask Tutankhamun wears a nemes headcloth which has the royal insignia of a cobra (Wadjet) and vulture
(Nekhbet) on it. These are thought respectively to symbolise Tutankhamun's rule of both Lower Egypt and Upper
Egypt. His ears are pierced for earrings. The mask has rich inlays of coloured glass and gemstones, including
lapis lazuli surrounding the eye and eyebrows, quartz for the eyes, obsidian for the pupils. The broad collar is
made up of carnelian, feldspar, turquoise, amazonite, faience and other stones.</p>
</physDesc>
<history>
<origin>
<p>The mask of Tutankhamun was created in <origPlace>Egypt</origPlace> around <origDate when="-1323" type="circa">1323 BC</origDate>. It is a death mask of the 18th-dynasty ancient Egyptian Pharaoh Tutankhamun
who reigned 1332–1323 BC. </p>
</origin>
<provenance>
<p>The mask of Tutankhamun was found in his burial chamber at Theban Necropolis in the Valley of the Kings in
1922. On 28 October 1925 the excavation team led by English archaeologist Howard Carter opened the heavy
sarcophagus and three coffins and were the first people in around 3,250 years to see the mask of Tutankhamun.
Carter wrote in his diary: <quote> The pins removed, the lid was raised. The penultimate scene was disclosed –
a very neatly wrapped mummy of the young king, with golden mask of sad but tranquil expression, symbolizing
Osiris … the mask bears that god's attributes, but the likeness is that of Tut.Ankh.Amen – placid and
beautiful, with the same features as we find upon his statues and coffins. The mask has fallen slightly
back, thus its gaze is straight up to the heavens. </quote>
</p>
</provenance>
<acquisition> In December 1925, the mask was removed from the tomb, placed in a crate and transported 635
kilometres (395 mi) to the Egyptian Museum in Cairo, where it remains on public display. </acquisition>
</history>
<additional>
<adminInfo>
<custodialHist>
<custEvent when="1944">When it was discovered in 1925, the 2.5kg narrow gold beard was no longer attached to
the mask and was reattached to the chin by use of a wooden dowel in 1944.</custEvent>
<custEvent when="2014-08"> In August 2014 when the mask was removed from its display case for cleaning, the
beard fell off again. Those working in the museum unadvisedly used a quick-drying epoxy to attempt to fix
it, but left the beard off-centre. </custEvent>
<custEvent when="2015-01">The damage was noticed and repaired in January 2015 by a German-Egyptian team who
used beeswax, a material known to be used as adhesives by the ancient Egyptians.</custEvent>
</custodialHist>
</adminInfo>
</additional>
</object>
</listObject>
<object xml:id="MaskOfTutankhamun">
<objectIdentifier>
<objectName xml:lang="en">Mask of Tutankhamun</objectName>
<idno type="carter">256a</idno>
<idno type="JournalD'Entrée">60672</idno>
<idno type="exhibition">220</idno>
<institution>Museum of Egyptian Antiquities</institution>
<address>
<street>15 Meret Basha</street>
<district>Ismailia</district>
<settlement>Cairo</settlement>
<country>Egypt</country>
<location>
<geo>30.047778, 31.233333</geo>
</location>
</address>
</objectIdentifier>
<msContents>
<p>The back and shoulders of the mask is inscribed with a protective spell in Egyptian hieroglyphs formed of ten
vertical and horizontal lines. This spell first appeared on masks in the Middle Kingdom at least 500 years
before Tutankhamun, and comes from chapter 151 of the <title>Book of the Dead</title>.</p>
</msContents>
<physDesc>
<p> The mask of Tutankhamun is 54cm x 39.3cm x 49cm. It is constructed from two layers of high-karat gold that
varies in thickness from 1.5-3mm. It weighs approximately 10.23kg and x-ray crystallography shows that it is
composed of two alloys of gold with a lighter 18.4 karat shade being used for the face and neck while a heavier
22.5 karat gold was used for the rest of the mask.</p>
<p>In the mask Tutankhamun wears a nemes headcloth which has the royal insignia of a cobra (Wadjet) and vulture
(Nekhbet) on it. These are thought respectively to symbolise Tutankhamun's rule of both Lower Egypt and Upper
Egypt. His ears are pierced for earrings. The mask has rich inlays of coloured glass and gemstones, including
lapis lazuli surrounding the eye and eyebrows, quartz for the eyes, obsidian for the pupils. The broad collar is
made up of carnelian, feldspar, turquoise, amazonite, faience and other stones.</p>
</physDesc>
<history>
<origin>
<p>The mask of Tutankhamun was created in <origPlace>Egypt</origPlace> around <origDate when="-1323" type="circa">1323 BC</origDate>. It is a death mask of the 18th-dynasty ancient Egyptian Pharaoh Tutankhamun
who reigned 1332–1323 BC. </p>
</origin>
<provenance>
<p>The mask of Tutankhamun was found in his burial chamber at Theban Necropolis in the Valley of the Kings in
1922. On 28 October 1925 the excavation team led by English archaeologist Howard Carter opened the heavy
sarcophagus and three coffins and were the first people in around 3,250 years to see the mask of Tutankhamun.
Carter wrote in his diary: <quote> The pins removed, the lid was raised. The penultimate scene was disclosed –
a very neatly wrapped mummy of the young king, with golden mask of sad but tranquil expression, symbolizing
Osiris … the mask bears that god's attributes, but the likeness is that of Tut.Ankh.Amen – placid and
beautiful, with the same features as we find upon his statues and coffins. The mask has fallen slightly
back, thus its gaze is straight up to the heavens. </quote>
</p>
</provenance>
<acquisition> In December 1925, the mask was removed from the tomb, placed in a crate and transported 635
kilometres (395 mi) to the Egyptian Museum in Cairo, where it remains on public display. </acquisition>
</history>
<additional>
<adminInfo>
<custodialHist>
<custEvent when="1944">When it was discovered in 1925, the 2.5kg narrow gold beard was no longer attached to
the mask and was reattached to the chin by use of a wooden dowel in 1944.</custEvent>
<custEvent when="2014-08"> In August 2014 when the mask was removed from its display case for cleaning, the
beard fell off again. Those working in the museum unadvisedly used a quick-drying epoxy to attempt to fix
it, but left the beard off-centre. </custEvent>
<custEvent when="2015-01">The damage was noticed and repaired in January 2015 by a German-Egyptian team who
used beeswax, a material known to be used as adhesives by the ancient Egyptians.</custEvent>
</custodialHist>
</adminInfo>
</additional>
</object>
</listObject>
<listObject>
<object xml:id="AlfredJewel">
<objectIdentifier>
<country>United Kingdom</country>
<region>Oxfordshire</region>
<settlement>Oxford</settlement>
<institution>University of Oxford</institution>
<repository>Ashmolean Museum</repository>
<collection>English Treasures</collection>
<idno type="ashmolean">AN1836p.135.371</idno>
<idno type="wikipedia">https://en.wikipedia.org/wiki/Alfred_Jewel</idno>
<objectName>Alfred Jewel</objectName>
</objectIdentifier>
<physDesc>
<p> The Alfred Jewel is about 6.4 cm in length and is made of combination of filigreed <material>gold</material>
surrounding a polished teardrop shaped piece of transparent <material>quartz</material>. Underneath the rock crystal
is a cloisonné enamel image of a man with ecclesiastical symbols. The sides of the jewel holding the crystal in
place contain an openwork inscription saying "AELFRED MEC HEHT GEWYRCAN", meaning 'Alfred ordered me made'. </p>
</physDesc>
<history>
<origin>It is generally accepted that the Alfred Jewel dates from the <origDate>late 9th Century</origDate> and was
most likely made in <origPlace>England</origPlace>. </origin>
<provenance when="1693">The jewel was discovered in 1693 at Petherton Park, North Petherton in the English county of
Somerset, on land owned by Sir Thomas Wroth. North Petherton is about 8 miles away from Athelney, where King Alfred
founded a monastery. </provenance>
<provenance when="1698">A description of the Alfred Jewel was first published in 1698, in the Philosophical
Transactions of the Royal Society.</provenance>
<acquisition> It was bequeathed to Oxford University by Colonel Nathaniel Palmer (c. 1661-1718) and today is in the
Ashmolean Museum in Oxford. </acquisition>
</history>
</object>
</listObject>
<object xml:id="AlfredJewel">
<objectIdentifier>
<country>United Kingdom</country>
<region>Oxfordshire</region>
<settlement>Oxford</settlement>
<institution>University of Oxford</institution>
<repository>Ashmolean Museum</repository>
<collection>English Treasures</collection>
<idno type="ashmolean">AN1836p.135.371</idno>
<idno type="wikipedia">https://en.wikipedia.org/wiki/Alfred_Jewel</idno>
<objectName>Alfred Jewel</objectName>
</objectIdentifier>
<physDesc>
<p> The Alfred Jewel is about 6.4 cm in length and is made of combination of filigreed <material>gold</material>
surrounding a polished teardrop shaped piece of transparent <material>quartz</material>. Underneath the rock crystal
is a cloisonné enamel image of a man with ecclesiastical symbols. The sides of the jewel holding the crystal in
place contain an openwork inscription saying "AELFRED MEC HEHT GEWYRCAN", meaning 'Alfred ordered me made'. </p>
</physDesc>
<history>
<origin>It is generally accepted that the Alfred Jewel dates from the <origDate>late 9th Century</origDate> and was
most likely made in <origPlace>England</origPlace>. </origin>
<provenance when="1693">The jewel was discovered in 1693 at Petherton Park, North Petherton in the English county of
Somerset, on land owned by Sir Thomas Wroth. North Petherton is about 8 miles away from Athelney, where King Alfred
founded a monastery. </provenance>
<provenance when="1698">A description of the Alfred Jewel was first published in 1698, in the Philosophical
Transactions of the Royal Society.</provenance>
<acquisition> It was bequeathed to Oxford University by Colonel Nathaniel Palmer (c. 1661-1718) and today is in the
Ashmolean Museum in Oxford. </acquisition>
</history>
</object>
</listObject>
<object xml:id="Excalibur-MultipleNames">
<objectIdentifier>
<objectName type="main">Excalibur</objectName>
<objectName type="alt">Caliburn</objectName>
<objectName xml:lang="cy">Caledfwlch</objectName>
<objectName xml:lang="cor">Calesvol</objectName>
<objectName xml:lang="br">Kaledvoulc'h</objectName>
<objectName xml:lang="la">Caliburnus</objectName>
<country>Wales</country>
</objectIdentifier>
<p>Excalibur is the name for the legendary sword of King Arthur, in Welsh it is called Caledfwlch,
in Cornish it is called Calesvol, in Breton it is called Kaledvoulc'h, and in Latin it is called Caliburnus.
