Example: <head> (heading)
These search results reproduce every example of the use of <head> 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 <head> is not the main focus of the passage in question. In other cases, examples may be direct translations of each other, and hence identical from the perspective of their encoding.
- 1 The TEI Infrastructure
- 4 Default Text Structure
- 6 Verse
- 7 Performance Texts
- 9 Dictionaries
- 10 Manuscript Description
- 11 Representation of Primary Sources
- 12 Critical Apparatus
- 13 Names, Dates, People, and Places
- 14 Tables, Formulæ, Graphics and Notated Music
- 16 Linking, Segmentation, and Alignment
- 17 Simple Analytic Mechanisms
- 22 Documentation Elements
3 Elements Available in All TEI Documents
<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>
<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>
<head>PM dodges <soCalled>election threat</soCalled> in interview</head>
<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>
<list type="gloss">
<head>Report of the conduct and progress of Ernest Pontifex.
Upper Vth form — half term ending Midsummer 1851</head>
<label>Classics</label>
<item>Idle listless and unimproving</item>
<label>Mathematics</label>
<item>ditto</item>
<label>Divinity</label>
<item>ditto</item>
<label>Conduct in house</label>
<item>Orderly</item>
<label>General conduct</label>
<item>Not satisfactory, on account of his great
unpunctuality and inattention to duties</item>
</list>
<head>Report of the conduct and progress of Ernest Pontifex.
Upper Vth form — half term ending Midsummer 1851</head>
<label>Classics</label>
<item>Idle listless and unimproving</item>
<label>Mathematics</label>
<item>ditto</item>
<label>Divinity</label>
<item>ditto</item>
<label>Conduct in house</label>
<item>Orderly</item>
<label>General conduct</label>
<item>Not satisfactory, on account of his great
unpunctuality and inattention to duties</item>
</list>
<list type="gloss">
<head>Unit Three — Vocabulary</head>
<label xml:lang="la">acerbus, -a, -um </label>
<item>bitter, harsh</item>
<label xml:lang="la">ager, agrī, M. </label>
<item>field</item>
<label xml:lang="la">audiō, īre,
īvī, ītus </label>
<item>hear, listen (to)</item>
<label xml:lang="la">bellum, -ī, N. </label>
<item>war</item>
<label xml:lang="la">bonus, -a, -um </label>
<item>good</item>
</list>
<head>Unit Three — Vocabulary</head>
<label xml:lang="la">acerbus, -a, -um </label>
<item>bitter, harsh</item>
<label xml:lang="la">ager, agrī, M. </label>
<item>field</item>
<label xml:lang="la">audiō, īre,
īvī, ītus </label>
<item>hear, listen (to)</item>
<label xml:lang="la">bellum, -ī, N. </label>
<item>war</item>
<label xml:lang="la">bonus, -a, -um </label>
<item>good</item>
</list>
<list type="gloss">
<head>Unit Three — Vocabulary</head>
<label>
<term xml:lang="la">acerbus, -a, -um</term>
</label>
<item>
<gloss>bitter, harsh</gloss>
</item>
<label>
<term xml:lang="la">ager, agrī, M. </term>
</label>
<item>
<gloss>field</gloss>
</item>
<label>
<term xml:lang="la">audiō, -īre, -īvī, -ītus</term>
</label>
<item>
<gloss>hear, listen (to)</gloss>
</item>
<label>
<term xml:lang="la">bellum, -ī, N. </term>
</label>
<item>
<gloss>war</gloss>
</item>
<label>
<term xml:lang="la">bonus, -a, -um</term>
</label>
<item>
<gloss>good</gloss>
</item>
</list>
<head>Unit Three — Vocabulary</head>
<label>
<term xml:lang="la">acerbus, -a, -um</term>
</label>
<item>
<gloss>bitter, harsh</gloss>
</item>
<label>
<term xml:lang="la">ager, agrī, M. </term>
</label>
<item>
<gloss>field</gloss>
</item>
<label>
<term xml:lang="la">audiō, -īre, -īvī, -ītus</term>
</label>
<item>
<gloss>hear, listen (to)</gloss>
</item>
<label>
<term xml:lang="la">bellum, -ī, N. </term>
</label>
<item>
<gloss>war</gloss>
</item>
<label>
<term xml:lang="la">bonus, -a, -um</term>
</label>
<item>
<gloss>good</gloss>
</item>
</list>
<div1 type="section">
<head>青年守則</head>
<list type="ordered">
<item n="1">守則一至五條包括八德：<list type="ordered">
<item n="1.1">一、忠勇為愛國之本 。</item>
<item n="1.2">二、服從為負責之本。</item>
<item n="1.3">三、孝順為齊家之本。</item>
<item n="1.4">四、勤儉為服務之本。</item>
<item n="1.5">五、仁愛為接物之本。</item>
</list>
</item>
<item n="2">六至九條意指四維：<list type="ordered">
<item n="2.1">六、整潔為強身之本。</item>
<item n="2.2">七、信義為立業之本。</item>
<item n="2.3">八、助人為快樂之本。</item>
<item n="2.4">九、和平為處世之本</item>
</list>
</item>
<item n="3">十至十二條就是三達德：<list type="ordered">
<item n="3.1">十、學問為濟世之本。</item>
<item n="3.2">十一、禮節為治事之本。</item>
<item n="3.3">十二、有恆為成功之本。</item>
</list>
</item>
</list>
</div1>
<head>青年守則</head>
<list type="ordered">
<item n="1">守則一至五條包括八德：<list type="ordered">
<item n="1.1">一、忠勇為愛國之本 。</item>
<item n="1.2">二、服從為負責之本。</item>
<item n="1.3">三、孝順為齊家之本。</item>
<item n="1.4">四、勤儉為服務之本。</item>
<item n="1.5">五、仁愛為接物之本。</item>
</list>
</item>
<item n="2">六至九條意指四維：<list type="ordered">
<item n="2.1">六、整潔為強身之本。</item>
<item n="2.2">七、信義為立業之本。</item>
<item n="2.3">八、助人為快樂之本。</item>
<item n="2.4">九、和平為處世之本</item>
</list>
</item>
<item n="3">十至十二條就是三達德：<list type="ordered">
<item n="3.1">十、學問為濟世之本。</item>
<item n="3.2">十一、禮節為治事之本。</item>
<item n="3.3">十二、有恆為成功之本。</item>
</list>
</item>
</list>
</div1>
<div1 type="section">
<head>Athelstan's Ordinance</head>
<list type="ordered">
<item n="1">Concerning thieves. First, that no thief is to be spared who is caught with
the stolen goods, [if he is] over twelve years and [if the value of the goods is] over
eightpence. <list type="ordered">
<item n="1.1">And if anyone does spare one, he is to pay for the thief with his
wergild — and the thief is to be no nearer a settlement on that account — or to
clear himself by an oath of that amount.</item>
<item n="1.2">If, however, he [the thief] wishes to defend himself or to escape, he is
not to be spared [whether younger or older than twelve].</item>
<item n="1.3">If a thief is put into prison, he is to be in prison 40 days, and he may
then be redeemed with 120 shillings; and the kindred are to stand surety for him
that he will desist for ever.</item>
<item n="1.4">And if he steals after that, they are to pay for him with his wergild,
or to bring him back there.</item>
<item n="1.5">And if he steals after that, they are to pay for him with his wergild,
whether to the king or to him to whom it rightly belongs; and everyone of those who
supported him is to pay 120 shillings to the king as a fine.</item>
</list>
</item>
<item n="2">Concerning lordless men. And we pronounced about these lordless men, from whom
no justice can be obtained, that one should order their kindred to fetch back such a
person to justice and to find him a lord in public meeting. <list type="ordered">
<item n="2.1">And if they then will not, or cannot, produce him on that appointed day,
he is then to be a fugitive afterwards, and he who encounters him is to strike him
down as a thief.</item>
<item n="2.2">And he who harbours him after that, is to pay for him with his wergild
or to clear himself by an oath of that amount.</item>
</list>
</item>
<item n="3">Concerning the refusal of justice. The lord who refuses justice and upholds
his guilty man, so that the king is appealed to, is to repay the value of the goods and
120 shillings to the king; and he who appeals to the king before he demands justice as
often as he ought, is to pay the same fine as the other would have done, if he had
refused him justice. <list type="ordered">
<item n="3.1">And the lord who is an accessory to a theft by his slave, and it becomes
known about him, is to forfeit the slave and be liable to his wergild on the first
occasionp if he does it more often, he is to be liable to pay all that he owns.</item>
<item n="3.2">And likewise any of the king's treasurers or of our reeves, who has been
an accessory of thieves who have committed theft, is to liable to the same.</item>
</list>
</item>
<item n="4">Concerning treachery to a lord. And we have pronounced concerning treachery to
a lord, that he [who is accused] is to forfeit his life if he cannot deny it or is
afterwards convicted at the three-fold ordeal.</item>
</list>
</div1>
<head>Athelstan's Ordinance</head>
<list type="ordered">
<item n="1">Concerning thieves. First, that no thief is to be spared who is caught with
the stolen goods, [if he is] over twelve years and [if the value of the goods is] over
eightpence. <list type="ordered">
<item n="1.1">And if anyone does spare one, he is to pay for the thief with his
wergild — and the thief is to be no nearer a settlement on that account — or to
clear himself by an oath of that amount.</item>
<item n="1.2">If, however, he [the thief] wishes to defend himself or to escape, he is
not to be spared [whether younger or older than twelve].</item>
<item n="1.3">If a thief is put into prison, he is to be in prison 40 days, and he may
then be redeemed with 120 shillings; and the kindred are to stand surety for him
that he will desist for ever.</item>
<item n="1.4">And if he steals after that, they are to pay for him with his wergild,
or to bring him back there.</item>
<item n="1.5">And if he steals after that, they are to pay for him with his wergild,
whether to the king or to him to whom it rightly belongs; and everyone of those who
supported him is to pay 120 shillings to the king as a fine.</item>
</list>
</item>
<item n="2">Concerning lordless men. And we pronounced about these lordless men, from whom
no justice can be obtained, that one should order their kindred to fetch back such a
person to justice and to find him a lord in public meeting. <list type="ordered">
<item n="2.1">And if they then will not, or cannot, produce him on that appointed day,
he is then to be a fugitive afterwards, and he who encounters him is to strike him
down as a thief.</item>
