P5: TEIガイドライン

<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>

Lexicography has shown little sign of being affected by the
work of followers of J.R. Firth, probably best summarized
in his slogan, <cit>
<quote>You shall know a word by the company it keeps.</quote>
<ref>(Firth, 1957)</ref>
</cit>

<bibl xml:id="tlk_36">Tolkien (1936)</bibl> tells us that
<quote source="#tlk_36">
<title>Beowulf</title> is in fact so interesting as
poetry, in places poetry so powerful, that this quite
overshadows the historical content
</quote>.

<quote>

Lexicography has shown little sign of being affected by the
work of followers of J.R. Firth, probably best summarized in his
slogan, <quote>You shall know a word by the company it
keeps</quote>
<ref>(Firth, 1957)</ref>

<quote>

C'est sûrement ça
qu'on appelle la glorieuse liberté des enfants de Dieu. <quote>Aime et fais tout ce que tu
voudras.</quote>Mais moi, ça me démolit.

<quote>

孟懿子問孝。子曰：<quote>無違。</quote>
<ref>(論語：卷一：為政第二)</ref>

<cit>
<quote>and the breath of the whale is frequently attended with such an insupportable smell,
as to bring on disorder of the brain.</quote>
<bibl>Ulloa's South America</bibl>
</cit>

<cit>
<quote>Regarde de tous tes yeux, regarde</quote>
<bibl>Jules Verne, Michel Strogof</bibl>
</cit>

<entry>
<form>
  <orth>to horrify</orth>
</form>
<cit type="translation" xml:lang="en">
  <quote>horrifier</quote>
</cit>
<cit type="example">
  <quote>she was horrified at the expense.</quote>
  <cit type="translation" xml:lang="en">
   <quote>elle était horrifiée par la dépense.</quote>
  </cit>
</cit>
</entry>

<cit>
<quote>棋開始了。上千人不再出聲兒。只有自願服務的人一會兒緊一會兒慢地用話傳出棋步，外邊兒自願服務的人就變動著棋子兒。</quote>
<bibl>阿城，《棋王》。</bibl>
</cit>

<entry>
<form>
  <orth>horrifier</orth>
</form>
<cit type="translation" xml:lang="zh">
  <quote>使驚嚇</quote>
</cit>
<cit type="example">
  <quote>elle était horrifiée par la dépense</quote>
  <cit type="translation" xml:lang="zh">
   <quote>成本把她嚇呆了。</quote>
  </cit>
</cit>
</entry>

<entry>
<form>
  <orth>horrifier</orth>
</form>
<cit type="translation" xml:lang="en">
  <quote>to horrify</quote>
</cit>
<cit type="example">
  <quote>elle était horrifiée par la dépense</quote>
  <cit type="translation" xml:lang="en">
   <quote>she was horrified at the expense.</quote>
  </cit>
</cit>
</entry>

<list type="gloss" xml:lang="enm">
<head xml:lang="en">Vocabulary</head>
<headLabel xml:lang="en">Middle English</headLabel>
<headItem xml:lang="en">New English</headItem>
<label>nu</label>
<item xml:lang="en">now</item>
<label>lhude</label>
<item xml:lang="en">loudly</item>
<label>bloweth</label>
<item xml:lang="en">blooms</item>
<label>med</label>
<item xml:lang="en">meadow</item>
<label>wude</label>
<item xml:lang="en">wood</item>
<label>awe</label>
<item xml:lang="en">ewe</item>
<label>lhouth</label>
<item xml:lang="en">lows</item>
<label>sterteth</label>
<item xml:lang="en">bounds, frisks (cf. <cit>
   <ref>Chaucer, K.T.644</ref>
   <quote>a courser, <term>sterting</term>as the fyr</quote>
  </cit>
</item>
<label>verteth</label>
<item xml:lang="la">pedit</item>
<label>murie</label>
<item xml:lang="en">merrily</item>
<label>swik</label>
<item xml:lang="en">cease</item>
<label>naver</label>
<item xml:lang="en">never</item>
</list>

