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<div xmlns="http://www.tei-c.org/ns/1.0" xml:id="chap-text"><!-- revised $Date$ -->
<head>Encoding a literary text</head>
<opener>
<!-- what this chapter is about -->
</opener>
<div><head>Introduction</head>
<p>Many early readers of the TEI Guidelines, noticing the decidedly
literary character of many of the examples quoted, and the range of
facilities provided for markup of distinctly literary aspects, have
assumed that encoding and display of the great and not-so-great
written texts of the past was their primary purpose. In other parts
of this book we try to demonstrate that this assumption is a little
inaccurate: although the encoding of old plays, poetry, and drama
is one of the things that the TEI scheme does best, it is by no
means the only one. </p>
<p>In this chapter however, we explore some of the ways in which you
can use the TEI scheme to encode complex literary texts. We begin by
deciding which features of a text should be encoded to support the
most likely kinds of processing such texts will undergo. We then
consider ways of processing literary texts, specifically how to
produce a variety of readable versions — on the web, on
paper, and on your Palm Pilot. We also discuss how to produce
variant editions of the same text, and consider briefly some kinds
of analytic tools we might use with them.
</p>
<p>The text we will mark up in this exercise is a printed edition
of one of Gilbert and Sullivan's less well-known comic operas:
<title>Utopia Ltd.</title> We chose this text partly because it combines a number of
different types of textual feature (prose, verse, and song), but
also because it's fairly accessible to the modern reader (assuming he
or she has or can acquire the peculiarly English sense of humour
which characterizes it). But of course the same
principles will apply to marking up any comparable text in any
language or from any period.
</p>
<!-- discussioon of dtd choice / tagsets needed should go here? -->
</div>
<div xml:id="text-struct"><head>Organization of the text and its chief features</head>
<p>We begin by deciding on the copy-text we will use in preparing our
digital edition. At the time of writing, we found two different
HTML versions; the text is also, of course, included in the
Chadwyck-Healey English Drama Database. We will go back to a more
authentic version than any of these: the first printed edition.
<!-- what if we dont have a copy text?-->
</p>
<p>This <!-- insert note on printing from final curtain -->
edition consists of xxx printed pages, including a titlepage and
some advertisements. We could choose to regard the pages
as the basic organizing principle for our digital edition. In each
copy-text, pages are collected togther to constitute
gatherings, and each of them contains a number of typographic
lines. But we also
note that the text (as distinct from any particular instance of
the text) is not really made up of pages. It is made up of
components such as the following:
<list type="unordered">
<item>Prefatory matter (title page, cast list, etc.)</item>
<item>Two acts, each made up of</item>
<item>Scenes, which consist of
<list type="unordered">
<item>stage directions</item>
<item>speeches</item>
<item>musical numbers</item>
</list>
</item>
</list>
</p>
<p>Speeches and musical numbers can also be subdivided, of course, as
we shall show below. </p>
<p>Why do we choose to mark up this kind of structure, rather than the
physical organization of the printed text? In some cases, of course,
it might be useful to do precisely the opposite -- if, for example, we
were dealing with a rare manuscript, or if we were dealing with an
esoteric text in a language or script we hardly understand; in such
cases the layout and organization of the text as a physical object, as
a book rather than as a text, might well be a serious object of
study. But this is not such a case. Would we feel that anything of
major importance to our understanding of this text had been lost if it
were presented with different page breaks, or lines of different
length? With the exception of the verse material (in which the line
breaks clearly have a more than purely typographic significance, which
we do not wish to lose) it seems to us that there is no particular
significance in the physical organization of this book, and we do not
therefore propose to represent it particularly well in our
encoding. </p>
<p>This may seem a trivial decision, but it is symptomatic of many
such that we will encounter repeatedly in designing our
encodings. Each choice we make effectively privileges some kinds of
analysis or reading at the expense of others. The decision we have
just taken will make it hard or impossible for the user of our text to
investigate some aspects of nineteenth century typographic practice;