<item n="2.2">And he who harbours him after that, is to pay for him with his wergild
or to clear himself by an oath of that amount.</item>
</list>
</item>
<item n="3">Concerning the refusal of justice. The lord who refuses justice and upholds
his guilty man, so that the king is appealed to, is to repay the value of the goods and
120 shillings to the king; and he who appeals to the king before he demands justice as
often as he ought, is to pay the same fine as the other would have done, if he had
refused him justice. <list type="ordered">
<item n="3.1">And the lord who is an accessory to a theft by his slave, and it becomes
known about him, is to forfeit the slave and be liable to his wergild on the first
occasionp if he does it more often, he is to be liable to pay all that he owns.</item>
<item n="3.2">And likewise any of the king's treasurers or of our reeves, who has been
an accessory of thieves who have committed theft, is to liable to the same.</item>
</list>
</item>
<item n="4">Concerning treachery to a lord. And we have pronounced concerning treachery to
a lord, that he [who is accused] is to forfeit his life if he cannot deny it or is
afterwards convicted at the three-fold ordeal.</item>
</list>
</div1>
<list type="ordered">
<head>Here begin the chapter headings of Book IV</head>
<item n="4.1">The death of Queen Clotild.</item>
<item n="4.2">How King Lothar wanted to appropriate one third of the Church revenues.</item>
<item n="4.3">The wives and children of Lothar.</item>
<item n="4.4">The Counts of the Bretons.</item>
<item n="4.5">Saint Gall the Bishop.</item>
<item n="4.6">The priest Cato.</item>
<item> ...</item>
</list>
<head>Here begin the chapter headings of Book IV</head>
<item n="4.1">The death of Queen Clotild.</item>
<item n="4.2">How King Lothar wanted to appropriate one third of the Church revenues.</item>
<item n="4.3">The wives and children of Lothar.</item>
<item n="4.4">The Counts of the Bretons.</item>
<item n="4.5">Saint Gall the Bishop.</item>
<item n="4.6">The priest Cato.</item>
<item> ...</item>
</list>
<list type="ordered">
<head>以下為第三部份的各個章節標題</head>
<item n="3.1">人物的鑑賞</item>
<item n="3.2">情節的鑑賞</item>
<item n="3.3">環境的鑑賞</item>
<item n="3.4">主題的鑑賞</item>
<item n="3.5">語言的鑑賞</item>
<item> ...</item>
</list>
<head>以下為第三部份的各個章節標題</head>
<item n="3.1">人物的鑑賞</item>
<item n="3.2">情節的鑑賞</item>
<item n="3.3">環境的鑑賞</item>
<item n="3.4">主題的鑑賞</item>
<item n="3.5">語言的鑑賞</item>
<item> ...</item>
</list>
<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>
<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>coral</label>
<item xml:lang="fr">cordialy</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>
<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>coral</label>
<item xml:lang="fr">cordialy</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>
<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>
<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="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>
Les déictiques
sont des termes qui ne prennent leur sens que dans le cadre de la situation d'énonciation.
<list type="simple">
<head>déictiques</head>
<item>ici</item>
<item>hier</item>
<item>là</item>
<item>je</item>
<item>tu</item>
<item>nous</item>
<item>vous</item>
<item/>
</list>
sont des termes qui ne prennent leur sens que dans le cadre de la situation d'énonciation.
<list type="simple">
<head>déictiques</head>
<item>ici</item>
<item>hier</item>
<item>là</item>
<item>je</item>
<item>tu</item>
<item>nous</item>
<item>vous</item>
<item/>
</list>
<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>
除了少數特例，連接詞均用於所有論述，例如描述、記敘、闡述、論說。<list type="simple">
<head>連接詞</head>
<item>上述的</item>
<item>因此</item>
<item>在…的對面</item>
<item>比鄰於</item>
<item>再次</item>
<item>
<!-- ... -->
</item>
</list>
<head>連接詞</head>
<item>上述的</item>
<item>因此</item>
<item>在…的對面</item>
<item>比鄰於</item>
<item>再次</item>
<item>
<!-- ... -->
</item>
</list>
With a few exceptions, connectives are equally
useful in all kinds of discourse: description, narration, exposition, argument. <list type="simple">
<head>Connectives</head>
<item>above</item>
<item>accordingly</item>
<item>across from</item>
<item>adjacent to</item>
<item>again</item>
<item>
<!-- ... -->
</item>
</list>
useful in all kinds of discourse: description, narration, exposition, argument. <list type="simple">
<head>Connectives</head>
<item>above</item>
<item>accordingly</item>
<item>across from</item>
<item>adjacent to</item>
<item>again</item>
<item>
<!-- ... -->
</item>
</list>
3.8.2.2 Auto-generated indexes
<back>
<div type="appendix">
<head>Bibliography</head>
<listBibl>
<bibl> ... </bibl>
</listBibl>
</div>
<divGen n="Index Nominum" type="INDEX-NAMES"/>
<divGen n="Index Loci" type="INDEX-PLACES"/>
</back>
<div type="appendix">
<head>Bibliography</head>
<listBibl>
<bibl> ... </bibl>
</listBibl>
</div>
<divGen n="Index Nominum" type="INDEX-NAMES"/>
<divGen n="Index Loci" type="INDEX-PLACES"/>
</back>
3.8.2.2 Auto-generated indexes
<back>
<divGen n="A1" type="INDEX-NAMES">
<head>An Index of Names</head>
</divGen>
</back>
<divGen n="A1" type="INDEX-NAMES">
<head>An Index of Names</head>
</divGen>
</back>
3.9 Graphics and other non-textual components
<head>
<graphic
url="http://www.iath.virginia.edu/gants/Ornaments/Heads/hp-ral02.gif"/>
</head>
<graphic
url="http://www.iath.virginia.edu/gants/Ornaments/Heads/hp-ral02.gif"/>
</head>
<figure>
<graphic url="fig1.png"/>
<head>Figure One: The View from the Bridge</head>
<figDesc>A Whistleresque view showing four or five sailing boats in the foreground, and a
series of buoys strung out between them.</figDesc>
</figure>
<graphic url="fig1.png"/>
<head>Figure One: The View from the Bridge</head>
<figDesc>A Whistleresque view showing four or five sailing boats in the foreground, and a
series of buoys strung out between them.</figDesc>
</figure>
<figure>
<graphic url="fig1.png"/>
<head>Figure Une : Jan van Eyck, La Vierge du chancelier Rolin</head>
<figDesc>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 ; ou regarde, fleuron à fleuron, la
couronne de la Vierge, une orfèvrerie de rêve ; figure à figure, les groupes qui
remplissent, sans les alourdir, les chapiteaux des piliers ; fleur à fleur, feuille à
feuille, les richesses du parterre ; l’œil stupéfait découvre, entre la tête de l'enfant
divin et l'épaule de la Vierge, dans une ville pleine de pignons et d'élégants clochers,
une grande église aux nombreux contreforts, une vaste place coupée en deux dans toute sa
largeur par un escalier où vont, viennent, courent d'innombrables petits coups de
pinceau qui sont autant de figures vivantes ; il est attiré par un pont en dos d'âne
chargé de groupes qui se pressent et s'entrecroisent ; il suit les méandres d'un fleuve
sillonné de barques minuscules, au milieu duquel, dans une île plus petite que l'ongle
d'un doigt d'enfant, se dresse, entouré d'arbres, un château seigneurial aux nombreux
clochetons ; il parcourt, sur la gauche, un quai planté d'arbres, peuplé de promeneurs ;
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. </figDesc>
</figure>
<graphic url="fig1.png"/>
<head>Figure Une : Jan van Eyck, La Vierge du chancelier Rolin</head>
<figDesc>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 ; ou regarde, fleuron à fleuron, la
couronne de la Vierge, une orfèvrerie de rêve ; figure à figure, les groupes qui
remplissent, sans les alourdir, les chapiteaux des piliers ; fleur à fleur, feuille à
feuille, les richesses du parterre ; l’œil stupéfait découvre, entre la tête de l'enfant
divin et l'épaule de la Vierge, dans une ville pleine de pignons et d'élégants clochers,
une grande église aux nombreux contreforts, une vaste place coupée en deux dans toute sa
largeur par un escalier où vont, viennent, courent d'innombrables petits coups de
pinceau qui sont autant de figures vivantes ; il est attiré par un pont en dos d'âne
chargé de groupes qui se pressent et s'entrecroisent ; il suit les méandres d'un fleuve
sillonné de barques minuscules, au milieu duquel, dans une île plus petite que l'ongle
d'un doigt d'enfant, se dresse, entouré d'arbres, un château seigneurial aux nombreux
clochetons ; il parcourt, sur la gauche, un quai planté d'arbres, peuplé de promeneurs ;
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. </figDesc>
</figure>
<figure>
<graphic url="fig1.png"/>
<head>維納斯</head>
<figDesc> 波提且利 1484-1486年 畫布、蛋彩 佛羅倫斯，烏菲滋美術館</figDesc>
</figure>
<graphic url="fig1.png"/>
<head>維納斯</head>
<figDesc> 波提且利 1484-1486年 畫布、蛋彩 佛羅倫斯，烏菲滋美術館</figDesc>
</figure>
3.10.2 Creating New Reference Systems
<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>
3.11.1 Elements of Bibliographic References
<listBibl>
<head>Bibliography</head>
<biblStruct xml:id="NELSON80">
<analytic>
<author>
<persName>
<surname>Nelson</surname>
<forename>Theodore Holm</forename>
</persName>
</author>
<title>Replacing the printed word:
a complete literary system</title>
</analytic>
<monogr>
<title level="m">Information Processing '80: Proceedings of the IFIPS
Congress, October 1980</title>
<editor>
<persName>
<forename>Simon H.</forename>
<surname>Lavington</surname>
</persName>
</editor>
<imprint>
<publisher>North-Holland</publisher>
<pubPlace>Amsterdam</pubPlace>
<date when="1980"/>
</imprint>
<biblScope type="pp" from="1013" to="1023">1013–23</biblScope>
</monogr>
<note>Apparently a draft of section 4 of
<title level="m">Literary Machines</title>.</note>
</biblStruct>
<bibl xml:id="NELSON88">Ted Nelson: <title>Literary Machines</title>
(privately published, 1987)</bibl>
<bibl xml:id="BAXTER88">
<author>Baxter, Glen</author>
<title>Glen Baxter His Life: the years of struggle</title>
London: Thames and Hudson, 1988.