<list type="gloss" xml:lang="fro">
<head xml:lang="en">Vocabulaire</head>
<headLabel xml:lang="fr">Ancien français</headLabel>
<headItem xml:lang="fr">Français moderne</headItem>
<label>amerté</label>
<item xml:lang="fr">amertume</item>
<label>barquer</label>
<item xml:lang="fr">conduire une barque</item>
<label>biberon</label>
<item xml:lang="fr">goulot d'un vase.</item>
<label>bugle</label>
<item xml:lang="fr">jeune boeuf</item>
<label>cestui</label>
<item xml:lang="fr">celui-ci</item>
<label>chaitiveté</label>
<item xml:lang="fr">captivité</item>
<label>duire</label>
<item xml:lang="fr">conduire</item>
<label>dangier</label>
<item xml:lang="fr">puissance, pouvoir</item>
<label>sangler</label>
<item xml:lang="la">singularis</item>
<label>vespre </label>
<item xml:lang="fr">tombée du jour (cf. <cit>
   <ref>Lexique de Godefroy</ref>
   <quote>de hautes vespres : tard dans la soirée.</quote>
  </cit>)</item>
</list>

<list type="gloss" xml:lang="zh">
<head xml:lang="zh">字彙</head>
<headLabel xml:lang="zh-CN">簡體中文</headLabel>
<headItem xml:lang="zh-TW">繁體中文</headItem>
<label>尘</label>
<item xml:lang="zh-TW">塵</item>
<label>业</label>
<item xml:lang="zh-TW">業</item>
<label>处</label>
<item xml:lang="zh-TW">處</item>
<label>个</label>
<item xml:lang="zh-TW">個</item>
<label>与</label>
<item xml:lang="zh-TW">與</item>
<label>军队</label>
<item xml:lang="zh-TW">軍隊</item>
<label>疏远</label>
<item xml:lang="zh-TW">疏遠</item>
<label>后汉</label>
<item xml:lang="zh-TW">後漢<cit>
   <ref>出師表</ref>
   <quote>亲近小人，疏远贤臣，这是<term>后汉</term>所以倾覆衰败的原因</quote>
  </cit>
</item>
<label>叹息</label>
<item xml:lang="zh-TW">嘆息</item>
<label>认为</label>
<item xml:lang="zh-TW">認為</item>
<label>诚实</label>
<item xml:lang="zh-TW">誠實</item>
<label>获得</label>
<item xml:lang="zh-TW">獲得</item>
</list>

<list type="gloss">
<label>March 1757.</label>
<item>I wrote some critical observations upon Plautus.</item>
<label>March 8th.</label>
<item>I wrote a long dissertation upon some lines of Virgil.</item>
<label>June.</label>
<item>I saw Mademoiselle Curchod — <quote xml:lang="la">Omnia vincit amor, et nos cedamus
amori.</quote>
</item>
<label>August.</label>
<item>I went to Crassy, and staid two days.</item>
</list>

1.3.1.1.4 Sources, certainty, and responsibility

1 The TEI Infrastructure

<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>

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>

att.global.source

<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>

att.global.source

<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>

2 The TEI Header

<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>

4 Default Text Structure

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>

<epigraph xml:lang="la">
<cit>
  <bibl>Lucret.</bibl>
  <quote>
   <l part="F">petere inde coronam,</l>
   <l>Vnde prius nulli velarint tempora Musae.</l>
  </quote>
</cit>
</epigraph>

<epigraph xml:lang="zh">
<cit>
  <bibl>俞平伯</bibl>
  <quote>
   <l part="N">小燕子其實也無所愛，</l>
   <l>只是沉浸在朦朧而飄忽的夏夜夢里罷了。</l>
  </quote>
</cit>
</epigraph>

4.3.1 Grouped Texts

<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>

4.3.2 Floating Texts

<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>

  <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>

4.6 Title Pages

<titlePage>
<docTitle>
  <titlePart type="main">THE
  <lb/>Pilgrim's Progress
  <lb/>FROM
  <lb/>THIS WORLD,
  <lb/>TO
  <lb/>That which is to come:</titlePart>
  <titlePart type="sub">Delivered under the Similitude of a
  <lb/>DREAM</titlePart>
  <titlePart type="desc">Wherein is Discovered,
  <lb/>The manner of his setting out,
  <lb/>His Dangerous Journey; And safe
  <lb/>Arrival at the Desired Countrey.</titlePart>
</docTitle>
<epigraph>
  <cit>
   <quote>I have used Similitudes,</quote>
   <bibl>Hos. 12.10</bibl>
  </cit>
</epigraph>
<byline>By <docAuthor>John Bunyan</docAuthor>.</byline>
<imprimatur>Licensed and Entred according to Order.</imprimatur>
<docImprint>
  <pubPlace>LONDON,</pubPlace>
   Printed for <name>Nath. Ponder</name>
  <lb/>at the <name>Peacock</name> in the <name>Poultrey</name>
  <lb/>near <name>Cornhil</name>, <docDate>1678</docDate>.
</docImprint>
</titlePage>