In some versions Excalibur's blade was engraved with phrases on opposite sides which in translation read:
"Take me up" and "Cast me away" (or similar).</p>
</object>
<objectIdentifier>
<objectName type="main">Excalibur</objectName>
<objectName type="alt">Caliburn</objectName>
<objectName xml:lang="cy">Caledfwlch</objectName>
<objectName xml:lang="cor">Calesvol</objectName>
<objectName xml:lang="br">Kaledvoulc'h</objectName>
<objectName xml:lang="la">Caliburnus</objectName>
<country>Wales</country>
</objectIdentifier>
<p>Excalibur is the name for the legendary sword of King Arthur, in Welsh it is called Caledfwlch,
in Cornish it is called Calesvol, in Breton it is called Kaledvoulc'h, and in Latin it is called Caliburnus.
In some versions Excalibur's blade was engraved with phrases on opposite sides which in translation read:
"Take me up" and "Cast me away" (or similar).</p>
</object>
13.3.7.4 Using Non-Gregorian Calendars
<calendarDesc>
<calendar xml:id="Julian_England">
<p>The Julian calendar, as used in late 16th-century England.</p>
</calendar>
</calendarDesc>
<calendar xml:id="Julian_England">
<p>The Julian calendar, as used in late 16th-century England.</p>
</calendar>
</calendarDesc>
13.3.7.4 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>
14 Tables, Formulæ, Graphics and Notated Music
14.2 Formulæ and Mathematical Expressions
<p>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.</p>
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.</p>
14.2 Formulæ and Mathematical Expressions
<p>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.</p>
<p>As we have seen in equation <ptr target="#f12"/>, ... </p>
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.</p>
<p>As we have seen in equation <ptr target="#f12"/>, ... </p>
14.3 Notated Music in Written Text
<div n="67">
<p> We now give some examples, from the works of the great masters, of
some of the most frequently used bowings. </p>
<figure n="Ex. 3">
<head>SCHUBERT: Symphony in B minor.</head>
<notatedMusic>
<ptr target="example_schubert.xml"/>
</notatedMusic>
</figure>
</div>
<p> We now give some examples, from the works of the great masters, of
some of the most frequently used bowings. </p>
<figure n="Ex. 3">
<head>SCHUBERT: Symphony in B minor.</head>
<notatedMusic>
<ptr target="example_schubert.xml"/>
</notatedMusic>
</figure>
</div>
14.4 Specific Elements for Graphic Images
<figure>
<graphic url="pullman.png"/>
<head>Above:</head>
<p>The drawing room of the Pullman house, the white and gold saloon
where the magnate delighted in giving receptions for several hundred
people.</p>
<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>
<graphic url="pullman.png"/>
<head>Above:</head>
<p>The drawing room of the Pullman house, the white and gold saloon
where the magnate delighted in giving receptions for several hundred
people.</p>
<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">
<p>Female informant, well-educated, born in
Shropshire UK, 12 Jan 1950, of unknown occupation. Speaks French fluently.
Socio-Economic status B2.</p>
</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>
<listRelation>
<relation type="personal" name="spouse"
mutual="#P-1234 #P-4332"/>
</listRelation>
</listPerson>
</particDesc>
<listPerson>
<person xml:id="P-1234" sex="2" age="mid">
<p>Female informant, well-educated, born in
Shropshire UK, 12 Jan 1950, of unknown occupation. Speaks French fluently.
Socio-Economic status B2.</p>
</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>
<listRelation>
<relation type="personal" name="spouse"
mutual="#P-1234 #P-4332"/>
</listRelation>
</listPerson>
</particDesc>
<particDesc>
<listPerson>
<person xml:id="fr_P-1234" sex="2"
age="mid">
<p>informateur, sexe féminin, bonne éducation, née
à Shropshire UK, 12 Jan 1950, commerçante parle français couramment., Statut
socio-économique (SSE) : commerçant.</p>
</person>
<person xml:id="fr_P-4332" sex="1">
<persName>
<surname>Delaunay</surname>
<forename>Liliane</forename>
<forename>Andrée</forename>
<forename>Alberte</forename>
</persName>
<residence notAfter="1959">
<address>
<street>rue de Falaise</street>
<settlement>la Guérinière, Caen</settlement>
</address>
</residence>
<occupation>serveuse</occupation>
</person>
<listRelation>
<relation type="personal" name="spouse"
mutual="#fr_P-1234 #fr_P-4332"/>
</listRelation>
</listPerson>
</particDesc>
<listPerson>
<person xml:id="fr_P-1234" sex="2"
age="mid">
<p>informateur, sexe féminin, bonne éducation, née
à Shropshire UK, 12 Jan 1950, commerçante parle français couramment., Statut
socio-économique (SSE) : commerçant.</p>
</person>
<person xml:id="fr_P-4332" sex="1">
<persName>
<surname>Delaunay</surname>
<forename>Liliane</forename>
<forename>Andrée</forename>
<forename>Alberte</forename>
</persName>
<residence notAfter="1959">
<address>
<street>rue de Falaise</street>
<settlement>la Guérinière, Caen</settlement>
</address>
</residence>
<occupation>serveuse</occupation>
</person>
<listRelation>
<relation type="personal" name="spouse"
mutual="#fr_P-1234 #fr_P-4332"/>
</listRelation>
</listPerson>
</particDesc>
<particDesc>
<listPerson>
<person xml:id="zh-tw_P-1234" sex="2"
age="mid">
<p>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。</p>
</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>
<listRelation>
<relation type="personal" name="spouse"
mutual="#zh-tw_P-1234 #zh-tw_P-4332"/>
</listRelation>
</listPerson>
</particDesc>
<listPerson>
<person xml:id="zh-tw_P-1234" sex="2"
age="mid">
<p>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。</p>
</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>
<listRelation>
<relation type="personal" name="spouse"
mutual="#zh-tw_P-1234 #zh-tw_P-4332"/>
</listRelation>
</listPerson>
</particDesc>
<settingDesc>
<p>Texts recorded in the
Canadian Parliament building in Ottawa, between April and November 1988 </p>
</settingDesc>
<p>Texts recorded in the
Canadian Parliament building in Ottawa, between April and November 1988 </p>
</settingDesc>
<settingDesc>
<p>Pierre Mendès France,
Entretiens avec Jean Lacouture (1980-1981 )</p>
</settingDesc>
<p>Pierre Mendès France,
Entretiens avec Jean Lacouture (1980-1981 )</p>
</settingDesc>
<settingDesc>
<p>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</p>
</settingDesc>
<p>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</p>
</settingDesc>
15.2.2 The Participant Description
<particDesc xml:id="p2">
<p>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.</p>
</particDesc>
<p>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.</p>
</particDesc>
15.2.2 The Participant Description
<particDesc>