</bibl>
</listBibl>
<head>Bibliography</head>
<biblStruct xml:id="NELSON80">
<analytic>
<author>
<persName>
<surname>Nelson</surname>
<forename>Theodore Holm</forename>
</persName>
</author>
<title>Replacing the printed word:
a complete literary system</title>
</analytic>
<monogr>
<title level="m">Information Processing '80: Proceedings of the IFIPS
Congress, October 1980</title>
<editor>
<persName>
<forename>Simon H.</forename>
<surname>Lavington</surname>
</persName>
</editor>
<imprint>
<publisher>North-Holland</publisher>
<pubPlace>Amsterdam</pubPlace>
<date when="1980"/>
</imprint>
<biblScope type="pp" from="1013" to="1023">1013–23</biblScope>
</monogr>
<note>Apparently a draft of section 4 of
<title level="m">Literary Machines</title>.</note>
</biblStruct>
<bibl xml:id="NELSON88">Ted Nelson: <title>Literary Machines</title>
(privately published, 1987)</bibl>
<bibl xml:id="BAXTER88">
<author>Baxter, Glen</author>
<title>Glen Baxter His Life: the years of struggle</title>
London: Thames and Hudson, 1988.
</bibl>
</listBibl>
3.11.1 Elements of Bibliographic References
<list>
<head>Bibliography</head>
<item>
<bibl xml:id="NEL80">
<author>Nelson, T. H.</author>
<title level="a">Replacing the printed word:
a complete literary system</title>.
<title level="m">Information Processing '80:
Proceedings of the IFIPS Congress, October 1980</title>.
<editor>Simon H. Lavington</editor>
<publisher>North-Holland</publisher>:
<pubPlace>Amsterdam</pubPlace>,
<date>1980</date>.
<biblScope>pp 1013–23
</biblScope>
<note>Apparently a draft of section 4 of
<title>Literary Machines</title>.</note>
</bibl>
</item>
<item>
<bibl xml:id="NEL88">Ted Nelson: <title>Literary Machines</title>
(privately published, 1987)</bibl>
</item>
<item>
<bibl xml:id="BAX88">
<author>Baxter, Glen</author>
<title>Glen Baxter His Life: the years of struggle</title>
London: Thames and Hudson, 1988.
</bibl>
</item>
</list>
<head>Bibliography</head>
<item>
<bibl xml:id="NEL80">
<author>Nelson, T. H.</author>
<title level="a">Replacing the printed word:
a complete literary system</title>.
<title level="m">Information Processing '80:
Proceedings of the IFIPS Congress, October 1980</title>.
<editor>Simon H. Lavington</editor>
<publisher>North-Holland</publisher>:
<pubPlace>Amsterdam</pubPlace>,
<date>1980</date>.
<biblScope>pp 1013–23
</biblScope>
<note>Apparently a draft of section 4 of
<title>Literary Machines</title>.</note>
</bibl>
</item>
<item>
<bibl xml:id="NEL88">Ted Nelson: <title>Literary Machines</title>
(privately published, 1987)</bibl>
</item>
<item>
<bibl xml:id="BAX88">
<author>Baxter, Glen</author>
<title>Glen Baxter His Life: the years of struggle</title>
London: Thames and Hudson, 1988.
</bibl>
</item>
</list>
<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>
<listBibl>
<head>Works consulted</head>
<bibl>Blain, Clements and Grundy: Feminist Companion to
Literature in English (Yale, 1990)
</bibl>
<biblStruct>
<analytic>
<title>The Interesting story of the Children in the Wood</title>
</analytic>
<monogr>
<title>The Penny Histories</title>
<author>Victor E Neuberg</author>
<imprint>
<publisher>OUP</publisher>
<date>1968</date>
</imprint>
</monogr>
</biblStruct>
</listBibl>
<head>Works consulted</head>
<bibl>Blain, Clements and Grundy: Feminist Companion to
Literature in English (Yale, 1990)
</bibl>
<biblStruct>
<analytic>
<title>The Interesting story of the Children in the Wood</title>
</analytic>
<monogr>
<title>The Penny Histories</title>
<author>Victor E Neuberg</author>
<imprint>
<publisher>OUP</publisher>
<date>1968</date>
</imprint>
</monogr>
</biblStruct>
</listBibl>
<listBibl>
<head>Liste des ouvrages cités</head>
<bibl>Les Petits Romantiques </bibl>
<biblStruct>
<analytic>
<title>La poésie en prose</title>
</analytic>
<monogr>
<title>Aloysius Bertrand, "inventeur" du poème en prose</title>
<author>Bert Guégand</author>
<imprint>
<publisher>PUN</publisher>
<date>2000</date>
</imprint>
</monogr>
</biblStruct>
</listBibl>
<head>Liste des ouvrages cités</head>
<bibl>Les Petits Romantiques </bibl>
<biblStruct>
<analytic>
<title>La poésie en prose</title>
</analytic>
<monogr>
<title>Aloysius Bertrand, "inventeur" du poème en prose</title>
<author>Bert Guégand</author>
<imprint>
<publisher>PUN</publisher>
<date>2000</date>
</imprint>
</monogr>
</biblStruct>
</listBibl>
<listBibl>
<head>參考書籍</head>
<bibl>潘定衡、楊朝文: 蚩尤的傳說 (貴陽：貴州民族出版社，1989 ) </bibl>
<biblStruct>
<analytic>
<title>中國古史的傳說時代 </title>
</analytic>
<monogr>
<title>苗族蚩尤神话，與逐鹿之戰。</title>
<author>吳曉東</author>
<imprint>
<publisher>北京：民族文學研究 </publisher>
<date> 1998 </date>
</imprint>
</monogr>
</biblStruct>
</listBibl>
<head>參考書籍</head>
<bibl>潘定衡、楊朝文: 蚩尤的傳說 (貴陽：貴州民族出版社，1989 ) </bibl>
<biblStruct>
<analytic>
<title>中國古史的傳說時代 </title>
</analytic>
<monogr>
<title>苗族蚩尤神话，與逐鹿之戰。</title>
<author>吳曉東</author>
<imprint>
<publisher>北京：民族文學研究 </publisher>
<date> 1998 </date>
</imprint>
</monogr>
</biblStruct>
</listBibl>
<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">
<head>ACT I</head>
<div2 n="1" type="Scene">
<head>SCENE I</head>
<stage rend="italic">Enter Barnardo and Francisco,
two Sentinels, at several doors</stage>
<sp>
<speaker>Barn</speaker>
<l part="Y">Who's there?</l>
</sp>
<sp>
<speaker>Fran</speaker>
<l>Nay, answer me. Stand and unfold yourself.</l>
</sp>
<sp>
<speaker>Barn</speaker>
<l part="I">Long live the King!</l>
</sp>
<sp>
<speaker>Fran</speaker>
<l part="M">Barnardo?</l>
</sp>
<sp>
<speaker>Barn</speaker>
<l part="F">He.</l>
</sp>
<sp>
<speaker>Fran</speaker>
<l>You come most carefully upon your hour.</l>
</sp>
<sp>
<speaker>Barn</speaker>
<l>'Tis now struck twelve. Get thee to bed, Francisco.</l>
</sp>
<sp>
<speaker>Fran</speaker>
<l>For this relief much thanks. 'Tis bitter cold,</l>
<l part="I">And I am sick at heart.</l>
</sp>
</div2>
</div1>
<head>ACT I</head>
<div2 n="1" type="Scene">
<head>SCENE I</head>
<stage rend="italic">Enter Barnardo and Francisco,
two Sentinels, at several doors</stage>
<sp>
<speaker>Barn</speaker>
<l part="Y">Who's there?</l>
</sp>
<sp>
<speaker>Fran</speaker>
<l>Nay, answer me. Stand and unfold yourself.</l>
</sp>
<sp>
<speaker>Barn</speaker>
<l part="I">Long live the King!</l>
</sp>
<sp>
<speaker>Fran</speaker>
<l part="M">Barnardo?</l>
</sp>
<sp>
<speaker>Barn</speaker>
<l part="F">He.</l>
</sp>
<sp>
<speaker>Fran</speaker>
<l>You come most carefully upon your hour.</l>
</sp>
<sp>
<speaker>Barn</speaker>
<l>'Tis now struck twelve. Get thee to bed, Francisco.</l>
</sp>
<sp>
<speaker>Fran</speaker>
<l>For this relief much thanks. 'Tis bitter cold,</l>
<l part="I">And I am sick at heart.</l>
</sp>
</div2>
</div1>
<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>
1 The TEI Infrastructure
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<head>Bibliography</head>
<listBibl
xml:base="http://www.lib.ucdavis.edu/BWRP/Works/">
<bibl n=" 1">
<author>
<name>Landon, Letitia Elizabeth</name>
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<title>Essays in Rhyme on Morals and Manners</title>
</ref>
</bibl>
</listBibl>
</div>
<div type="bibl">
<head>La Renaissance italienne, bibliographie sélective</head>
<listBibl>
<bibl n="1">
<author>
<name> Michel Hochmann, ... </name>
</author>
<ref>
<title>L’Abcdaire de la Renaissance italienne</title>
</ref>
</bibl>
<bibl n="2">
<author>
<name>Thames et Hudson,</name>
</author>
<ref>
<title>Dictionnaire de la Renaissance</title>
</ref>
</bibl>
<bibl n="3">
<author>
<name> Hervé Loilier</name>
</author>
<ref>
<title>Florence : voyage dans la Renaissance italienne du XVe siècle</title>
</ref>
</bibl>
<bibl n="3">
<author>
<name>Linda Murray</name>