<front>

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

<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>

<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>

9 Dictionaries

<sense>

<sense n="2">
<usg type="time">Vx.</usg>
<def>Vaillance, bravoure (spécial., au combat)</def>
<cit type="example">
  <quote>La valeur n'attend pas le nombre des années</quote>
  <bibl>
   <author>Corneille</author>
  </bibl>
</cit>
</sense>

<sense>

<sense n="2">
<usg type="time">Vx.</usg>
<def>Vaillance, bravoure (spécial., au combat)</def>
<cit type="example">
  <quote>La valeur n'attend pas le nombre des années.</quote>
  <bibl>
   <author>Corneille</author>
   <title>Le Cid</title>
  </bibl>
</cit>
</sense>

<sense>

<sense n="2">
<usg type="time">現代</usg>
<def>胭脂和香粉，舊時借指婦女</def>
<cit type="example">
  <quote>那一年頌蓮留著齊耳的短髮，用一條天藍色的緞帶箍住，她的臉是圓圓的，不施脂粉，但顯得有點蒼白。</quote>
  <bibl>
   <author>蘇童</author>
  </bibl>
</cit>
</sense>

9.3.3.1 Definitions

<entry>
<form>
  <orth>rémoulade</orth>
  <pron>Remulad</pron>
</form>
<gramGrp>
  <pos>n</pos>
  <gen>f</gen>
</gramGrp>
<cit type="translation" xml:lang="en">
  <quote>remoulade</quote>
  <quote>rémoulade</quote>
  <def>dressing containing mustard and herbs</def>
</cit>
</entry>

9.3.3.2 Translation Equivalents

<entry n="1">
<form>
  <orth>dresser</orth>
</form>
<sense n="a">
  <sense>
   <usg type="dom">Theat</usg>
   <cit type="translation" xml:lang="fr">
    <quote>habilleur</quote>
    <gramGrp>
     <gen>m</gen>
    </gramGrp>
   </cit>
   <cit type="translation" xml:lang="fr">
    <quote>-euse</quote>
    <gramGrp>
     <gen>f</gen>
    </gramGrp>
   </cit>
  </sense>
  <sense>
   <usg type="dom">Comm</usg>
   <form type="compound">
    <orth>window <oRef/>
    </orth>
   </form>
   <cit type="translation" xml:lang="fr">
    <quote>étalagiste</quote>
    <gramGrp>
     <gen>mf</gen>
    </gramGrp>
   </cit>
  </sense>
  <cit type="example">
   <quote>she's a stylish <oRef/>
   </quote>
   <cit type="translation" xml:lang="fr">
    <quote>elle s'habille avec chic</quote>
   </cit>
  </cit>
  <xr type="see">V. <ref target="#hair">hair</ref>
  </xr>
</sense>
<sense n="b">
  <usg type="category">tool</usg>
  <sense>
   <usg type="hint">for wood</usg>
   <cit type="translation" xml:lang="fr">
    <quote>raboteuse</quote>
    <gramGrp>
     <gen>f</gen>
    </gramGrp>
   </cit>
  </sense>
  <sense>
   <usg type="hint">for stone</usg>
   <cit type="translation" xml:lang="fr">
    <quote>rabotin</quote>
    <gramGrp>
     <gen>m</gen>
    </gramGrp>
   </cit>
  </sense>
</sense>
</entry>

<entry xml:id="hair">
<sense>

</sense>
</entry>

9.3.3.2 Translation Equivalents

<entry>

<cit type="translation" xml:lang="en">
  <quote>OAS</quote>
  <def>illegal military organization supporting French rule of
     Algeria</def>
</cit>
</entry>