at the same time, it will make it far easier for him or her to compare
dramatic aspects of the play across different versions of it. This is
because (for example) the second paragraph of the third speech of King
Paramount will always be readily identified in our encoding, no matter
what line of which page it happens to begin on in a given edition. We
are more likely to reference a part of the play in terms of the act,
scene, or speech concerned, than in terms of the page or line number
of this particular printed version of it. Page and line references
can, of course, be included (we could use the <gi>pb</gi> and
<gi>lb</gi> elements for the purpose) in our encoding, but they don't
form the basis of its organization.</p>
<p>As elsewhere in the TEI scheme, we now have to make a decision as
to whether we want to use numbered or un-numbered <gi>div</gi>
elements to mark the acts and schenes. There is little to add to the
discussion in the TEI Guidelines on this point (<ref
target="DR.html#DRBOD">TEI P4, section 10.2</ref>); the difference
really is a matter of taste. Our taste inclining us to simplicity, we
will use the unnumbered <gi>div</gi> option. Beginning at the
outside, therefore, we plan to organize the whole play as follows:
<egXML xmlns="http://www.tei-c.org/ns/Examples">
<text xml:id="GS12_a" lang="ENG">
<front xml:id="GS12-Fa">
<!-- prefatory material here -->
</front>
<body>
<div xml:id="GS12-1a">
<!-- act one here -->
</div>
<div xml:id="GS12-2a">
<!-- act two here -->
</div>
</body>
</text></egXML></p>
<p>As the example shows, we have also chosen to supply values for the
TEI global <ident>id</ident> attribute on these key structural
elements. The code used is arbitrary (GS for Gilbert and Sullivan,
12 because this is the twelfth work of that celebrated collaboration),
The purpose of this attribute is partly just to label individual
parts of the text. It will also simplify the business of providing
access to these structural components at a later stage, on the
assumption that at some point we are likely include this text in
some larger anthology of dramatic material.</p>
<p>For completeness, we use the TEI global <ident>lang</ident> attribute
at the highest appropriate level, in order to record that the play
is all in English. </p>
<p>We have no difficulty determining where the <gi>div</gi>
elements constituting acts of the play begin and end, since the
printed text makes this explicit with a heading. The beginnings and
ends of scenes in this text are not, however explicitly signalled
or numbered in the printed text. Hierarchically contained within
the act, theatrical convention distinguishes at least the following
larger components:
<list type="unordered">
<item>action taking place in a single
location (<soCalled>scene</soCalled> in the normal sense)</item>
<item>musical numbers</item>
<item>passages delimited by a complete
change of persons on stage (<soCalled>french
scene</soCalled>)</item>
</list>
</p>
<p>In most dramatic works of the period, particularly those (like this
one) printed for use in rehearsal, the stage directions and
associated headings can also suggest whether or not a new section of
an act has begun. In this case, it seems clear that the major
organizing principle lies in the distinction between musical numbers
and stretches of dialogue: each new musical number is clearly
labelled with a heading such as <q>Duet</q>, <q>Solo</q> together
with the name of the performers. Moreover, it is customary to assign
each distinct musical item a number (hence the term <soCalled>musical
number</soCalled>!). These numbers do not appear in our printed libretto, but
can be found in the orchestral and vocal scores printed shortly
afterwards. </p>
<p>If, however, we decide to mark each <soCalled>number</soCalled>
(musical sequence) as, say, a <gi>div type="number"</gi>, we will
also have to mark up each intervening stretch of dialogue as, say, a
<gi>div type="dialogue"</gi>, since we cannot mix <gi>div</gi>
elements and their contents at the same level. Using the published
numbers for the sung parts and some other numbering system for the
non-sung parts would also be feasible, if a little strange. The
advantage of this approach is that we can readily synchronize parts
of our text with the score, and we also make explicit the existence
of the musical <soCalled>number</soCalled> as an object in the
play. The disadvantage is that we are also required to mark up as
distinct structural objects stretches of the play which are defined
purely negatively -- they don't feature in the score. </p>
<p>Let us explore this problem by looking a little more closely at the
start of the first Act of <title>Utopia Limited</title>. We will
first attempt to list the distinct <soCalled>number</soCalled>s
into which we might subdivide it, using as our guide the published
score.