<title>La Haute Renaissance et le Maniérisme</title>
</author>
</bibl>
</listBibl>
</div>
<head>La Renaissance italienne, bibliographie sélective</head>
<listBibl>
<bibl n="1">
<author>
<name> Michel Hochmann, ... </name>
</author>
<ref>
<title>L’Abcdaire de la Renaissance italienne</title>
</ref>
</bibl>
<bibl n="2">
<author>
<name>Thames et Hudson,</name>
</author>
<ref>
<title>Dictionnaire de la Renaissance</title>
</ref>
</bibl>
<bibl n="3">
<author>
<name> Hervé Loilier</name>
</author>
<ref>
<title>Florence : voyage dans la Renaissance italienne du XVe siècle</title>
</ref>
</bibl>
<bibl n="3">
<author>
<name>Linda Murray</name>
<title>La Haute Renaissance et le Maniérisme</title>
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</bibl>
</listBibl>
</div>
<div type="poetry">
<head>Night in Tarras</head>
<lg type="verse">
<l>At evening tramping on the hot white road</l>
<l>…</l>
</lg>
</div>
<head>Night in Tarras</head>
<lg type="verse">
<l>At evening tramping on the hot white road</l>
<l>…</l>
</lg>
</div>
<figure>
<head>The TEI Logo</head>
<figDesc>Stylized yellow angle brackets with the letters <mentioned>TEI</mentioned> in
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<graphic
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<head>The TEI Logo</head>
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<graphic
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4 Default Text Structure
<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>
</div>
<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>
</div>
</div>
</div>
</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>
</div>
<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>
</div>
</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>
</div>
</div>
</div>
</div>
</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>
</div>
</div>
</div>
</body>
<div1 xml:id="levi" n="I" type="part">
<head>Part I: Of Man </head>
<div2 xml:id="levi1" n="1" type="chapter">
<head>Chap. I. Of Sense </head>
<p>Concerning the Thoughts of man... </p>
</div2>
</div1>
<div1 xml:id="levii" n="II" type="part">
<head>Part II: Of Common-Wealth</head>
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<head>Part I: Of Man </head>
<div2 xml:id="levi1" n="1" type="chapter">
<head>Chap. I. Of Sense </head>
<p>Concerning the Thoughts of man... </p>
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</div1>
<div1 xml:id="levii" n="II" type="part">
<head>Part II: Of Common-Wealth</head>
</div1>
<div1 n="1" type="livre">
<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>
<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" type="chapter">
<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>
</div2>
</div1>
<div1 xml:id="zh-tw_levii" n="II" type="part">
<head>第二部: 水深火熱</head>
</div1>
<head>第一部：陰錯陽差</head>
<div2 xml:id="zh-tw_levi1" n="1" type="chapter">
<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>
</div2>
</div1>
<div1 xml:id="zh-tw_levii" n="II" type="part">
<head>第二部: 水深火熱</head>
</div1>
<div1 n="2" type="part">
<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>
<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>
<back>
<div1 type="backmat">
<head>Bibliography</head>
<!-- .... -->
</div1>
<div1 type="backmat">
<head>Indices</head>
<divGen n="Index Nominum" type="NAMES"/>
<divGen n="Index Rerum" type="THINGS"/>
</div1>
</back>
<div1 type="backmat">
<head>Bibliography</head>
<!-- .... -->
</div1>
<div1 type="backmat">
<head>Indices</head>
<divGen n="Index Nominum" type="NAMES"/>
<divGen n="Index Rerum" type="THINGS"/>
</div1>
</back>
<back>
<div1 type="backmat">
<head>Bibliographie</head>
<!-- .... -->
</div1>
<div1 type="backmat">
<head>Indices</head>
<divGen n="Index Nominum" type="NAMES"/>
<divGen n="Index Rerum" type="THINGS"/>
</div1>
</back>
<div1 type="backmat">
<head>Bibliographie</head>
<!-- .... -->
</div1>
<div1 type="backmat">
<head>Indices</head>
<divGen n="Index Nominum" type="NAMES"/>
<divGen n="Index Rerum" type="THINGS"/>
</div1>
</back>
<front>
<divGen type="toc"/>
<div>
<head>Préface</head>
<p> ... </p>
</div>
</front>
<divGen type="toc"/>
<div>
<head>Préface</head>
<p> ... </p>
</div>
</front>
<back>
<div1 type="backmat">
<head>參考書目</head>
<!-- .... -->
</div1>
<div1 type="backmat">
<head>索引</head>
<divGen n="Index Nominum" type="人名"/>
<divGen n="Index Rerum" type="事物"/>
</div1>
</back>
<div1 type="backmat">
<head>參考書目</head>
<!-- .... -->
</div1>
<div1 type="backmat">
<head>索引</head>
<divGen n="Index Nominum" type="人名"/>
<divGen n="Index Rerum" type="事物"/>
</div1>
</back>
<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>
4.1.4 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 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>
<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>
<text>
<!-- the whole anthology -->
<front>
<!-- title page, acknowledgments, introductory essay -->
</front>
<group>
<!-- body of anthology starts here -->
<group>
<head>The Beginnings</head>
<!-- sequence of texts or groups -->
</group>
<group>
<!-- The Eighteenth Century and the Grand Tour -->
<text>
<!-- prefatory essay by editor -->
</text>
<group>
<!-- Section on Lady Mary Wortley Montagu starts -->
<text>
<!-- biographical notice by editor -->
</text>
<text>
<!-- first letter -->
</text>
<text>
<!-- second letter -->
</text>
<!-- ... -->
</group>
<!-- end of Montagu section -->
<text>
<!-- single text by Jonathan Swift starts -->
<front>
<!-- biographical notice by editor -->
</front>
<body/>
</text>
<!-- end of Swift section -->
<group>
<!-- Section on Alexander Pope starts -->
<text>
<!-- biographical notice by editor -->
</text>
<text>
<!-- first poem -->
</text>
<text>
<!-- second poem -->
</text>
</group>
<!-- end of Pope section -->
<!-- ... -->
</group>
<!-- end of 18th century section -->
<group>
<head>The Heyday</head>
<!-- texts and subgroups -->
</group>
<!-- ... -->
</group>
<!-- end of the anthology proper -->
<back>
<!-- back matter for anthology -->
</back>
</text>
<!-- the whole anthology -->
<front>
<!-- title page, acknowledgments, introductory essay -->
</front>
<group>
<!-- body of anthology starts here -->
<group>
<head>The Beginnings</head>
<!-- sequence of texts or groups -->
</group>
<group>
<!-- The Eighteenth Century and the Grand Tour -->
<text>
<!-- prefatory essay by editor -->
</text>
<group>
<!-- Section on Lady Mary Wortley Montagu starts -->
<text>
<!-- biographical notice by editor -->
</text>
<text>
<!-- first letter -->
</text>
<text>
<!-- second letter -->
</text>
<!-- ... -->
</group>
<!-- end of Montagu section -->
<text>
<!-- single text by Jonathan Swift starts -->
<front>
<!-- biographical notice by editor -->
</front>
<body/>
</text>
<!-- end of Swift section -->
<group>
<!-- Section on Alexander Pope starts -->
<text>
<!-- biographical notice by editor -->
</text>
<text>
<!-- first poem -->
</text>
<text>
<!-- second poem -->
</text>
</group>
<!-- end of Pope section -->
<!-- ... -->
</group>
<!-- end of 18th century section -->
<group>
<head>The Heyday</head>
<!-- texts and subgroups -->
</group>
<!-- ... -->
</group>
<!-- end of the anthology proper -->
<back>
<!-- back matter for anthology -->
</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>
<div type="contents">
<head>Contents</head>
<list>
<item>Introduction, or How I stopped Worrying and Learned to Love
Interpretation <ptr target="#fish1"/>
</item>
<item>
<list>
<head>Part One: Literature in the Reader</head>
<item n="1">Literature in the Reader: Affective Stylistics
<ptr target="#fish2"/>
</item>
<item n="2">What is Stylistics and Why Are They Saying Such