9.3.3.2 Translation Equivalents

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

<quote>the multiplex eye of the fly.</quote>

<cit type="example">
<quote>the multiplex eye of the fly.</quote>
</cit>

<entry>

<cit type="translation" xml:lang="en">
  <quote>to horrify</quote>
</cit>
<cit type="example">
  <quote>elle était horrifiée par la dépense</quote>
  <cit type="translation" xml:lang="en">
   <quote>she was horrified at the expense.</quote>
  </cit>
</cit>
</entry>

9.3.5.2 Usage Information and Other Labels

<sense n="a">
<usg type="dom">Peinture</usg>
<usg type="style">lit</usg>
<usg type="style">fig</usg>
<cit type="translation" xml:lang="en">
  <quote>palette</quote>
</cit>
</sense>
<sense n="b">
<usg type="dom">Boucherie</usg>
<cit type="translation" xml:lang="en">
  <quote>shoulder</quote>
</cit>
</sense>
<sense n="c">
<sense>
  <usg type="syn">aube de roue</usg>
  <cit type="translation" xml:lang="en">
   <quote>paddle</quote>
  </cit>
</sense>
<sense>
  <usg type="syn">battoir à linge</usg>
  <cit type="translation" xml:lang="en">
   <quote>beetle</quote>
  </cit>
</sense>
<sense>
  <usg type="dom">Manutention</usg>
  <usg type="dom">Constr</usg>
  <cit type="translation" xml:lang="en">
   <quote>pallet</quote>
  </cit>
</sense>
</sense>

9.3.5.2 Usage Information and Other Labels

<entry>
<cit type="translation" xml:lang="en">
  <quote>reseating</quote>
  <quote>rebottoming</quote>
  <usg type="hint">with straw</usg>
</cit>
</entry>

9.3.5.4 Notes within Entries

<entry>
<form type="contraction">
  <orth>neither</orth>
  <pron notation="ipa">ˈnaɪðə</pron>,
<pron notation="ipa">ˈni:ðə</pron>
</form>

<cit type="example">
  <quote>neither foot is swollen</quote>
</cit>
<note type="usage">A verb following a compound subject
   that uses <hi rend="italic">neither</hi>… should be
   in the singular if both subjects are in the singular:
<hi rend="italic">neither Jack nor John has done the work</hi>
</note>
</entry>

<entry>
<form>
  <orth xml:id="di-o1">vag-</orth>
  <orth xml:id="di-o2">vago-</orth>
</form>
<def>vagus nerve</def>
<cit type="example">
  <quote>
   <oRef target="#di-o1" type="noHyph"/>al</quote>
  <quote>
   <oRef target="#di-o2" type="noHyph"/>tomy</quote>
</cit>
</entry>

<cit type="example">
<quote>Mr Burton <oRef type="pt">took</oRef> us for French</quote>
</cit>

<cit type="example">
<quote>was quite <oRef type="pp">
<oRef/>n</oRef> with him</quote>
</cit>

10.2 The Manuscript Description Element

<cit type="example">
<quote>it's easy to <oRef next="#ov2" xml:id="ov1">mix</oRef>
her <oRef prev="#ov1" xml:id="ov2">up</oRef> with her sister</quote>
</cit>

<oRef>

<entry>
<form>
<orth>academy</orth>
</form>
<cit type="example">
<quote>The Royal <oRef type="cap"/> of Arts</quote>
</cit>
</entry>

<oRef>

<entry>
<form>
  <orth>fait-tout</orth>
</form>
<cit type="example">
  <quote>
   <q>Des casseroles et des "<oRef type="noHyph"/>faitouts" pour les ménagères.</q>
  </quote>
</cit>
</entry>

<oRef>

<pRef>

<entry>
<form>
  <orth>umfahren</orth>
  <pron xml:id="umfahren1">umf'ahren</pron>
  <pron xml:id="umfahren2">'umfahren</pron>
</form>
<cit>
  <quote>Paul musste die Pfütze <pRef target="#umfahren1"/>, wenn er nicht nass werden wollte.</quote>
</cit>
<cit>
  <quote>Paul wollte das Schild nicht absichtlich <pRef target="#umfahren2"/> und beschädigen.</quote>
</cit>
</entry>