<list type="gloss">
<!-- <labelHead>Number</labelHead><itemHead>Description</itemHead> -->
<label>1</label><item>Chorus <q>In lazy languor
motionless</q> and Song <q>The song of birds in ivied towers</q> by Phylla; </item>
<label>none</label><item>a passage of dialogue between Calynx, Tarara, and others</item>
<label>2</label><item>Chorus: <q>O make way for the wisemen</q></item>
<label>2a</label><item>Duet <q>In every mental lore</q>by Scaphio and Phantis; </item>
<label>none</label><item>a dialogue between Scaphio and Phantis; </item>
<label>3</label><item>Duet <q>Let
all your doubts take wing</q> by Scaphio and Phantis, which includes a dance;</item>
<label>4</label><item>Chorus <q>Quaff the nectar</q></item>
<label>4a</label><item>Song <q>A King of autocratic power we</q> and
recitative by King Paramount and Chorus, followed by a Chorus <q>How fair! how modest! how discreet!</q></item>
<label>4b</label><item>Duet <q>Although of native maids the cream</q> by Nekya and Kalyba</item>
<label>4c</label><item>Solo <q>Bold-faced ranger</q> and recitative by Lady Sophy and chorus</item>
<label>none</label><item>Dialogue between King, Scaphio, and
Phantis</item>
</list>
</p>
<p>Reviewing this list suggests that using the musical
<soCalled>numbers</soCalled> to structure the text may not be so
simple as at first glance it appeared. As we've already suggested,
the dialogue sequences are un-numbered; moreover a single number
can contain several different items, apparently at random. Numbers
2 and 4 above each contains a single chorus; number 4a however
combines a chorus with a song -- and that chorus is in fact an
introduction to Number 4b, rather than a conclusion of 4a. The
numbering suggests that 4a, 4b and 4c should in some sense be
regarded as making up a single unit, with internal
substructure. This is, of course, because the numbers are
<emph>musical</emph> units: a new number begins when the orchestra
has to start a significantly different piece of music. As such, we
should not expect them necessarily to map easily or directly to the dramatic
structure of the libretto. </p>
<p>We conclude that although they are interesting, we will not treat the
musical numbers as divisions of our text. Instead, we will mark the
points at which new musical numbers <emph>begin</emph> using the
<gi>mileStone</gi> element:
<egXML xmlns="http://www.tei-c.org/ns/Examples">
<div xml:id="GS12-1b">
<milestone unit="numberStart" value="1"/>
<!-- Chorus "In lazy languor motionless"
and Song "The song of birds in ivied towers" by Phylla;
passage of dialogue between Calynx, Tarara, and others -->
<milestone unit="numberStart" value="2"/>
<!-- Chorus: "O make way for the wisemen"-->
<milestone unit="2a"/>
<!-- Duet "In every mental lore" by Scaphio and Phantis;
dialogue between Scaphio and Phantis; -->
<milestone unit="numberStart" value="3"/>
<!-- Duet "Let all your doubts take wing" by Scaphio and Phantis -->
</div>
</egXML>
Since we are marking only the starts of numbers, a naive
interpretation of the above might suggest the dialogue passages are
part of the musical numbers. We could guard against that by
adding a further set of <gi>milestone unit="numberEnd"</gi> tags,
which seems a little unnecessary.</p>
</div>
<div xml:id="text-comp">
<head><soCalled>Components</soCalled> of the text</head>
<p>The TEI Guidelines uses the word <term>component</term> for the
textual objects which make up the divisions of a text. The
prototypical component is a paragraph, but the TEI Guidelines allow
for other kinds of component, for example the entries which make up
a dictionary, the utterances or turns which make up a spoken text,
or the speeches and songs which make up a dramatic text. In some
cases, using a different component requires use of a different TEI
base tagset; if we were encoding a dictionary, we would have no
choice but to use the TEI dictionary tagset. In our case, we could
use any of the TEI prose, verse, or drama tagsets, since all of
these support basic encoding of speeches and verse. For the sake of
completeness, however, we will use the Drama base, since this
provides specialist tags for such components as cast lists (see
further <ptr target="#text-front"/>. A quick look at our text
reveals the following components in the body of the text:
<list type="unordered">
<item>headings</item>
<item>speeches, which may be in prose or verse</item>
<item>stage-directions</item>
</list>
</p>
<p>Speeches are generally headed by one or more speaker prefixes and
may contain mixtures of prose and verse. Interestingly, verse is
always sung, and when prose is sung (i.e. passages of recitative)
it is represented as if it were verse. Stage directions can
appear within or between speeches.