Terrible Things About It? <ptr target="#fish3"/>
</item>
</list>
</item>
</list>
</div>
<div xml:id="fish1">
<head>Introduction</head>
<!-- .... -->
</div>
<div xml:id="fish2">
<head>Literature in the Reader</head>
<!-- .... -->
</div>
<div xml:id="fish3">
<head>What is stylistics?</head>
<!-- .... -->
</div>
<head>Contents</head>
<list>
<item>Introduction, or How I stopped Worrying and Learned to Love
Interpretation <ptr target="#fish1"/>
</item>
<item>
<list>
<head>Part One: Literature in the Reader</head>
<item n="1">Literature in the Reader: Affective Stylistics
<ptr target="#fish2"/>
</item>
<item n="2">What is Stylistics and Why Are They Saying Such
Terrible Things About It? <ptr target="#fish3"/>
</item>
</list>
</item>
</list>
</div>
<div xml:id="fish1">
<head>Introduction</head>
<!-- .... -->
</div>
<div xml:id="fish2">
<head>Literature in the Reader</head>
<!-- .... -->
</div>
<div xml:id="fish3">
<head>What is stylistics?</head>
<!-- .... -->
</div>
<!-- .... --><item n="1">Literature in the Reader: Affective Stylistics
<ref target="#fish-p24">24</ref>
</item>
<!-- .... -->
<div type="chapter">
<head>Literature in the Reader</head>
<pb xml:id="fish-p24"/>
<!-- .... -->
</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>
<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>
<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>
<back>
<div type="index">
<head>Index</head>
<list type="index">
<item>Actors, public, paid for the contempt attending
their profession, <ref>263</ref>
</item>
<item>Africa, cause assigned for the barbarous state of
the interior parts of that continent, <ref>125</ref>
</item>
<item>Agriculture
<list type="indexentry">
<item>ancient policy of Europe unfavourable to, <ref>371</ref>
</item>
<item>artificers necessary to carry it on, <ref>481</ref>
</item>
<item>cattle and tillage mutually improve each other, <ref>325</ref>
</item>
<item>wealth arising from more solid than that which proceeds
from commerce <ref>520</ref>
</item>
</list>
</item>
<item>Alehouses, not the efficient cause of drunkenness, <ref>461</ref>
</item>
</list>
</div>
</back>
<div type="index">
<head>Index</head>
<list type="index">
<item>Actors, public, paid for the contempt attending
their profession, <ref>263</ref>
</item>
<item>Africa, cause assigned for the barbarous state of
the interior parts of that continent, <ref>125</ref>
</item>
<item>Agriculture
<list type="indexentry">
<item>ancient policy of Europe unfavourable to, <ref>371</ref>
</item>
<item>artificers necessary to carry it on, <ref>481</ref>
</item>
<item>cattle and tillage mutually improve each other, <ref>325</ref>
</item>
<item>wealth arising from more solid than that which proceeds
from commerce <ref>520</ref>
</item>
</list>
</item>
<item>Alehouses, not the efficient cause of drunkenness, <ref>461</ref>
</item>
</list>
</div>
</back>
<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>
<div1 type="appendix">
<head>The Golden Dream or, the Ingenuous Confession</head>
<p>To shew the Depravity of human Nature </p>
</div1>
<div1 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>
</div1>
<div1 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>
</div1>
<div1 type="advert">
<head>
<hi rend="center">By the KING's Royal Patent,</hi> 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>
</div1>
</back>
<div1 type="appendix">
<head>The Golden Dream or, the Ingenuous Confession</head>
<p>To shew the Depravity of human Nature </p>
</div1>
<div1 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>
</div1>
<div1 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>
</div1>
<div1 type="advert">
<head>
<hi rend="center">By the KING's Royal Patent,</hi> 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>
</div1>
</back>
<back>
<div n="1" type="appendice">
<head>APPENDICE I <lb/>CHAPITRE XV bis <lb/>Des cruautez exercées par les Turcs, et
autres peuples : et nommément par les Espagnols, beaucoup plus barbares que les
Sauvages mesmes </head>
<p>Premierement Chalcondile en son histoire de la decadence de l'Empire des Grecs,
...</p>
</div>
<div n="2" type="appendice">
<head> Appendice2 <lb/> Advertissement de l'autheur, (1699) </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 <lb/>CHAPITRE XV bis <lb/>Des cruautez exercées par les Turcs, et
autres peuples : et nommément par les Espagnols, beaucoup plus barbares que les
Sauvages mesmes </head>
<p>Premierement Chalcondile en son histoire de la decadence de l'Empire des Grecs,
...</p>
</div>
<div n="2" type="appendice">
<head> Appendice2 <lb/> Advertissement de l'autheur, (1699) </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>
6 Verse
6.1 Structural Divisions of Verse Texts
<text>
<front>
<head>1755</head>
</front>
<body>
<l>To make a prairie it takes a clover and one bee,</l>
<l>One clover, and a bee,</l>
<l>And revery.</l>
<l>The revery alone will do,</l>
<l>If bees are few.</l>
</body>
</text>
<front>
<head>1755</head>
</front>
<body>
<l>To make a prairie it takes a clover and one bee,</l>
<l>One clover, and a bee,</l>
<l>And revery.</l>
<l>The revery alone will do,</l>
<l>If bees are few.</l>
</body>
</text>
6.1 Structural Divisions of Verse Texts
<text>
<body>
<head>My Alba</head>
<lg>
<l>Now that I've wasted</l>
<l>five years in Manhattan</l>
<l>life decaying</l>
<l>talent a blank</l>
</lg>
<lg>
<l>talking disconnected</l>
<l>patient and mental</l>
<l>sliderule and number</l>
<l>machine on a desk</l>
</lg>
</body>
</text>
<body>
<head>My Alba</head>
<lg>
<l>Now that I've wasted</l>
<l>five years in Manhattan</l>
<l>life decaying</l>
<l>talent a blank</l>
</lg>
<lg>
<l>talking disconnected</l>
<l>patient and mental</l>
<l>sliderule and number</l>
<l>machine on a desk</l>
</lg>
</body>
</text>
7 Performance Texts
<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>
<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>
<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>
<epilogue>
<head>Written by <name>Colley Cibber, Esq</name>
and spoken by <name>Mrs. Cibber</name>
</head>
<sp>
<lg type="stanza">
<l>Since Fate has robb'd me of the hapless Youth,</l>
<l>For whom my heart had hoarded up its truth;</l>
<l>By all the Laws of Love and Honour, now,</l>
<l>I'm free again to chuse, — and one of you</l>
</lg>
<lg type="stanza">
<l>Suppose I search the sober Gallery; — No,</l>
<l>There's none but Prentices — & Cuckolds all a row:</l>
<l>And these, I doubt, are those that make 'em so.</l>
</lg>
<stage>Pointing to the Boxes.</stage>
<lg type="stanza">
<l>'Tis very well, enjoy the jest:</l>
</lg>
</sp>
</epilogue>
<head>Written by <name>Colley Cibber, Esq</name>
and spoken by <name>Mrs. Cibber</name>
</head>
<sp>
<lg type="stanza">
<l>Since Fate has robb'd me of the hapless Youth,</l>
<l>For whom my heart had hoarded up its truth;</l>
<l>By all the Laws of Love and Honour, now,</l>
<l>I'm free again to chuse, — and one of you</l>
</lg>
<lg type="stanza">
<l>Suppose I search the sober Gallery; — No,</l>
<l>There's none but Prentices — & Cuckolds all a row:</l>
<l>And these, I doubt, are those that make 'em so.</l>
</lg>
<stage>Pointing to the Boxes.</stage>
<lg type="stanza">
<l>'Tis very well, enjoy the jest:</l>
</lg>
</sp>
</epilogue>
<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>
<epilogue>
<head>Written by <name>Colley Cibber, Esq</name> and spoken by <name>Mrs. Cibber</name>
</head>
<sp>
<lg type="couplet">
<l>Since Fate has robb'd me of the hapless Youth,</l>
<l>For whom my heart had hoarded up its truth;</l>
</lg>
<lg type="couplet">
<l>By all the Laws of Love and Honour, now,</l>
<l>I'm free again to chuse, — and one of you</l>