<p>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>
</p>
</particDesc>
<p>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>
</p>
</particDesc>
15.2.3 The Setting Description
<settingDesc>
<p>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.</p>
</settingDesc>
<p>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.</p>
</settingDesc>
<editorialDecl>
<correction xml:id="CorPol1"
default="true">
<p> ... </p>
</correction>
<correction xml:id="CorPol2">
<p> ... </p>
</correction>
<normalization xml:id="n1">
<p> ... </p>
<p> ... </p>
</normalization>
</editorialDecl>
<correction xml:id="CorPol1"
default="true">
<p> ... </p>
</correction>
<correction xml:id="CorPol2">
<p> ... </p>
</correction>
<normalization xml:id="n1">
<p> ... </p>
<p> ... </p>
</normalization>
</editorialDecl>
<encodingDesc>
<editorialDecl xml:id="ED1" default="true">
<correction xml:id="C1A" default="true">
<p> ... </p>
</correction>
<correction xml:id="C1B">
<p> ... </p>
</correction>
<normalization xml:id="N1">
<p> ... </p>
<p> ... </p>
</normalization>
</editorialDecl>
<editorialDecl xml:id="ED2">
<correction xml:id="C2A" default="true">
<p> ... </p>
</correction>
<correction xml:id="C2B">
<p> ... </p>
</correction>
<normalization xml:id="N2A">
<p> ... </p>
</normalization>
<normalization xml:id="N2B"
default="true">
<p> ... </p>
</normalization>
</editorialDecl>
</encodingDesc>
<editorialDecl xml:id="ED1" default="true">
<correction xml:id="C1A" default="true">
<p> ... </p>
</correction>
<correction xml:id="C1B">
<p> ... </p>
</correction>
<normalization xml:id="N1">
<p> ... </p>
<p> ... </p>
</normalization>
</editorialDecl>
<editorialDecl xml:id="ED2">
<correction xml:id="C2A" default="true">
<p> ... </p>
</correction>
<correction xml:id="C2B">
<p> ... </p>
</correction>
<normalization xml:id="N2A">
<p> ... </p>
</normalization>
<normalization xml:id="N2B"
default="true">
<p> ... </p>
</normalization>
</editorialDecl>
</encodingDesc>
16 Linking, Segmentation, and Alignment
<linkGrp type="translation">
<link target="#CCS1 #SW1"/>
<link target="#CCS2 #SW2"/>
<link target="#CCS #SW"/>
</linkGrp>
<div type="volume" xml:id="CCS"
xml:lang="fr">
<p>
<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>
</p>
<!-- ... -->
</div>
<div type="volume" xml:id="SW" xml:lang="en">
<p>
<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>
</p>
<!-- ... -->
</div>
<link target="#CCS1 #SW1"/>
<link target="#CCS2 #SW2"/>
<link target="#CCS #SW"/>
</linkGrp>
<div type="volume" xml:id="CCS"
xml:lang="fr">
<p>
<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>
</p>
<!-- ... -->
</div>
<div type="volume" xml:id="SW" xml:lang="en">
<p>
<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>
</p>
<!-- ... -->
</div>
<linkGrp type="translation">
<link target="#fr_CCS1 #fr_SW1"/>
<link target="#fr_CCS2 #fr_SW2"/>
<link target="#fr_CCS #fr_SW"/>
</linkGrp>
<div type="volume" xml:id="fr_CCS"
xml:lang="fr">
<p>
<s xml:id="fr_CCS1">Longtemps, je me suis couché de bonne heure.</s>
<s xml:id="fr_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>
</p>
</div>
<div type="volume" xml:id="fr_SW"
xml:lang="en">
<p>
<s xml:id="fr_SW1">For a long time I used to go to bed early.</s>
<s xml:id="fr_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>
</p>
</div>
<link target="#fr_CCS1 #fr_SW1"/>
<link target="#fr_CCS2 #fr_SW2"/>
<link target="#fr_CCS #fr_SW"/>
</linkGrp>
<div type="volume" xml:id="fr_CCS"
xml:lang="fr">
<p>
<s xml:id="fr_CCS1">Longtemps, je me suis couché de bonne heure.</s>
<s xml:id="fr_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>
</p>
</div>
<div type="volume" xml:id="fr_SW"
xml:lang="en">
<p>
<s xml:id="fr_SW1">For a long time I used to go to bed early.</s>
<s xml:id="fr_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>
</p>
</div>
<linkGrp type="translation">
<link target="#zh-tw_CCS1 #zh-tw_SW1"/>
<link target="#zh-tw_CCS2 #zh-tw_SW2"/>
<link target="#zh-tw_CCS #zh-tw_SW"/>
</linkGrp>
<div type="volume" xml:id="zh-tw_CCS">
<p>
<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>
</p>
<!-- ... -->
</div>
<div type="volume" xml:id="zh-tw_SW">
<p>
<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>
</p>
<!-- ... -->
</div>
<link target="#zh-tw_CCS1 #zh-tw_SW1"/>
<link target="#zh-tw_CCS2 #zh-tw_SW2"/>
<link target="#zh-tw_CCS #zh-tw_SW"/>
</linkGrp>
<div type="volume" xml:id="zh-tw_CCS">
<p>
<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>
</p>
<!-- ... -->
</div>
<div type="volume" xml:id="zh-tw_SW">
<p>
<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>
</p>
<!-- ... -->
</div>
<div type="chap"
xml:base="http://classics.mit.edu/">
<head>On Ancient Persian Manners</head>
<p>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 ...</p>
<!-- ... -->
</div>
xml:base="http://classics.mit.edu/">
<head>On Ancient Persian Manners</head>
<p>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 ...</p>
<!-- ... -->
</div>
<div type="section" xml:id="sect106">
<!-- ... -->
</div>
<div type="section" n="107" xml:id="sect107">
<head>Limitations on exclusive rights: Fair use</head>
<p>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 rend="bulleted">
<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.</p>
</div>
<!-- ... -->
</div>
<div type="section" n="107" xml:id="sect107">
<head>Limitations on exclusive rights: Fair use</head>
<p>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 rend="bulleted">
<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.</p>
</div>
16.2.3 Using Abbreviated Pointers
<listPrefixDef>
<prefixDef ident="psn"
matchPattern="([a-z]+)"
replacementPattern="../../references/people/personography.xml#$1">
<p> In the context of this project, private URIs with the prefix
"psn" point to <gi>person</gi> elements in the project's
personography.xml file.
</p>
</prefixDef>
</listPrefixDef>
<prefixDef ident="psn"
matchPattern="([a-z]+)"
replacementPattern="../../references/people/personography.xml#$1">
<p> In the context of this project, private URIs with the prefix
"psn" point to <gi>person</gi> elements in the project's
personography.xml file.
</p>
</prefixDef>
</listPrefixDef>
16.2.3 Using Abbreviated Pointers
<prefixDef ident="psn"
matchPattern="([a-z]+)"
replacementPattern="http://www.example.com/personography.html#$1">
<p> Private URIs with the prefix "psn" can be converted to point
to a fragment on the Personography page of the project Website.
</p>
</prefixDef>
matchPattern="([a-z]+)"
replacementPattern="http://www.example.com/personography.html#$1">
<p> Private URIs with the prefix "psn" can be converted to point
to a fragment on the Personography page of the project Website.