</p>
<p>The TEI proposes the tag <gi>sp</gi> ("speech") for any kind of
conventionally transcribed representation of speech, including for
example oral testimony as well as drama. This contains an optional
<gi>speaker</gi> element to indicate the speaker/s, and is followed
by one or more <gi>p</gi> (paragraph) elements for prose, one or more
<gi>lg</gi> (line-group) or <gi>l</gi> (verse line) elements for verse, or a combination.
So we may represent the start of Act 1 as follows:
<egXML xmlns="http://www.tei-c.org/ns/Examples">
<div xml:id="GS12-1c"><pb n="1"/>
<head>ACT I.</head>
<milestone unit="numberStart" value="1"/>
<sp>
<speaker>OPENING CHORUS.</speaker>
<l>In lazy languor — motionless,</l>
<l>We lie and dream of nothingness;</l>
<l>For visions come</l>
<l>From Poppydom</l>
<l>Direct at our command:</l>
<l>Or, delicate alternative,</l>
<l>In open idleness we live,</l>
<l>With lyre and lute</l>
<l>And silver flute,</l>
<l>The life of Lazyland.</l>
</sp>
<milestone unit="numberStart" value="2"/>
<sp>
<speaker>SOLO - Phylla.</speaker>
<l>The song of birds</l>
<l>In ivied towers;</l>
<l>The rippling play</l>
<l>Of waterway;</l>
<l>The lowing herds;</l>
<l>The breath of flowers;</l>
<l>The languid loves</l>
<l>Of turtle doves--</l>
<l>These simple joys are all at hand</l>
<l>Upon thy shores, O Lazyland!</l>
</sp>
<stage>Enter Calynx</stage>
<sp>
<speaker>Calynx:</speaker>
<p>Good news! Great news! His Majesty's eldest daughter,
Princess Zara, who left our shores five years since to go to
England--the greatest, the most powerful, the wisest country
in the world--has taken a high degree at Girton, and is on
her way home again, having achieved a complete mastery over
all the elements that have tended to raise that glorious
country to her present pre-eminent position among civilized
nations!
</p>
</sp>
<sp><speaker>Salata</speaker>
<p>Then in a few months Utopia may hope to be completely
Anglicized?</p></sp>
</div>
<figure xml:id="text-fig1"/>
</egXML>
</p>
<p>Comparing this first encoding with the original printed text
reproduced opposite it in <ptr target="#text-fig1"/> it's clear that
we have had to make some possibly debatable assumptions and
encoding decisions. The headings "Opening Chorus" and "Solo Phylla"
and the heading "Calynx" look quite different on the page, but we
have encoded them all as <gi>speaker</gi> elements. Nothing in our
encoding represents the pattern of indentation used in the printing
of the verse. Neither have we tried to preserve the lineation of
the prose text or end-of-line hyphenation of the original. Nor
indeed have we attempted to capture the different sizes or styles
of typography used.