</lg>
<lg type="triplet">
<l>Suppose I search the sober Gallery; — No,</l>
<l>There's none but Prentices — & Cuckolds all a row:</l>
<l>And these, I doubt, are those that make 'em so.</l>
</lg>
<stage type="business">Pointing to the Boxes.</stage>
<lg type="couplet">
<l>'Tis very well, enjoy the jest:</l>
</lg>
</sp>
</epilogue>
<head>Written by <name>Colley Cibber, Esq</name> and spoken by <name>Mrs. Cibber</name>
</head>
<sp>
<lg type="couplet">
<l>Since Fate has robb'd me of the hapless Youth,</l>
<l>For whom my heart had hoarded up its truth;</l>
</lg>
<lg type="couplet">
<l>By all the Laws of Love and Honour, now,</l>
<l>I'm free again to chuse, — and one of you</l>
</lg>
<lg type="triplet">
<l>Suppose I search the sober Gallery; — No,</l>
<l>There's none but Prentices — & Cuckolds all a row:</l>
<l>And these, I doubt, are those that make 'em so.</l>
</lg>
<stage type="business">Pointing to the Boxes.</stage>
<lg type="couplet">
<l>'Tis very well, enjoy the jest:</l>
</lg>
</sp>
</epilogue>
<epilogue>
<head>Stances en forme d'épilogue. </head>
<sp>
<speaker>Alidor.</speaker>
<lg type="stances">
<l>Que par cette retraite elle me favorise !</l>
<l>Alors que mes desseins cedent à mes amours,</l>
<l> Et qu'ils ne sçauroient plus defendre ma franchise</l>
<l> Sa haine, et ses refus viennent à leur secours.</l>
<l> J'avois beau la trahir, une secrette amorce</l>
<l> R'allumoit dans mon coeur l'amour par la pitié,</l>
<l> Mes feux en recevoient une nouvelle force,</l>
<l> Et tousjours leur ardeur en croissoit de moitié.</l>
</lg>
</sp>
</epilogue>
<head>Stances en forme d'épilogue. </head>
<sp>
<speaker>Alidor.</speaker>
<lg type="stances">
<l>Que par cette retraite elle me favorise !</l>
<l>Alors que mes desseins cedent à mes amours,</l>
<l> Et qu'ils ne sçauroient plus defendre ma franchise</l>
<l> Sa haine, et ses refus viennent à leur secours.</l>
<l> J'avois beau la trahir, une secrette amorce</l>
<l> R'allumoit dans mon coeur l'amour par la pitié,</l>
<l> Mes feux en recevoient une nouvelle force,</l>
<l> Et tousjours leur ardeur en croissoit de moitié.</l>
</lg>
</sp>
</epilogue>
<epilogue>
<head>收場詩</head>
<stage type="business">飾國王者向觀眾致辭</stage>
<sp>
<lg type="stanza">
<l>袍笏登場本是虛，</l>
<l>王侯卿相總堪嗤，</l>
<l>但能博得觀眾喜，</l>
<l>便是功成圓滿時。</l>
</lg>
</sp>
</epilogue>
<head>收場詩</head>
<stage type="business">飾國王者向觀眾致辭</stage>
<sp>
<lg type="stanza">
<l>袍笏登場本是虛，</l>
<l>王侯卿相總堪嗤，</l>
<l>但能博得觀眾喜，</l>
<l>便是功成圓滿時。</l>
</lg>
</sp>
</epilogue>
<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>
<castGroup rend="braced">
<head>friends of Mathias</head>
<castItem>
<role>Walter</role>
<actor>Mr Frank Hall</actor>
</castItem>
<castItem>
<role>Hans</role>
<actor>Mr F.W. Irish</actor>
</castItem>
</castGroup>
<head>friends of Mathias</head>
<castItem>
<role>Walter</role>
<actor>Mr Frank Hall</actor>
</castItem>
<castItem>
<role>Hans</role>
<actor>Mr F.W. Irish</actor>
</castItem>
</castGroup>
<castList>
<castGroup>
<head rend="braced">Mendicants</head>
<castItem>
<role>Aafaa</role>
<actor>Femi Johnson</actor>
</castItem>
<castItem>
<role>Blindman</role>
<actor>Femi Osofisan</actor>
</castItem>
<castItem>
<role>Goyi</role>
<actor>Wale Ogunyemi</actor>
</castItem>
<castItem>
<role>Cripple</role>
<actor>Tunji Oyelana</actor>
</castItem>
</castGroup>
<castItem>
<role>Si Bero</role>
<roleDesc>Sister to Dr Bero</roleDesc>
<actor>Deolo Adedoyin</actor>
</castItem>
<castGroup>
<head rend="braced">Two old women</head>
<castItem>
<role>Iya Agba</role>
<actor>Nguba Agolia</actor>
</castItem>
<castItem>
<role>Iya Mate</role>
<actor>Bopo George</actor>
</castItem>
</castGroup>
<castItem>
<role>Dr Bero</role>
<roleDesc>Specialist</roleDesc>
<actor>Nat Okoro</actor>
</castItem>
<castItem>
<role>Priest</role>
<actor>Gbenga Sonuga</actor>
</castItem>
<castItem>
<role>The old man</role>
<roleDesc>Bero's father</roleDesc>
<actor>Dapo Adelugba</actor>
</castItem>
</castList>
<castGroup>
<head rend="braced">Mendicants</head>
<castItem>
<role>Aafaa</role>
<actor>Femi Johnson</actor>
</castItem>
<castItem>
<role>Blindman</role>
<actor>Femi Osofisan</actor>
</castItem>
<castItem>
<role>Goyi</role>
<actor>Wale Ogunyemi</actor>
</castItem>
<castItem>
<role>Cripple</role>
<actor>Tunji Oyelana</actor>
</castItem>
</castGroup>
<castItem>
<role>Si Bero</role>
<roleDesc>Sister to Dr Bero</roleDesc>
<actor>Deolo Adedoyin</actor>
</castItem>
<castGroup>
<head rend="braced">Two old women</head>
<castItem>
<role>Iya Agba</role>
<actor>Nguba Agolia</actor>
</castItem>
<castItem>
<role>Iya Mate</role>
<actor>Bopo George</actor>
</castItem>
</castGroup>
<castItem>
<role>Dr Bero</role>
<roleDesc>Specialist</roleDesc>
<actor>Nat Okoro</actor>
</castItem>
<castItem>
<role>Priest</role>
<actor>Gbenga Sonuga</actor>
</castItem>
<castItem>
<role>The old man</role>
<roleDesc>Bero's father</roleDesc>
<actor>Dapo Adelugba</actor>
</castItem>
</castList>
<castList>
<castGroup>
<head rend="braced">Mendicants</head>
<castItem>
<role>Aafaa</role>
<actor>Femi Johnson</actor>
</castItem>
<castItem>
<role>Blindman</role>
<actor>Femi Osofisan</actor>
</castItem>
<castItem>
<role>Goyi</role>
<actor>Wale Ogunyemi</actor>
</castItem>
<castItem>
<role>Cripple</role>
<actor>Tunji Oyelana</actor>
</castItem>
</castGroup>
<castItem>
<role>Si Bero</role>
<roleDesc>Sister to Dr Bero</roleDesc>
<actor>Deolo Adedoyin</actor>
</castItem>
<castGroup>
<head rend="braced">Two old women</head>
<castItem>
<role>Iya Agba</role>
<actor>Nguba Agolia</actor>
</castItem>
<castItem>
<role>Iya Mate</role>
<actor>Bopo George</actor>
</castItem>
</castGroup>
<castItem>
<role>Dr Bero</role>
<roleDesc>Specialist</roleDesc>
<actor>Nat Okoro</actor>
</castItem>
<castItem>
<role>Priest</role>
<actor>Gbenga Sonuga</actor>
</castItem>
<castItem>
<role>The old man</role>
<roleDesc>Bero's father</roleDesc>
<actor>Dapo Adelugba</actor>
</castItem>
</castList>
<stage type="mix">The action takes place in and around the home surgery of
Dr Bero, lately returned from the wars.</stage>
<castGroup>
<head rend="braced">Mendicants</head>
<castItem>
<role>Aafaa</role>
<actor>Femi Johnson</actor>
</castItem>
<castItem>
<role>Blindman</role>
<actor>Femi Osofisan</actor>
</castItem>
<castItem>
<role>Goyi</role>
<actor>Wale Ogunyemi</actor>
</castItem>
<castItem>
<role>Cripple</role>
<actor>Tunji Oyelana</actor>
</castItem>
</castGroup>
<castItem>
<role>Si Bero</role>
<roleDesc>Sister to Dr Bero</roleDesc>
<actor>Deolo Adedoyin</actor>
</castItem>
<castGroup>
<head rend="braced">Two old women</head>
<castItem>
<role>Iya Agba</role>
<actor>Nguba Agolia</actor>
</castItem>
<castItem>
<role>Iya Mate</role>
<actor>Bopo George</actor>
</castItem>
</castGroup>
<castItem>
<role>Dr Bero</role>
<roleDesc>Specialist</roleDesc>
<actor>Nat Okoro</actor>
</castItem>
<castItem>
<role>Priest</role>
<actor>Gbenga Sonuga</actor>
</castItem>
<castItem>
<role>The old man</role>
<roleDesc>Bero's father</roleDesc>
<actor>Dapo Adelugba</actor>
</castItem>
</castList>
<stage type="mix">The action takes place in and around the home surgery of
Dr Bero, lately returned from the wars.</stage>
<div n="1">
<head>T.N.P. 1963</head>
<note place="foot" n="1">A la création au Festivai d'Avignon en juillet 1962, la
distribution était légèrement différente : dans l'ordre ci-dessus : Hécube (Annie
Monnier) ; Iris (Paule Noël) ; Hector (Daniel lvernel) ; Pâris (Jean-Louis Trintignant)
; Troïus (Bernard Laïk).</note>
<castList>
<castItem>
<role>Andromaque</role>
<actor>MARIA MAUBAN </actor>
</castItem>
<castItem>
<role>Hélène</role>
<actor>CHRISTIANE MINAZZOLLI</actor>
</castItem>
<castItem>
<role>Hécube</role>
<actor>ALINE BERTRAND</actor>