</p>
</prefixDef>
<refsDecl xml:id="biblical">
<cRefPattern matchPattern="(.+) (.+):(.+)"
replacementPattern="#xpath(//div[@n='$1']/div[@n='$2']/div[@n='$3]')">
<p>This pointer pattern extracts and references the <q>book,</q>
<q>chapter,</q> and <q>verse</q> parts of a biblical reference.</p>
</cRefPattern>
<cRefPattern matchPattern="(.+) (.+)"
replacementPattern="#xpath(//div[@n='$1']/div[$2])">
<p>This pointer pattern extracts and references the <q>book</q> and
<q>chapter</q> parts of a biblical reference.</p>
</cRefPattern>
<cRefPattern matchPattern="(.+)"
replacementPattern="#xpath(//div[@n='$1'])">
<p>This pointer pattern extracts and references just the <q>book</q>
part of a biblical reference.</p>
</cRefPattern>
</refsDecl>
<cRefPattern matchPattern="(.+) (.+):(.+)"
replacementPattern="#xpath(//div[@n='$1']/div[@n='$2']/div[@n='$3]')">
<p>This pointer pattern extracts and references the <q>book,</q>
<q>chapter,</q> and <q>verse</q> parts of a biblical reference.</p>
</cRefPattern>
<cRefPattern matchPattern="(.+) (.+)"
replacementPattern="#xpath(//div[@n='$1']/div[$2])">
<p>This pointer pattern extracts and references the <q>book</q> and
<q>chapter</q> parts of a biblical reference.</p>
</cRefPattern>
<cRefPattern matchPattern="(.+)"
replacementPattern="#xpath(//div[@n='$1'])">
<p>This pointer pattern extracts and references just the <q>book</q>
part of a biblical reference.</p>
</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">
<p>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.</p>
</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">
<p>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>.</p>
</cRefPattern>
<cRefPattern matchPattern="([0-9][0-9])\s*U\.?S\.?C\.?\s*[Aa](ppend(ix)?)?"
replacementPattern="http://uscode.house.gov/download/pls/$1A.txt">
<p>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>.</p>
</cRefPattern>
</refsDecl>
<!-- ... -->
<p>The example in section 10 is taken
from <ref cRef="17 USC Ch 1">Subject Matter and Scope of
Copyright</ref>.</p>
<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">
<p>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.</p>
</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">
<p>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>.</p>
</cRefPattern>
<cRefPattern matchPattern="([0-9][0-9])\s*U\.?S\.?C\.?\s*[Aa](ppend(ix)?)?"
replacementPattern="http://uscode.house.gov/download/pls/$1A.txt">
<p>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>.</p>
</cRefPattern>
</refsDecl>
<!-- ... -->
<p>The example in section 10 is taken
from <ref cRef="17 USC Ch 1">Subject Matter and Scope of
Copyright</ref>.</p>
16.3 Blocks, Segments, and Anchors
<div1 n="Gen" type="book">
<head>Das Erste Buch Mose.</head>
<div2 n="1" type="chapter">
<p>
<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>
</p>
<p>
<seg n="3">Vnd Gott sprach / Es werde Liecht / Vnd es ward
Liecht.</seg>
</p>
</div2>
</div1>
<head>Das Erste Buch Mose.</head>
<div2 n="1" type="chapter">
<p>
<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>
</p>
<p>
<seg n="3">Vnd Gott sprach / Es werde Liecht / Vnd es ward
Liecht.</seg>
</p>
</div2>
</div1>
16.5.2 Alignment of Parallel Texts
<div xml:lang="en" type="subsection">
<p>
<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.</p>
</div>
<div xml:lang="fr" type="subsection">
<p>
<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.</p>
</div>
<p>
<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.</p>
</div>
<div xml:lang="fr" type="subsection">
<p>
<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.</p>
</div>
16.5.2 Alignment of Parallel Texts
<div xml:id="div-e" xml:lang="en"
type="subsection">
<p>
<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>
</p>
</div>
<div xml:id="div-f" xml:lang="fr"
type="subsection">
<p>
<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>
</p>
</div>
<linkGrp type="alignment"
domains="#div-e #div-f">
<link target="#e_1 #f_1"/>
<link target="#e_2 #f_2"/>
<link target="#e_3 #f_3"/>
<link target="#e_4 #f_4"/>
</linkGrp>
type="subsection">
<p>
<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>
</p>
</div>
<div xml:id="div-f" xml:lang="fr"
type="subsection">
<p>
<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>
</p>
</div>
<linkGrp type="alignment"
domains="#div-e #div-f">
<link target="#e_1 #f_1"/>
<link target="#e_2 #f_2"/>
<link target="#e_3 #f_3"/>
<link target="#e_4 #f_4"/>
</linkGrp>
<div xml:id="e98" xml:lang="en"
type="lesson">
<head>The Study</head>
<p>
<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>
</p>
</div>
<div xml:id="l98" xml:lang="la"
type="lesson">
<head>Muséum</head>
<p>
<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>
</p>
</div>
type="lesson">
<head>The Study</head>
<p>
<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>
</p>
</div>
<div xml:id="l98" xml:lang="la"
type="lesson">
<head>Muséum</head>
<p>
<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>
</p>
</div>
16.6 Identical Elements and Virtual Copies
<p>In small clumsy letters he wrote:
<q rend="centered italic">
<date xml:id="d840404">April 4th,
1984</date>.</q>
</p>
<p>He sat back. A sense of complete helplessness had
descended upon him. ...</p>
<p>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>
</p>
<q rend="centered italic">
<date xml:id="d840404">April 4th,
1984</date>.</q>
</p>
<p>He sat back. A sense of complete helplessness had
descended upon him. ...</p>
<p>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>
</p>
<sp>
<speaker>Hughie</speaker>
<p>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>
</p>
</sp>
<sp>
<speaker>Louie</speaker>
<p>
<q>
<l xml:id="frog-L1">When the old pond</l>
<l>...</l>
</q>
</p>
</sp>
<sp>
<speaker>Dewey</speaker>
<p>
<q>...
<l xml:id="frog-L3">It's a new pond.</l>
</q>
</p>
<join target="#frog-L1 #frog-L2 #frog-L3"
result="lg" scope="root"/>
</sp>
<speaker>Hughie</speaker>
<p>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>
</p>
</sp>
<sp>
<speaker>Louie</speaker>
<p>
<q>
<l xml:id="frog-L1">When the old pond</l>
<l>...</l>
</q>
</p>
</sp>
<sp>
<speaker>Dewey</speaker>
<p>
<q>...
<l xml:id="frog-L3">It's a new pond.</l>
</q>
</p>
<join target="#frog-L1 #frog-L2 #frog-L3"
result="lg" scope="root"/>
</sp>
<text xml:id="zuitxt">
<body>
<p>
<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>
</p>
<p>Then he answered himself,
<q next="#zuiq4" xml:id="zuiq2"
who="#zuigan">Yes, sir.</q>
</p>
<p>And then he added,
<q next="#zuiq5" xml:id="zuiq3"
who="#master">Become sober.</q>
</p>
<p>Again he answered,
<q next="#zuiq7" xml:id="zuiq4"
who="#zuigan">Yes, sir.</q>
</p>
<p>
<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>
</p>
<p>
<q xml:id="zuiq7" who="#zuigan">Yes, sir; yes, sir,</q>
he replied.</p>
</body>
</text>
<body>
<p>
<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>
</p>
<p>Then he answered himself,
<q next="#zuiq4" xml:id="zuiq2"
who="#zuigan">Yes, sir.</q>
</p>
<p>And then he added,
<q next="#zuiq5" xml:id="zuiq3"
who="#master">Become sober.</q>
</p>
<p>Again he answered,
<q next="#zuiq7" xml:id="zuiq4"
who="#zuigan">Yes, sir.</q>
</p>
<p>
<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>
</p>
<p>
<q xml:id="zuiq7" who="#zuigan">Yes, sir; yes, sir,</q>
he replied.</p>
</body>
</text>
<text>
<body>
<!-- five div1 elements -->
<div1>
<p>Zui-Gan called out to himself every day, <q>Master.</q>
</p>
<p>Then he answered himself, <q>Yes, sir.</q>
</p>
<p>And then he added, <q>Become sober.</q>
</p>
<p>Again he answered, <q>Yes, sir.</q>
</p>
<p>
<q>And after that,</q> he continued, <q>do not be deceived by others.</q>
</p>
<p>
<q>Yes, sir; yes, sir,</q> he replied.</p>
<ab type="aggregation">
<ptr xml:id="rzuiq1"
target="./#xpath(//div1[6]/p[1]/q[1])"/>