</p>
<p>Most of these choices reflect the importance we attach to such
information. We do not, for example, consider that the typography or
lineation of prose has any particular significance in this text;
perhaps more debatably, we also consider the indentation of the verse
lines to be of secondary importance. In other cases, the choices are
a consequence of our reading of the text's organization: if (for
example) we had decided to encode the muscal numbers as structural
elements, then we would have been able to use the <gi>head</gi>
element to represent the fact that some of the speaker labellings are
presented as section headings rather than simple speaker prefixes:
<egXML xmlns="http://www.tei-c.org/ns/Examples">
<div xml:id="GS12-1d"><pb n="1"/>
<head>ACT I.</head>
<div type="number" n="1">
<head>OPENING CHORUS.</head>
<sp>
<l>In lazy languor — motionless,</l>
<l>We lie and dream of nothingness;</l>
<!-- ... -->
<l>The life of Lazyland.</l>
</sp>
</div>
<div type="number" n="2"/>
<head>SOLO - Phylla.</head>
<sp>
<l>The song of birds</l>
<l>In ivied towers;</l>
<!-- ... -->
<l>These simple joys are all at hand</l>
<l>Upon thy shores, O Lazyland!</l>
</sp>
</div>
<div type="dialogue">
<stage>Enter Calynx</stage>
<sp>
<speaker>Calynx:</speaker>
<p>Good news! Great news! His Majesty's eldest daughter,
Princess Zara, who left our shores five years since to go to
<!-- ... -->
</p>
</sp>
</div>
</egXML>
</p>
<p>Suppose, however, that we do want to record the indentation or
other typographic features of the text. All that the unmodified TEI
offers us is the global <ident>rend</ident> attribute. The possible
values for this attribute are not defined formally in the current
version of the Guidelines, though several TEI adopters have proposed
ways of standardizing it (e.g. most notably Syd Bauman's
<emph>Rendition Ladders</emph>). Using this scheme we might show the
indentation of each of the verse lines as follows:
<egXML xmlns="http://www.tei-c.org/ns/Examples">
<l>In lazy languor — motionless,</l>
<l>We lie and dream of nothingness;</l>
<l rend="indent:1">For visions come</l>
<l rend="indent:1">From Poppydom</l>
<l rend="indent:2">Direct at our command:</l>
<l>Or, delicate alternative,</l>
<l>In open idleness we live,</l>
<l rend="indent:1">With lyre and lute</l>
<l rend="indent:1">And silver flute,</l>
<l rend="indent:2">The life of Lazyland.</l>
</egXML>
</p>
<p>The advantage of such an encoding is of course that a formatting
engine, or stylesheet, can use it and thus more simply produce a formatted
version which is closer to the original than might otherwise be the
case. Without this explicit encoding, a formatter might find it
difficult to work out when and by how much to indent the
lines. </p>
<p>On the other hand, since the indentation is actually quite
automatically determined by the rhyme scheme, and since an encoding
of the rhyme scheme might be useful for other purposes too, we
might instead prefer to encode that. The TEI Guidelines propose one
simple way of recording the rhyme scheme of regular (stanzaic)
verse: to use it, we must tag individual stanzas as well as verse
lines, for which the <gi>lg</gi> (line group) element is provided,
as in the following example:
<egXML xmlns="http://www.tei-c.org/ns/Examples">
<lg met="AABBC">
<l>In lazy languor — motionless,</l>
<l>We lie and dream of nothingness;</l>
<l>For visions come</l>
<l>From Poppydom</l>
<l>Direct at our command:</l>
</lg>
<lg met="AABBC">
<l>Or, delicate alternative,</l>
<l>In open idleness we live,</l>
<l>With lyre and lute</l>
<l>And silver flute,</l>
<l>The life of Lazyland.</l>
</lg>
</egXML>
We could now instruct our formatter to ensure that each stanza begins
with an indentation of zero, that each pair of rhyming lines should
have the same amount of indentation, and that indentation is
increased by 1 for each new rhyme found in a stanza. This would
have the same effect (in this case at least) as the previous
explicit encoding, but would obviously be preferable in terms of
economy of expression and generality of application, if not perhaps
in simplicity of programming.
</p>
</div>
<div xml:id="text-front"><head>Special tags for front matter</head>
<p>So far we have discussed only the body of the play, the part which
happens after the curtain goes up. But in a printed playtext there is
usually a small but significant amount of other material which it
is often desirable to include in an encoding of it: title pages,
dedications, prefaces etc. occur in performance texts in just the
same way as other texts, but there more specialized
features such as descriptions of the setting or lists of persons
appearing (<soCalled>dramatis personæ</soCalled>) are also
frequently found. Including encoded versions of such parts of a dramatic
text adds authenticity and completeness, but it also has some
interesting technical consequences, as we shall see below.