</castItem>
<castItem>
<role> Cassandre </role>JUDITH MAGRE ANNE</castItem>
<castItem>
<role>La Paix</role>
<actor>DOMINIQUE VILAR</actor>
</castItem>
<castItem>
<role>Iris </role>
<actor>NOELLE VINCENT</actor>
</castItem>
<castItem>
<role>La petite Polyxène</role>
<actor>CLAUDINE MAUGEY</actor>
</castItem>
<castItem>
<role>Hector</role>
<actor>PIERRE VANECK</actor>
</castItem>
<castItem>
<role>Ulysse</role>
<actor>JEAN VILAR</actor>
</castItem>
<castItem>
<role>Demokos</role>
<actor> PASCAL MAZZOTTI </actor>
</castItem>
<castItem>
<role>Priam</role>
<actor>JEAN-FRANÇOIS REMY</actor>
</castItem>
<castItem>
<role>Pâris</role>
<actor>ROBERT ETCHEVERRY</actor>
</castItem>
<castItem>
<role>Oiax</role>
<actor>MARIO PILAR</actor>
</castItem>
<castItem>
<role>Le Gabier</role>
<actor>GEORGES GERET</actor>
</castItem>
<castItem>
<role>Le Géomètre</role>
<actor>PHILIPPE AVRON</actor>
</castItem>
<castItem>
<role>Abnéos</role>
<actor>LUCIEN ARNAUD</actor>
</castItem>
<castItem>
<role>Troïlus</role>
<actor>MICHEL GONZALES</actor>
</castItem>
<castItem>
<role>Olpidès</role>
<actor>MAURICE COUSSONNEAU</actor>
</castItem>
<castItem>
<role>Busiris</role>
<actor>GEORGES RIQUIER</actor>
</castItem>
<castItem>
<role>Premier Vieillard</role>
<actor>JEAN MONDAIN</actor>
</castItem>
<castItem>
<role>Deuxième Vieillard</role>
<actor>LUCIEN ARNAUD</actor>
</castItem>
<castGroup>
<head>Messagers</head>
<castItem>
<actor>Bernard Laïk</actor>, <actor>Jean-Pierre Maurin</actor>.</castItem>
</castGroup>
<castGroup>
<head>Servantes troyennes</head>
<castItem>
<actor>Christiane Oscar</actor>, <actor>Noëlle Vincent.</actor>
</castItem>
</castGroup>
<castGroup>
<head>Notables</head>
<castItem>
<actor>Jean-Daniel Ehrrnann</actor>
<actor>Bernard Wawer</actor>
<actor>Bernard Klein</actor>
</castItem>
</castGroup>
<castGroup>
<head>Gardes grecs</head>
<castItem>
<actor>Jean Dufau</actor>, <actor>Alain Deny</actor>, <actor>Jean-Jacques Leconte</actor>
<actor>Richard Rein</actor>
</castItem>
</castGroup>
</castList>
</div>
<div n="2">
<head>Théâtre de la Ville 1971</head>
<note place="foot" n="2">La pièce a été reprise au Théâtre de la Ville le 22 janvier 1971
dans une nouvelle mise en scène de Jean Mercure, musique de Marc Wilkinson, scénographie
et costumes Yannis Kokkos. Elle a été ensuite donnée à partir du 12 juillet dans le
cadre du 25e Festival d'Avignon, et continuera sa carrière au Théâtre de la Ville à
partir du 5 novembre 1971 (avec quelques modifications de distribution).</note>
<castList>
<castItem>
<role>Andromaque</role>
<actor>FRANCINE BERGE </actor>
</castItem>
<castItem>
<role>Hélène</role>
<actor>ANNIE DUPEREY</actor>
</castItem>
<castItem>
<role>Hécube</role>
<actor>LOUISE CONTE</actor>
</castItem>
<castItem>
<role> Cassandre </role>
<actor>ANNE DOAT</actor>
</castItem>
<castItem>
<role>La Paix</role>
<actor>JANDELINE</actor>
</castItem>
<castItem>
<role>Iris </role>
<actor>ISA MERCURE</actor>
</castItem>
<castItem>
<role>La petite Polyxène</role>
<actor>CHRISTIANE SELLAM </actor> ou<actor> VANINA VINITZKY</actor>
</castItem>
<castItem>
<role>Hector</role>
<actor>JOSE-MARIA FLOTATS</actor>
</castItem>
<castItem>
<role>Ulysse</role>
<actor>MICHEL DE RE</actor>
</castItem>
<castItem>
<role>Demokos</role>
<actor>MAURICE CHEVIT</actor>
</castItem>
<castItem>
<role>Priam</role>
<actor>ANDRE VALTIER</actor>
</castItem>
<castItem>
<role>Pâris</role>
<actor>DOMINIQUE MAURIN</actor>
</castItem>
<castItem>
<role>Oiax</role>
<actor>MARCO-PERRIN</actor>
</castItem>
<castItem>
<role>Le Gabier</role>
<actor>LAFLEUR</actor>
</castItem>
<castItem>
<role>Le Géomètre</role>
<actor>BERNARD VERON</actor>
</castItem>
<castItem>
<role>Abnéos</role>
<actor>ANGELO BARDI</actor>
</castItem>
<castItem>
<role>Troïlus</role>
<actor>PHILIPPE NORMAND</actor>
</castItem>
<castItem>
<role>Olpidès</role>
<actor>COUSSONNEAU</actor>
</castItem>
<castItem>
<role>Busiris</role>
<actor>JEAN MERCURE</actor>
</castItem>
<castItem>
<role>Premier Vieillard</role>
<actor>JEAN-MARIE BON</actor>
</castItem>
<castItem>
<role>Deuxième Vieillard</role>
<actor>EUGENE BERTHIER</actor>
</castItem>
<castGroup>
<head>Messagers</head>
<castItem>
<actor>Jean-Claude Islert</actor>, <actor>Michel Sausin</actor>.</castItem>
</castGroup>
<castGroup>
<head>Servantes troyennes</head>
<castItem>
<actor>Dominique Jayr</actor>, <actor>Annie Seurat</actor>,<actor> Hélène
Augier</actor>
</castItem>
</castGroup>
<castGroup>
<head>Gardes grecs</head>
<castItem>
<actor>Jacques Gaffuri</actor>, <actor>Georges Joannon</actor>
</castItem>
</castGroup>
<castItem>
<role>Suivant de Busiris</role>
<actor>Charles Capezzali</actor>
</castItem>
<castItem>
<role>Un marin</role>
<actor>Henry Courseaux</actor>
</castItem>
</castList>
</div>
<head>T.N.P. 1963</head>
<note place="foot" n="1">A la création au Festivai d'Avignon en juillet 1962, la
distribution était légèrement différente : dans l'ordre ci-dessus : Hécube (Annie
Monnier) ; Iris (Paule Noël) ; Hector (Daniel lvernel) ; Pâris (Jean-Louis Trintignant)
; Troïus (Bernard Laïk).</note>
<castList>
<castItem>
<role>Andromaque</role>
<actor>MARIA MAUBAN </actor>
</castItem>
<castItem>
<role>Hélène</role>
<actor>CHRISTIANE MINAZZOLLI</actor>
</castItem>
<castItem>
<role>Hécube</role>
<actor>ALINE BERTRAND</actor>
</castItem>
<castItem>
<role> Cassandre </role>JUDITH MAGRE ANNE</castItem>
<castItem>
<role>La Paix</role>
<actor>DOMINIQUE VILAR</actor>
</castItem>
<castItem>
<role>Iris </role>
<actor>NOELLE VINCENT</actor>
</castItem>
<castItem>
<role>La petite Polyxène</role>
<actor>CLAUDINE MAUGEY</actor>
</castItem>
<castItem>
<role>Hector</role>
<actor>PIERRE VANECK</actor>
</castItem>
<castItem>
<role>Ulysse</role>
<actor>JEAN VILAR</actor>
</castItem>
<castItem>
<role>Demokos</role>
<actor> PASCAL MAZZOTTI </actor>
</castItem>
<castItem>
<role>Priam</role>
<actor>JEAN-FRANÇOIS REMY</actor>
</castItem>
<castItem>
<role>Pâris</role>
<actor>ROBERT ETCHEVERRY</actor>
</castItem>
<castItem>
<role>Oiax</role>
<actor>MARIO PILAR</actor>
</castItem>
<castItem>
<role>Le Gabier</role>
<actor>GEORGES GERET</actor>
</castItem>
<castItem>
<role>Le Géomètre</role>
<actor>PHILIPPE AVRON</actor>
</castItem>
<castItem>
<role>Abnéos</role>
<actor>LUCIEN ARNAUD</actor>
</castItem>
<castItem>
<role>Troïlus</role>
<actor>MICHEL GONZALES</actor>
</castItem>
<castItem>
<role>Olpidès</role>
<actor>MAURICE COUSSONNEAU</actor>
</castItem>
<castItem>
<role>Busiris</role>
<actor>GEORGES RIQUIER</actor>
</castItem>
<castItem>
<role>Premier Vieillard</role>
<actor>JEAN MONDAIN</actor>
</castItem>
<castItem>
<role>Deuxième Vieillard</role>
<actor>LUCIEN ARNAUD</actor>
</castItem>
<castGroup>
<head>Messagers</head>
<castItem>
<actor>Bernard Laïk</actor>, <actor>Jean-Pierre Maurin</actor>.</castItem>
</castGroup>
<castGroup>
<head>Servantes troyennes</head>
<castItem>
<actor>Christiane Oscar</actor>, <actor>Noëlle Vincent.</actor>
</castItem>
</castGroup>
<castGroup>
<head>Notables</head>
<castItem>
<actor>Jean-Daniel Ehrrnann</actor>
<actor>Bernard Wawer</actor>
<actor>Bernard Klein</actor>
</castItem>
</castGroup>
<castGroup>
<head>Gardes grecs</head>
<castItem>
<actor>Jean Dufau</actor>, <actor>Alain Deny</actor>, <actor>Jean-Jacques Leconte</actor>
<actor>Richard Rein</actor>
</castItem>
</castGroup>
</castList>
</div>
<div n="2">
<head>Théâtre de la Ville 1971</head>
<note place="foot" n="2">La pièce a été reprise au Théâtre de la Ville le 22 janvier 1971
dans une nouvelle mise en scène de Jean Mercure, musique de Marc Wilkinson, scénographie
et costumes Yannis Kokkos. Elle a été ensuite donnée à partir du 12 juillet dans le