<ptr xml:id="rzuiq2"
target="./#xpath(//div1[6]/p[2]/q[1])"/>
<ptr xml:id="rzuiq3"
target="./#xpath(//div1[6]/p[3]/q[1])"/>
<ptr xml:id="rzuiq4"
target="./#xpath(//div1[6]/p[4]/q[1])"/>
<ptr xml:id="rzuiq5"
target="./#xpath(//div1[6]/p[5]/q[1])"/>
<ptr xml:id="rzuiq6"
target="./#xpath(//div1[6]/p[5]/q[2])"/>
<ptr xml:id="rzuiq7"
target="./#xpath(//div1[6]/p[6]/q[1])"/>
<joinGrp evaluate="one" result="q">
<join target="#rzuiq1 #rzuiq2 #rzuiq4 #rzuiq7">
<desc>what Zui-Gan said</desc>
</join>
<join target="#rzuiq3 #rzuiq5 #rzuiq6">
<desc>what Master said</desc>
</join>
</joinGrp>
</ab>
</div1>
</body>
</text>
<body>
<!-- five div1 elements -->
<div1>
<p>Zui-Gan called out to himself every day, <q>Master.</q>
</p>
<p>Then he answered himself, <q>Yes, sir.</q>
</p>
<p>And then he added, <q>Become sober.</q>
</p>
<p>Again he answered, <q>Yes, sir.</q>
</p>
<p>
<q>And after that,</q> he continued, <q>do not be deceived by others.</q>
</p>
<p>
<q>Yes, sir; yes, sir,</q> he replied.</p>
<ab type="aggregation">
<ptr xml:id="rzuiq1"
target="./#xpath(//div1[6]/p[1]/q[1])"/>
<ptr xml:id="rzuiq2"
target="./#xpath(//div1[6]/p[2]/q[1])"/>
<ptr xml:id="rzuiq3"
target="./#xpath(//div1[6]/p[3]/q[1])"/>
<ptr xml:id="rzuiq4"
target="./#xpath(//div1[6]/p[4]/q[1])"/>
<ptr xml:id="rzuiq5"
target="./#xpath(//div1[6]/p[5]/q[1])"/>
<ptr xml:id="rzuiq6"
target="./#xpath(//div1[6]/p[5]/q[2])"/>
<ptr xml:id="rzuiq7"
target="./#xpath(//div1[6]/p[6]/q[1])"/>
<joinGrp evaluate="one" result="q">
<join target="#rzuiq1 #rzuiq2 #rzuiq4 #rzuiq7">
<desc>what Zui-Gan said</desc>
</join>
<join target="#rzuiq3 #rzuiq5 #rzuiq6">
<desc>what Master said</desc>
</join>
</joinGrp>
</ab>
</div1>
</body>
</text>
<sp>
<speaker>Hughie</speaker>
<p>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>
</p>
</sp>
<sp>
<speaker>Louie</speaker>
<p>
<q>
<l xml:id="frog_l1">When the old pond</l>
<l>...</l>
</q>
</p>
</sp>
<sp>
<speaker>Dewey</speaker>
<p>
<q>... <l xml:id="frog_l3">It's a new pond.</l>
</q>
</p>
<join target="#frog_l1 #frog_l2 #frog_l3"
result="lg" scope="root"/>
</sp>
<speaker>Hughie</speaker>
<p>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>
</p>
</sp>
<sp>
<speaker>Louie</speaker>
<p>
<q>
<l xml:id="frog_l1">When the old pond</l>
<l>...</l>
</q>
</p>
</sp>
<sp>
<speaker>Dewey</speaker>
<p>
<q>... <l xml:id="frog_l3">It's a new pond.</l>
</q>
</p>
<join target="#frog_l1 #frog_l2 #frog_l3"
result="lg" scope="root"/>
</sp>
<sp>
<speaker>Hughie</speaker>
<p>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>
</p>
</sp>
<sp>
<speaker>Louie</speaker>
<p>
<q>
<l xml:id="fr_frog_l1">When the old pond</l>
<l>...</l>
</q>
</p>
</sp>
<sp>
<speaker>Dewey</speaker>
<p>
<q>... <l xml:id="fr_frog_l3">It's a new pond.</l>
</q>
</p>
<join target="#fr_frog_l1 #fr_frog_l2 #fr_frog_l3"
result="lg" scope="root"/>
</sp>
<speaker>Hughie</speaker>
<p>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>
</p>
</sp>
<sp>
<speaker>Louie</speaker>
<p>
<q>
<l xml:id="fr_frog_l1">When the old pond</l>
<l>...</l>
</q>
</p>
</sp>
<sp>
<speaker>Dewey</speaker>
<p>
<q>... <l xml:id="fr_frog_l3">It's a new pond.</l>
</q>
</p>
<join target="#fr_frog_l1 #fr_frog_l2 #fr_frog_l3"
result="lg" scope="root"/>
</sp>
<p>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>.</p>
<p>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.</p>
<join result="list" xml:id="fr_LST1"
target="#fr_LP1 #fr_LP2 #fr_LP3" scope="branches">
<desc>Sample sentences in Southern speech</desc>
</join>
<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>.</p>
<p>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.</p>
<join result="list" xml:id="fr_LST1"
target="#fr_LP1 #fr_LP2 #fr_LP3" scope="branches">
<desc>Sample sentences in Southern speech</desc>
</join>
<sp>
<speaker>休</speaker>
<p>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>
</p>
</sp>
<sp>
<speaker>路易</speaker>
<p>
<q>
<l xml:id="zh-tw_frog_l1">以前的池塘</l>
<l>...</l>
</q>
</p>
</sp>
<sp>
<speaker>迪威</speaker>
<p>
<q>... <l xml:id="zh-tw_frog_l3">有新的池塘</l>
</q>
</p>
<join target="#zh-tw_frog_l1 #zh-tw_frog_l2 #zh-tw_frog_l3"
result="lg" scope="root"/>
</sp>
<speaker>休</speaker>
<p>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>
</p>
</sp>
<sp>
<speaker>路易</speaker>
<p>
<q>
<l xml:id="zh-tw_frog_l1">以前的池塘</l>
<l>...</l>
</q>
</p>
</sp>
<sp>
<speaker>迪威</speaker>
<p>
<q>... <l xml:id="zh-tw_frog_l3">有新的池塘</l>
</q>
</p>
<join target="#zh-tw_frog_l1 #zh-tw_frog_l2 #zh-tw_frog_l3"
result="lg" scope="root"/>
</sp>
<p>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>。</p>
<p>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>。</p>
<join result="list" xml:id="zh-tw_LST1"
target="#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>
<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>。</p>
<p>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>。</p>
<join result="list" xml:id="zh-tw_LST1"
target="#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>
<p>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>.</p>
<p>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.</p>
<join result="list" xml:id="LST1"
target="#LP1 #LP2 #LP3" scope="branches">
<desc>Sample sentences in Southern speech</desc>
</join>
<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>.</p>
<p>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.</p>
<join result="list" xml:id="LST1"
target="#LP1 #LP2 #LP3" scope="branches">
<desc>Sample sentences in Southern speech</desc>
</join>
16.9.3 Stand-off Markup in TEI
<body>
<p xml:id="par1">home, <emph>home</emph> on Brokeback Mountain.</p>
<p xml:id="par2">That was the <emph>song</emph> that I sang</p>
</body>
<p xml:id="par1">home, <emph>home</emph> on Brokeback Mountain.</p>
<p xml:id="par2">That was the <emph>song</emph> that I sang</p>
</body>
<group>
<text xml:id="t1-g1-t1" xml:lang="mi">
<body xml:id="t1-g1-t1-body1">
<div type="chapter">
<head>He Whakamaramatanga mo te Ture Hoko, Riihi hoki, i nga Whenua Maori, 1876.</head>
<p>…</p>
</div>
</body>
</text>
<text xml:id="t1-g1-t2" xml:lang="en">
<body xml:id="t1-g1-t2-body1"
corresp="#t1-g1-t1-body1">
<div type="chapter">
<head>An Act to regulate the Sale, Letting, and Disposal of Native Lands, 1876.</head>
<p>…</p>
</div>
</body>
</text>
</group>
<text xml:id="t1-g1-t1" xml:lang="mi">
<body xml:id="t1-g1-t1-body1">
<div type="chapter">
<head>He Whakamaramatanga mo te Ture Hoko, Riihi hoki, i nga Whenua Maori, 1876.</head>
<p>…</p>
</div>
</body>
</text>
<text xml:id="t1-g1-t2" xml:lang="en">
<body xml:id="t1-g1-t2-body1"
corresp="#t1-g1-t1-body1">
<div type="chapter">
<head>An Act to regulate the Sale, Letting, and Disposal of Native Lands, 1876.</head>
<p>…</p>
</div>
</body>
</text>
</group>
<!-- In a placeography called "places.xml" --><place xml:id="LOND1"
corresp="people.xml#LOND2 people.xml#GENI1">
<placeName>London</placeName>
<desc>The city of London...</desc>
</place>
<!-- In a literary personography called "people.xml" -->
<person xml:id="LOND2"
corresp="places.xml#LOND1 #GENI1">
<persName type="lit">London</persName>
<note>
<p>Allegorical character representing the city of <placeName ref="places.xml#LOND1">London</placeName>.</p>
</note>
</person>
<person xml:id="GENI1"
corresp="places.xml#LOND1 #LOND2">
<persName type="lit">London’s Genius</persName>
<note>
<p>Personification of London’s genius. Appears as an
allegorical character in mayoral shows.
</p>
</note>
</person>
17 Simple Analytic Mechanisms
<p>
<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>
</p>
<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>
</p>
<p>
<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>
</p>
<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>
</p>
<p>
<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>.