10 Manuscript Description

<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>

10.3.8 Heraldry

<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>

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>

10.7.3.2 Seals

<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>

<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>

12 Critical Apparatus

12.1.4.3 The Witness List

<listWit>
<witness xml:id="A">die sog. <soCalled>Kleine (oder alte)
     Heidelberger Liederhandschrift</soCalled>.
<bibl>Universitätsbibliothek Heidelberg col. pal.
     germ. 357. Pergament, 45 Fll. 18,5 × 13,5 cm.</bibl>
   Wahrscheinlich die älteste der drei großen Hss. Sie
<quote>datiert aus dem 13. Jahrhundert, etwa um 1275. Ihre Sprache
     weist ins Elsaß, evtl. nach Straßburg. Man geht wohl nicht
     fehl, in ihr eine Sammlung aus dem Stadtpatriziat zu sehen</quote>
   (<bibl>
   <author>Blank</author>, [vgl. <ref>Lit. z. Hss. Bd. 2,
       S. 39</ref>] S. 14</bibl>). Sie enthält 34 namentlich
   genannte Dichter. <quote>Zu den Vorzügen von A gehört, daß
     sie kaum je bewußt geändert hat, so daß sie für
     manche Dichter ... oft den besten Text liefert</quote> (so wohl mit
   Recht <bibl>
   <author>v. Kraus</author>
  </bibl>).</witness>
<witness xml:id="a">Bezeichnung <bibl>
   <author>Lachmann</author>
  </bibl>s für die von einer 2. Hand auf bl. 40–43
   geschriebenen Strophen der Hs. A.</witness>
<witness xml:id="B">die <soCalled>Weingartner (Stuttgarter)
     Liederhandschrift</soCalled>. <bibl>Württembergische
     Landesbibliothek Stuttgart, HB XIII poetae germanici 1.
     Pergament, 156 Bll. 15 × 11,5 cm; 25 teils ganzseitig,
     teils halbseitige Miniaturen.</bibl> Kaum vor 1306 in Konstanz
   geschrieben. Sie enthält Lieder von 25 namentlich genannten
   Dichtern. (Dazu kommen Gedichte von einigen ungenannten
   bzw. unbekannten Dichtern, ein Marienlobpreis und eine
   Minnelehre.)</witness>
</listWit>

13 Names, Dates, People, and Places

13.3.2.2 Personal Events

<person xml:id="WM">

<event type="marriage" when="1859-04-26">
  <label>Marriage</label>
  <desc>
   <name type="person" ref="#WM">William Morris</name> and <name type="person"
    ref="http://en.wikipedia.org/wiki/Jane_Burden">Jane Burden</name> were married at <name type="place">St
       Michael's Church, Ship Street, Oxford</name> on <date when="1859-04-26">26 April 1859</date>. The wedding was
     conducted by Morris's friend <name type="person" ref="#RWD">R. W. Dixon</name> with <name type="person" ref="#CBF">Charles Faulkner</name> as the best man. The bride was given away by her father, <name type="person" ref="#RB">Robert Burden</name>. According to the account that <name type="person"
    ref="http://en.wikipedia.org/wiki/Edward_Burne-Jones">Burne-Jones</name> gave <name type="person" ref="#JWM">Mackail</name>
   <quote>M. said to Dixon beforehand <said>Mind you don't call her Mary</said> but he did</quote>. The entry in
     the Register reads: <quote>William Morris, 25, Bachelor Gentleman, 13 George Street, son of William Morris decd.
       Gentleman. Jane Burden, minor, spinster, 65 Holywell Street, d. of Robert Burden, Groom.</quote> The witnesses
     were Jane's parents and Faulkner. None of Morris's family attended the ceremony. Morris presented Jane with a
     plain gold ring bearing the London hallmark for 1858. She gave her husband a double-handled antique silver
     cup.</desc>
  <bibl>J. W. Mackail, <title>The Life of William Morris</title>, 1899.</bibl>
</event>
</person>
<person xml:id="RB">
<persName>Robert Burden</persName>
</person>
<person xml:id="RWD">
<persName>R.W. Dixon</persName>
</person>
<person xml:id="CBF">
<persName>Charles Faulkner</persName>
</person>
<person xml:id="EBJ">
<persName>
  <forename>Edward</forename>
  <surname>Burne-Jones</surname>
</persName>
</person>
<person xml:id="JWM">
<persName>J.W. Mackail</persName>
</person>

13.3.5 Objects

<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="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>

16 Linking, Segmentation, and Alignment

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

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

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

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