</p>
<p>In our text, we note that there is a title page, and also a
dramatis persona, represented in <ptr target="#fig2"/>. Together
these constitute the front matter of the text, which has an
overall structure like the following:
<egXML xmlns="http://www.tei-c.org/ns/Examples">
<text xml:id="GS12e" lang="ENG">
<front xml:id="GS12-Fe">
<titlePage>
<!-- title page information here -->
</titlePage>
<div type="castlist">
<head>Dramatis Personæ</head>
<castList>
<!-- dramatis personae here -->
</castList>
</div>
</front>
<body>
<!-- body of text here -->
</body>
</text>
</egXML></p>
<p>The title page presents no particular problems: it is essentially
similar to many other texts. We use a <gi>docTitle</gi> element
for the title, and
<egXML xmlns="http://www.tei-c.org/ns/Examples">
UTOPIA LIMITED
OR
THE FLOWERS OF PROGRESS
Music by Sir Arthur Sullivan
Libretto by William S. Gilbert
</egXML></p>
<p>A <term>cast list</term> as defined by the TEI is a special form of
list, in which each item represents the combination of a role
in the performance, identified by name or description or both,
possibly together with the name of the actor who took the role in
some performance. Such items can be grouped together.
<egXML xmlns="http://www.tei-c.org/ns/Examples">
<castList>
<head>DRAMATIS PERSONAE</head>
<castItem>
<role>King Paramount, the First</role>
<roleDesc>(King of Utopia)</roleDesc>
</castItem>
<castItem><role>Scaphio</role>
and <role>Phantis</role>
<roleDesc>(Judges of the Utopian Supreme Court)</roleDesc></castItem>
<castItem><role>Tarara</role><roleDesc> (The Public Exploder)</roleDesc></castItem>
<castItem><role>Calynx</role><roleDesc>(The Utopian Vice-Chamberlain)</roleDesc></castItem>
<castGroup>
<head>Imported Flowers of Progress:</head>
<castItem>
<role>Lord Dramaleigh</role><roleDesc>(a British Lord Chamberlain)</roleDesc>
</castItem>
<castItem>
<role>Captain Fitzbattleaxe</role><roleDesc> (First Life Guards)</roleDesc>
</castItem>
<castItem>
<role>Captain Sir Edward Corcoran, K.C.B.</role><roleDesc> (of the Royal Navy)</roleDesc>
</castItem>
<castItem>
<role>Mr. Goldbury</role><roleDesc> (a company promoter; afterwards Comptroller of the Utopian
Household)</roleDesc>
</castItem>
<castItem><role>Sir Bailey Barre, Q.C., M.P.</role></castItem>
<castItem><role>Mr. Blushington </role><roleDesc> (of the County Council)</roleDesc>
</castItem>
</castGroup>
<castItem>
<role>The Princess Zara</role><roleDesc> (eldest daughter of King Paramount)</roleDesc></castItem>
<castItem>The Princesses <role>Nekaya</role> and <role>Kalyba</role>
<roleDesc> (her Younger Sisters)</roleDesc></castItem>
<castItem><role>The Lady Sophy</role><roleDesc> (their English Gouvernante)</roleDesc></castItem>
<castGroup>
<head>Utopian Maidens:</head>
<castItem><role> Salata</role></castItem>
<castItem><role>Melene</role></castItem>
<castItem><role>Phylla</role></castItem>
</castGroup>
</castList>
</egXML>
</p>
</div>
<div>
<p>Structural complications: shared verse; simultaneous speech</p>
</div>
<div><head>Generating HTML, PDF, and eBook versions</head>
<p>line numbers</p>
</div>
<div><head>Enriching the edition</head>
<p>Editorial interventions, critical apparatus, explanatory notes</p>
<p>Supporting materials, illustrations, performance details</p>
</div>
<closer>
<!-- what we learnt in this chapter-->
</closer>
</div>