</p>
<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>.
</p>
<p>
<pc unit="para" force="strong" pre="true">¶</pc>Incipit...
</p>
<pc unit="para" force="strong" pre="true">¶</pc>Incipit...
</p>
<p>
<w pos="PPIS2">We</w>
<w pos="VBR">'re</w>
<w pos="VVG">going</w>
<w pos="II">on</w>
<w pos="NN1">vacation</w>
<w pos="II">to</w>
<w pos="NP1">Brazil</w>
<w pos="IF">for</w>
<w pos="AT1">a</w>
<w pos="NNT1">month</w>
<pc pos="!">!</pc>
</p>
<w pos="PPIS2">We</w>
<w pos="VBR">'re</w>
<w pos="VVG">going</w>
<w pos="II">on</w>
<w pos="NN1">vacation</w>
<w pos="II">to</w>
<w pos="NP1">Brazil</w>
<w pos="IF">for</w>
<w pos="AT1">a</w>
<w pos="NNT1">month</w>
<pc pos="!">!</pc>
</p>
<p>
<w pos="PNP">We</w>
<w pos="VBB" join="left">'re</w>
<w pos="VVG">going</w>
<w pos="PRP">on</w>
<w pos="NN1">vacation</w>
<pc pos="PUN" join="left">.</pc>
</p>
<w pos="PNP">We</w>
<w pos="VBB" join="left">'re</w>
<w pos="VVG">going</w>
<w pos="PRP">on</w>
<w pos="NN1">vacation</w>
<pc pos="PUN" join="left">.</pc>
</p>
17.3 Spans and Interpretations
<p xml:id="MaQp1s2p114">
<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>
<span from="#MaQp1s2p114s3"
to="#MaQp1s2p114s5">the moment</span>
<s xml:id="MaQp1s2p114s6">For during that space of time (which was
timeless) she understood quite finally her smallness, the
unimportance of humanity.</s>
</p>
<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>
<span from="#MaQp1s2p114s3"
to="#MaQp1s2p114s5">the moment</span>
<s xml:id="MaQp1s2p114s6">For during that space of time (which was
timeless) she understood quite finally her smallness, the
unimportance of humanity.</s>
</p>
17.3 Spans and Interpretations
<p xml:id="P1">
<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"/>
</p>
<p xml:id="P2">Sigmund carried him a long way in his arms ... </p>
<p xml:id="P3">King Sigmund lived a long time in Denmark ... </p>
<p xml:id="P4">Sigmund and all his sons were tall ... </p>
<spanGrp resp="#TMA"
type="narrative-structure">
<span from="#S1" to="#S3">introduction</span>
<span from="#S4A">conflict</span>
<span from="#S4B">climax</span>
<span from="#S5" to="#S17">revenge</span>
<span from="#EOS17">reconciliation</span>
<span from="#P2" to="#P4">aftermath</span>
</spanGrp>
<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"/>
</p>
<p xml:id="P2">Sigmund carried him a long way in his arms ... </p>
<p xml:id="P3">King Sigmund lived a long time in Denmark ... </p>
<p xml:id="P4">Sigmund and all his sons were tall ... </p>
<spanGrp resp="#TMA"
type="narrative-structure">
<span from="#S1" to="#S3">introduction</span>
<span from="#S4A">conflict</span>
<span from="#S4B">climax</span>
<span from="#S5" to="#S17">revenge</span>
<span from="#EOS17">reconciliation</span>
<span from="#P2" to="#P4">aftermath</span>
</spanGrp>
17.3 Spans and Interpretations
<p xml:id="MarQp1s2p114">
<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>
</p>
<interp xml:id="moment">the moment</interp>
<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>
</p>
<interp xml:id="moment">the moment</interp>
17.3 Spans and Interpretations
<p xml:id="PP1">
<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>
</p>
<anchor xml:id="NIL1" ana="#RECONCIL"/>
<p xml:id="PP2">Sigmund carried him a long way in his arms ... </p>
<p xml:id="PP3">King Sigmund lived a long time in Denmark ... </p>
<p xml:id="PP4">Sigmund and all his sons were tall ... </p>
<join xml:id="PP2-PP4"
target="#PP2 #PP3 #PP4" ana="#AFTERM"/>
<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>
</p>
<anchor xml:id="NIL1" ana="#RECONCIL"/>
<p xml:id="PP2">Sigmund carried him a long way in his arms ... </p>
<p xml:id="PP3">King Sigmund lived a long time in Denmark ... </p>
<p xml:id="PP4">Sigmund and all his sons were tall ... </p>
<join xml:id="PP2-PP4"
target="#PP2 #PP3 #PP4" ana="#AFTERM"/>
<p xml:id="para2">(The "aftermath" starts here)</p>
<p xml:id="para3">(The "aftermath" continues here)</p>
<p xml:id="para4">(The "aftermath" ends in this paragraph)</p>
<!-- ... -->
<span type="structure" from="#para2"
to="#para4">aftermath</span>
<p xml:id="para3">(The "aftermath" continues here)</p>
<p xml:id="para4">(The "aftermath" ends in this paragraph)</p>
<!-- ... -->
<span type="structure" from="#para2"
to="#para4">aftermath</span>
<p xml:id="fr_para2">(la "conséquence" commence ici)</p>
<p xml:id="fr_para3">(la "conséquence" continue ici)</p>
<p xml:id="fr_para4">(la "conséquence" se termine dans ce paragraphe)</p>
<span type="structure" from="#fr_para2"
to="#fr_para4">conséquence</span>
<p xml:id="fr_para3">(la "conséquence" continue ici)</p>
<p xml:id="fr_para4">(la "conséquence" se termine dans ce paragraphe)</p>
<span type="structure" from="#fr_para2"
to="#fr_para4">conséquence</span>
<p xml:id="zh-tw_第二小節">("結局"從這裡開始)</p>
<p xml:id="zh-tw_第三小節">("結局"持續)</p>
<p xml:id="zh-tw_第四小節">("結局"結束於此)</p>
<!-- ... -->
<span type="架構" from="#zh-tw_第二小節"
to="#zh-tw_第四小節">結局</span>
<p xml:id="zh-tw_第三小節">("結局"持續)</p>
<p xml:id="zh-tw_第四小節">("結局"結束於此)</p>
<!-- ... -->
<span type="架構" from="#zh-tw_第二小節"
to="#zh-tw_第四小節">結局</span>
18 Feature Structures
<TEI xmlns="http://www.tei-c.org/ns/1.0">
<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>
<p>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.
</p>
</publicationStmt>
<sourceDesc>
<p>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).</p>
</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>
<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>
<p>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.
</p>
</publicationStmt>
<sourceDesc>
<p>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).</p>
</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
<p>
<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>
</p>
<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>
</p>
20.1 Multiple Encodings of the Same Information
<p>
<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>
</p>
<p>
<seg>"Yes," She said, "He <emph>looks</emph> like a
psychiatrist."</seg>
</p>
<p>
<seg>Grown quiet, I looked at his pink back, and thought.</seg>
</p>
<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>
</p>
<p>
<seg>"Yes," She said, "He <emph>looks</emph> like a
psychiatrist."</seg>
</p>
<p>
<seg>Grown quiet, I looked at his pink back, and thought.</seg>
</p>
20.2 Boundary Marking with Empty Elements
<p>
<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>
</p>
<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>
</p>
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>
<!-- Elsewhere in the document -->
<p>
<join result="s" scope="root"
target="#w01 #w02 #w03 #w04"/>
<join result="s" scope="root"
target="#w05 #w06 #w07 #w08 #w09 #w10 #w11 #w12 #w13"/>
<join result="s" scope="root"
target="#w14 #w15 #w16 #w17 #w18 #w19 #w20"/>
<join result="s" scope="root"
target="#w21 #w22 #w23 #w24 #w25 #w26 #w27 #w28 #w29 #w30 #w31"/>
</p>
<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>
<!-- Elsewhere in the document -->
<p>
<join result="s" scope="root"
target="#w01 #w02 #w03 #w04"/>
<join result="s" scope="root"
target="#w05 #w06 #w07 #w08 #w09 #w10 #w11 #w12 #w13"/>
<join result="s" scope="root"
target="#w14 #w15 #w16 #w17 #w18 #w19 #w20"/>
<join result="s" scope="root"
target="#w21 #w22 #w23 #w24 #w25 #w26 #w27 #w28 #w29 #w30 #w31"/>
</p>
21 Certainty, Precision, and Responsibility
21.1.2 Structured Indications of Uncertainty
<div>
<p>[...]</p>
</div>
<div>
<certainty locus="name" degree="0.3"
match=".//persName"/>
</div>
<p>[...]</p>
</div>
<div>
<certainty locus="name" degree="0.3"
match=".//persName"/>
</div>
<!-- in the <teiHeader>: --><respStmt xml:id="enc01">
<name>C. Colin Backslash</name>
<resp>transcription</resp>
<resp>encoding</resp>
</respStmt>
<respStmt xml:id="prf01">
<name>Erin Spelling</name>
<resp>proofreading</resp>
</respStmt>
<!-- in the <text>: -->
<p>Θερινὴ τροπή
<lb/>
<foreign xml:lang="heb" xml:id="mp0a8"> ת
<supplied reason="undefined">קו</supplied>
<unclear>פ</unclear>
ת תמוז
</foreign>
</p>
<!-- elsewhere: -->
<respons target="#mp0a8" locus="name value"
resp="#prf01"/>
<!-- in the <teiHeader>: --><respStmt xml:id="enc03">
<persName ref="../contextual/persons.xml#across.dta"/>
<resp>encoding</resp>
</respStmt>
<!-- in the <text>: -->
<spGrp rend="braced(atonce1)"
xml:id="sgrp05">
<sp who="#mo">
<speaker rend="align(left)slant(italic)">
<persName>Mor</persName>.</speaker>
<p rend="break(no)">So, so, so!</p>
</sp>
<sp who="#hg">
<speaker rend="align(left)slant(italic)">
<persName>Mr. H</persName>.</speaker>
<p rend="break(no)">What, without my Leave!</p>
</sp>
<sp who="#la">
<speaker rend="align(left)slant(italic)">
<persName>Lady D</persName>.</speaker>
<p rend="break(no)">Amazing!</p>
</sp>
</spGrp>
<stage rend="align(right)slant(italic)"
type="delivery" xml:id="atonce1">All together.</stage>
<!-- anywhere: -->
<respons target="sgrp05" locus="name"
resp="../contextual/persons.xml#rcapolung.ewo">
<desc>Ashley did not know what to do with this; I have decided it
best fits as a braced <gi>spGrp</gi>
</desc>
</respons>
<respons target="sgrp05" match=".//@rend"
locus="value"
resp="../contextual/persons.xml#sbauman.emt">
<desc>fixed <att>rend</att> attributes</desc>
</respons>
22 Documentation Elements
<p>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.</p>
usually cause a fatal error.</p>
<p>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.</p>
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.</p>
22.1.2 Element and Attribute Descriptions
<div>
<head>Element and Attribute Descriptions</head>
<p>Within the body of a document using this module, the … the brief prose descriptions these provide for elements and attributes.
<specList>
<specDesc key="specList"/>
<specDesc key="specDesc" atts="atts"/>
</specList>
</p>
<p>TEI practice recommends that a <gi>specList</gi> listing the elements under … </p>
<!-- ... -->
</div>
<head>Element and Attribute Descriptions</head>
<p>Within the body of a document using this module, the … the brief prose descriptions these provide for elements and attributes.
<specList>
<specDesc key="specList"/>
<specDesc key="specDesc" atts="atts"/>
</specList>
</p>
<p>TEI practice recommends that a <gi>specList</gi> listing the elements under … </p>
<!-- ... -->
</div>
<p>The TEI defines several <soCalled>global</soCalled> attributes; their names include
<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">type</att> is not amongst them.</p>
<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">type</att> is not amongst them.</p>
<p>La TEI définit six attributs<soCalled>globaux</soCalled> qui se nomment
<att>xml:id</att>, <att>rend</att>, <att>xml:lang</att>, <att>n</att>,
<att>xml:space</att>, et <att>xml:base</att>; <att scheme="XX">type</att>n'en fait pas
partie .</p>
<att>xml:id</att>, <att>rend</att>, <att>xml:lang</att>, <att>n</att>,
<att>xml:space</att>, et <att>xml:base</att>; <att scheme="XX">type</att>n'en fait pas
partie .</p>
<p>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">type</att> 不在其中。</p>
<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">type</att> 不在其中。</p>
<p>The
<gi>term</gi> element is declared using the following syntax:
<eg><![CDATA[<!ELEMENT term (%phrase.content;)>]]</eg>
</p>
<gi>term</gi> element is declared using the following syntax:
<eg><![CDATA[<!ELEMENT term (%phrase.content;)>]]</eg>
</p>
<p>L'élément <gi>term</gi> est déclaré en utilisant la syntaxe suivante :
<eg><![CDATA[<!ELEMENT term (%phrase.content;)>]]</eg>
</p>
<eg><![CDATA[<!ELEMENT term (%phrase.content;)>]]</eg>
</p>
<p>
<gi>術語</gi>元素用於以下語法：
<eg><![CDATA[<!ELEMENT term (%phrase.content;)>]]</eg>
</p>
<gi>術語</gi>元素用於以下語法：
<eg><![CDATA[<!ELEMENT term (%phrase.content;)>]]</eg>
</p>
<p>The <gi>xhtml:li</gi> element is roughly analogous to the <gi>item</gi> element, as is the
<gi scheme="DBK">listItem</gi> element.</p>
<gi scheme="DBK">listItem</gi> element.</p>
<p>L'élément <gi>xhtml:li</gi> est grosso modo analogue à l'élément <gi>item</gi>, comme
l'est l'élément <gi scheme="DBK">listItem</gi>.</p>
l'est l'élément <gi scheme="DBK">listItem</gi>.</p>
<p>元素 <gi>xhtml:li</gi>大略類似元素<gi>item</gi>，以及元素 <gi scheme="DBK">listItem</gi>。</p>
<p>The <gi>xhtml:li</gi> element is roughly analogous to the <gi>item</gi> element, as is the
<gi scheme="DBK">listItem</gi> element.</p>
<gi scheme="DBK">listItem</gi> element.</p>
<p>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>
</p>
<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>
</p>
<div>
<head>An overview of the imaginary module</head>
<p>The imaginary module contains declarations for coloured things: <specGrpRef target="#RED"/>
<specGrpRef target="#BLUE"/>
</p>
</div>
<head>An overview of the imaginary module</head>
<p>The imaginary module contains declarations for coloured things: <specGrpRef target="#RED"/>
<specGrpRef target="#BLUE"/>
</p>
</div>
<p>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"/>
</p>
<!-- elsewhere -->
<specGrp xml:id="names.pers">
<!--... -->
</specGrp>
<!-- elsewhere -->
<specGrp xml:id="names.place">
<!--... -->
</specGrp>
<!-- elsewhere -->
<specGrp xml:id="names.org">
<!--... -->
</specGrp>
organisations: <specGrpRef target="#names.pers"/>
<specGrpRef target="#names.place"/>
<specGrpRef target="#names.org"/>
</p>
<!-- elsewhere -->
<specGrp xml:id="names.pers">
<!--... -->
</specGrp>
<!-- elsewhere -->
<specGrp xml:id="names.place">
<!--... -->
</specGrp>
<!-- elsewhere -->
<specGrp xml:id="names.org">
<!--... -->
</specGrp>
<p>Cette partie du module contient les déclarations pour les noms de personnes, de lieux,
des organismes : <specGrpRef target="#fr_names.pers"/>
<specGrpRef target="#fr_names.place"/>
<specGrpRef target="#fr_names.org"/>
</p>
<specGrp xml:id="fr_names.pers"/>
<specGrp xml:id="fr_names.place"/>
<specGrp xml:id="fr_names.org"/>
des organismes : <specGrpRef target="#fr_names.pers"/>
<specGrpRef target="#fr_names.place"/>
<specGrpRef target="#fr_names.org"/>
</p>
<specGrp xml:id="fr_names.pers"/>
<specGrp xml:id="fr_names.place"/>
<specGrp xml:id="fr_names.org"/>
<p>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"/>
</p>
<!-- 某處 -->
<specGrp xml:id="zh-tw_names.pers">
<!--... -->
</specGrp>
<!-- 某處 -->
<specGrp xml:id="zh-tw_names.place">
<!--... -->
</specGrp>
<!-- 某處 -->
<specGrp xml:id="zh-tw_names.org">
<!--... -->
</specGrp>
<specGrpRef target="#zh-tw_names.place"/>
<specGrpRef target="#zh-tw_names.org"/>
</p>
<!-- 某處 -->
<specGrp xml:id="zh-tw_names.pers">
<!--... -->
</specGrp>
<!-- 某處 -->
<specGrp xml:id="zh-tw_names.place">
<!--... -->
</specGrp>
<!-- 某處 -->
<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>
<p>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.</p>
</remarks>
</classSpec>
ident="model.segLike">
<desc>groups elements used for arbitrary segmentation.</desc>
<classes>
<memberOf key="model.phrase"/>
</classes>
<remarks>
<p>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.</p>
</remarks>
</classSpec>
<classSpec module="tei" type="model"
ident="model.segLike">
<desc>regroupe des éléments utilisés pour des segmentations arbitraires.</desc>
<classes>
<memberOf key="model.phrase"/>
</classes>
<remarks>
<p>Les principes selon lesquels la segmentation est effectuée, et tous les codes
spéciaux ou toutes les valeurs d'attribut utilisées, devraient être définis
explicitement dans l'élément<gi>segmentation</gi> de l'élément<gi>encodingDesc</gi>
dans l'en-tête TEI associé.</p>
</remarks>
</classSpec>
ident="model.segLike">
<desc>regroupe des éléments utilisés pour des segmentations arbitraires.</desc>
<classes>
<memberOf key="model.phrase"/>
</classes>
<remarks>
<p>Les principes selon lesquels la segmentation est effectuée, et tous les codes
spéciaux ou toutes les valeurs d'attribut utilisées, devraient être définis
explicitement dans l'élément<gi>segmentation</gi> de l'élément<gi>encodingDesc</gi>
dans l'en-tête TEI associé.</p>
</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>
<p>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.</p>
</remarks>
</classSpec>
ident="model.segLike">
<desc>匯集用於隨機分割的元素</desc>
<classes>
<memberOf key="model.phrase"/>
</classes>
<remarks>
<p>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.</p>
</remarks>
</classSpec>
22.4.1 Description of Components
<elementSpec module="core" ident="foreign">
<!--... -->
<remarks>
<p>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.</p>
<p>The <gi>distinct</gi> element may be used to identify phrases belonging to sublanguages or
registers not generally regarded as true languages.</p>
</remarks>
<!--... -->
</elementSpec>
<!--... -->
<remarks>
<p>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.</p>
<p>The <gi>distinct</gi> element may be used to identify phrases belonging to sublanguages or
registers not generally regarded as true languages.</p>
</remarks>
<!--... -->
</elementSpec>
<remarks>
<p>This element is probably redundant.</p>
</remarks>
<p>This element is probably redundant.</p>
</remarks>
<remarks>
<p>Cet élément est probablement superflu.</p>
</remarks>
<p>Cet élément est probablement superflu.</p>
</remarks>
<remarks>
<p>此元素可能是多餘的</p>
</remarks>
<p>此元素可能是多餘的</p>
</remarks>
<exemplum xml:lang="en">
<p>The <gi>name</gi> element can be used for both personal names and place names:</p>
<eg xml:space="preserve"><![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>
<p>As shown above, the <att>type</att> attribute may be used to distinguish the one from the
other.</p>
</exemplum>
<p>The <gi>name</gi> element can be used for both personal names and place names:</p>
<eg xml:space="preserve"><![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>
<p>As shown above, the <att>type</att> attribute may be used to distinguish the one from the
other.</p>
</exemplum>
<exemplum>
<p>L'élément<gi>name</gi> est employé à la fois pour les noms propres de personne et de
lieu : </p>
<eg xml:space="preserve"> <q> <name type="person">Mrs. Parker</name>, connaît un épicier bulgare, nommé, <name type="person">Popochef Rosenfeld</name>qui vient d'arriver de <name type="place" >Constantinople</name>. C'est un grand spécialiste en yaourts.</q> </eg>
<p>Comme il est indiqué ci-dessus, l'attribut<att>type</att> peut être utilisé pour
distinguer un élément de l'autre.</p>
</exemplum>
<p>L'élément<gi>name</gi> est employé à la fois pour les noms propres de personne et de
lieu : </p>
<eg xml:space="preserve"> <q> <name type="person">Mrs. Parker</name>, connaît un épicier bulgare, nommé, <name type="person">Popochef Rosenfeld</name>qui vient d'arriver de <name type="place" >Constantinople</name>. C'est un grand spécialiste en yaourts.</q> </eg>
<p>Comme il est indiqué ci-dessus, l'attribut<att>type</att> peut être utilisé pour
distinguer un élément de l'autre.</p>
</exemplum>
<exemplum>
<p>
<gi>名稱</gi>元素可以同時用於人名以及地名：</p>
<eg xml:space="preserve"><![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>
<p>如上所示，<att>屬性值</att> 可用來分辨人名或地名。</p>
</exemplum>
<p>
<gi>名稱</gi>元素可以同時用於人名以及地名：</p>
<eg xml:space="preserve"><![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>
<p>如上所示，<att>屬性值</att> 可用來分辨人名或地名。</p>
</exemplum>
<valList type="closed">
<valItem ident="border">
<desc>used to signify that there is border around a page.</desc>
</valItem>
<valItem ident="border-rule">
<desc>used to signify that there is a border made of ruled lines.</desc>
</valItem>
<valItem ident="border-ornamental">
<desc>used to signify that there is an ornamental border.</desc>
</valItem>
<valItem ident="catch">
<gloss>catchword</gloss>
<desc>for catch words.</desc>
</valItem>
<valItem ident="lineNum">
<gloss>line number</gloss>
<desc>for printed line numbers (usually in poetry).</desc>
</valItem>
<valItem ident="listHead">
<gloss>list heading</gloss>
<desc>for headings of lists or similar constructs; often used in tables of contents for the
<q>page</q> heading.</desc>
</valItem>
<valItem ident="pageNum">
<gloss>page number</gloss>
<desc>for page numbers.</desc>
</valItem>
<valItem ident="pressFig">
<gloss>press figure</gloss>
<desc>for press figures. These are usually numbers, but are not sequential or regularly
printed like signatures.</desc>
</valItem>
<valItem ident="sig">
<gloss>signature</gloss>
<desc>for printed signatures.</desc>
</valItem>
<valItem ident="unknown">
<desc>for a metawork whose function you do not know.</desc>
</valItem>
<valItem ident="vol">
<gloss>volume number</gloss>
<desc>for printed volume numbers.</desc>
</valItem>
<valItem ident="other">
<desc>anything not covered by the above values.</desc>
<remarks>
<p>Used for an ornament, decorated tool line, or symbol(s) that is not officially a
delimiter (and thus there is no element on which to put <val>pre()</val> or
<val>post()</val>) but is used to fill space at the bottom of a page so that a
<gi>floatingText</gi> or similar can start at the top of the next.</p>
</remarks>
</valItem>
</valList>
<valItem ident="border">
<desc>used to signify that there is border around a page.</desc>
</valItem>
<valItem ident="border-rule">
<desc>used to signify that there is a border made of ruled lines.</desc>
</valItem>
<valItem ident="border-ornamental">
<desc>used to signify that there is an ornamental border.</desc>
</valItem>
<valItem ident="catch">
<gloss>catchword</gloss>
<desc>for catch words.</desc>
</valItem>
<valItem ident="lineNum">
<gloss>line number</gloss>
<desc>for printed line numbers (usually in poetry).</desc>
</valItem>
<valItem ident="listHead">
<gloss>list heading</gloss>
<desc>for headings of lists or similar constructs; often used in tables of contents for the
<q>page</q> heading.</desc>
</valItem>
<valItem ident="pageNum">
<gloss>page number</gloss>
<desc>for page numbers.</desc>
</valItem>
<valItem ident="pressFig">
<gloss>press figure</gloss>
<desc>for press figures. These are usually numbers, but are not sequential or regularly
printed like signatures.</desc>
</valItem>
<valItem ident="sig">
<gloss>signature</gloss>
<desc>for printed signatures.</desc>
</valItem>
<valItem ident="unknown">
<desc>for a metawork whose function you do not know.</desc>
</valItem>
<valItem ident="vol">
<gloss>volume number</gloss>
<desc>for printed volume numbers.</desc>
</valItem>
<valItem ident="other">
<desc>anything not covered by the above values.</desc>
<remarks>
<p>Used for an ornament, decorated tool line, or symbol(s) that is not officially a
delimiter (and thus there is no element on which to put <val>pre()</val> or
<val>post()</val>) but is used to fill space at the bottom of a page so that a
<gi>floatingText</gi> or similar can start at the top of the next.</p>
</remarks>
</valItem>
</valList>
23 Using the TEI
23.3.2 Modification and Namespaces
<div
xmlns:my="http://www.example.org/ns/nonTEI">
<!-- ... -->
<p n="12" my:topic="rabbits">Flopsy, Mopsy, Cottontail, and Peter...</p>
</div>
xmlns:my="http://www.example.org/ns/nonTEI">
<!-- ... -->
<p n="12" my:topic="rabbits">Flopsy, Mopsy, Cottontail, and Peter...</p>
</div>