cadre du 25e Festival d'Avignon, et continuera sa carrière au Théâtre de la Ville à
partir du 5 novembre 1971 (avec quelques modifications de distribution).</note>
<castList>
<castItem>
<role>Andromaque</role>
<actor>FRANCINE BERGE </actor>
</castItem>
<castItem>
<role>Hélène</role>
<actor>ANNIE DUPEREY</actor>
</castItem>
<castItem>
<role>Hécube</role>
<actor>LOUISE CONTE</actor>
</castItem>
<castItem>
<role> Cassandre </role>
<actor>ANNE DOAT</actor>
</castItem>
<castItem>
<role>La Paix</role>
<actor>JANDELINE</actor>
</castItem>
<castItem>
<role>Iris </role>
<actor>ISA MERCURE</actor>
</castItem>
<castItem>
<role>La petite Polyxène</role>
<actor>CHRISTIANE SELLAM </actor> ou<actor> VANINA VINITZKY</actor>
</castItem>
<castItem>
<role>Hector</role>
<actor>JOSE-MARIA FLOTATS</actor>
</castItem>
<castItem>
<role>Ulysse</role>
<actor>MICHEL DE RE</actor>
</castItem>
<castItem>
<role>Demokos</role>
<actor>MAURICE CHEVIT</actor>
</castItem>
<castItem>
<role>Priam</role>
<actor>ANDRE VALTIER</actor>
</castItem>
<castItem>
<role>Pâris</role>
<actor>DOMINIQUE MAURIN</actor>
</castItem>
<castItem>
<role>Oiax</role>
<actor>MARCO-PERRIN</actor>
</castItem>
<castItem>
<role>Le Gabier</role>
<actor>LAFLEUR</actor>
</castItem>
<castItem>
<role>Le Géomètre</role>
<actor>BERNARD VERON</actor>
</castItem>
<castItem>
<role>Abnéos</role>
<actor>ANGELO BARDI</actor>
</castItem>
<castItem>
<role>Troïlus</role>
<actor>PHILIPPE NORMAND</actor>
</castItem>
<castItem>
<role>Olpidès</role>
<actor>COUSSONNEAU</actor>
</castItem>
<castItem>
<role>Busiris</role>
<actor>JEAN MERCURE</actor>
</castItem>
<castItem>
<role>Premier Vieillard</role>
<actor>JEAN-MARIE BON</actor>
</castItem>
<castItem>
<role>Deuxième Vieillard</role>
<actor>EUGENE BERTHIER</actor>
</castItem>
<castGroup>
<head>Messagers</head>
<castItem>
<actor>Jean-Claude Islert</actor>, <actor>Michel Sausin</actor>.</castItem>
</castGroup>
<castGroup>
<head>Servantes troyennes</head>
<castItem>
<actor>Dominique Jayr</actor>, <actor>Annie Seurat</actor>,<actor> Hélène
Augier</actor>
</castItem>
</castGroup>
<castGroup>
<head>Gardes grecs</head>
<castItem>
<actor>Jacques Gaffuri</actor>, <actor>Georges Joannon</actor>
</castItem>
</castGroup>
<castItem>
<role>Suivant de Busiris</role>
<actor>Charles Capezzali</actor>
</castItem>
<castItem>
<role>Un marin</role>
<actor>Henry Courseaux</actor>
</castItem>
</castList>
</div>
<castList>
<castGroup>
<head rend="braced">楊延輝</head>
<castItem>
<role>少年楊延輝</role>
<actor>李少春</actor>
</castItem>
<castItem>
<role>中年楊延輝</role>
<actor>周信芳</actor>
</castItem>
<castItem>
<role>中年楊延輝</role>
<actor>譚富英</actor>
</castItem>
<castItem>
<role>老年楊延輝</role>
<actor>馬連良</actor>
</castItem>
</castGroup>
<castItem>
<role>鐵鏡公主</role>
<roleDesc>遼國公主，嫁楊延輝為妻</roleDesc>
<actor>梅蘭芳</actor>
</castItem>
<castGroup>
<head rend="braced">楊家兄弟</head>
<castItem>
<role>楊延昭</role>
<actor>馬盛龍</actor>
</castItem>
<castItem>
<role>楊宗保</role>
<actor>姜妙香</actor>
</castItem>
</castGroup>
<castItem>
<role>蕭太后</role>
<roleDesc>遼景宗耶律賢的皇后</roleDesc>
<actor>芙蓉草</actor>
</castItem>
<castItem>
<role>四夫人</role>
<actor>高玉倩</actor>
</castItem>
<castItem>
<role>佘太君</role>
<roleDesc>楊延輝的母親</roleDesc>
<actor>馬富祿</actor>
</castItem>
</castList>
<stage type="mix">場景交換於遼國廷內與飛虎峽宋營之間。</stage>
<castGroup>
<head rend="braced">楊延輝</head>
<castItem>
<role>少年楊延輝</role>
<actor>李少春</actor>
</castItem>
<castItem>
<role>中年楊延輝</role>
<actor>周信芳</actor>
</castItem>
<castItem>
<role>中年楊延輝</role>
<actor>譚富英</actor>
</castItem>
<castItem>
<role>老年楊延輝</role>
<actor>馬連良</actor>
</castItem>
</castGroup>
<castItem>
<role>鐵鏡公主</role>
<roleDesc>遼國公主，嫁楊延輝為妻</roleDesc>
<actor>梅蘭芳</actor>
</castItem>
<castGroup>
<head rend="braced">楊家兄弟</head>
<castItem>
<role>楊延昭</role>
<actor>馬盛龍</actor>
</castItem>
<castItem>
<role>楊宗保</role>
<actor>姜妙香</actor>
</castItem>
</castGroup>
<castItem>
<role>蕭太后</role>
<roleDesc>遼景宗耶律賢的皇后</roleDesc>
<actor>芙蓉草</actor>
</castItem>
<castItem>
<role>四夫人</role>
<actor>高玉倩</actor>
</castItem>
<castItem>
<role>佘太君</role>
<roleDesc>楊延輝的母親</roleDesc>
<actor>馬富祿</actor>
</castItem>
</castList>
<stage type="mix">場景交換於遼國廷內與飛虎峽宋營之間。</stage>
<castGroup>
<head>Messagers</head>
<castItem>
<actor>Jean-Claude Islert</actor>, <actor>Michel Sausin</actor>.</castItem>
</castGroup>
<castGroup>
<head>Servantes troyennes</head>
<castItem>
<actor>Dominique Jayr</actor>, <actor>Annie Seurat</actor>,<actor> Hélène
Augier</actor>
</castItem>
</castGroup>
<head>Messagers</head>
<castItem>
<actor>Jean-Claude Islert</actor>, <actor>Michel Sausin</actor>.</castItem>
</castGroup>
<castGroup>
<head>Servantes troyennes</head>
<castItem>
<actor>Dominique Jayr</actor>, <actor>Annie Seurat</actor>,<actor> Hélène
Augier</actor>
</castItem>
</castGroup>
7.2.1 Major Structural Divisions
<body>
<div1 type="scene" n="1">
<head>Night—Faust's Study (i)</head>
</div1>
<div1 type="scene" n="2">
<head>Outside the City Gate</head>
</div1>
</body>
<div1 type="scene" n="1">
<head>Night—Faust's Study (i)</head>
</div1>
<div1 type="scene" n="2">
<head>Outside the City Gate</head>
</div1>
</body>
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>
7.2.1 Major Structural Divisions
<div type="act" n="2">
<head>Act Two</head>
<div type="scene" n="1">
<head>Scene One</head>
</div>
<div type="scene" n="2">
<head>Scene Two</head>
</div>
</div>
<head>Act Two</head>
<div type="scene" n="1">
<head>Scene One</head>
</div>
<div type="scene" n="2">
<head>Scene Two</head>
</div>
</div>
<spGrp type="number" n="3">
<head>By Strauss : performed by Georges Guetary, Gene Kelly, and Oscar
Levant</head>
<sp>
<speaker>HENRI BAUREL</speaker>
<lg>
<l>The waltzes of Mittel Europa </l>
<l>They charm you and warm you within </l>
<l>While each day discloses </l>
<l>What Broadway composes </l>
<l>Is emptiness pounding on tin.</l>
</lg>
</sp>
<sp xml:lang="de">
<speaker>JERRY MULLIGAN: ADAM COOK:</speaker>
<lg>
<l>Mein Herr! </l>
<l>Mein Herr!</l>
<l>Bitte, bitte!</l>
<l>Denke, danke!</l>
<l>Aufwiedersehen! Aufwiedersehen!</l>
</lg>
</sp>
<sp>
<speaker>HENRI BAUREL:</speaker>
<lg>
<l>How can I be civil </l>
<l>When hearing this drivel? </l>
<l>It's only for night-clubbing souses. </l>
<l>Oh give me the free 'n easy </l>
<l>Waltz that is Viennes-y </l>
<l>And go tell the band</l>
<l>If they want a hand</l>
<l>The waltz must be Strauss's</l>
</lg>
</sp>
<sp>
<speaker>ALL</speaker>
<lg>
<l>Ya ya ya </l>
<l>Give me oom pah pah...</l>
</lg>
</sp>
<!-- ... -->
</spGrp>
<head>By Strauss : performed by Georges Guetary, Gene Kelly, and Oscar
Levant</head>
<sp>
<speaker>HENRI BAUREL</speaker>
<lg>
<l>The waltzes of Mittel Europa </l>
<l>They charm you and warm you within </l>
<l>While each day discloses </l>
<l>What Broadway composes </l>
<l>Is emptiness pounding on tin.</l>
</lg>
</sp>
<sp xml:lang="de">
<speaker>JERRY MULLIGAN: ADAM COOK:</speaker>
<lg>
<l>Mein Herr! </l>
<l>Mein Herr!</l>
<l>Bitte, bitte!</l>
<l>Denke, danke!</l>
<l>Aufwiedersehen! Aufwiedersehen!</l>
</lg>
</sp>
<sp>
<speaker>HENRI BAUREL:</speaker>
<lg>
<l>How can I be civil </l>
<l>When hearing this drivel? </l>
<l>It's only for night-clubbing souses. </l>
<l>Oh give me the free 'n easy </l>
<l>Waltz that is Viennes-y </l>
<l>And go tell the band</l>
<l>If they want a hand</l>
<l>The waltz must be Strauss's</l>
</lg>
</sp>
<sp>
<speaker>ALL</speaker>
<lg>
<l>Ya ya ya </l>
<l>Give me oom pah pah...</l>
</lg>
</sp>
<!-- ... -->
</spGrp>
<spGrp>
<head>Song — Sir Joseph</head>
<sp>
<l>I am the monarch of the sea,</l>
<l>The ruler of the Queen's Navee.</l>
<l>Whose praise Great Britain loudly chants.</l>
</sp>
<sp>
<speaker>Cousin Hebe</speaker>
<l>And we are his sisters and his cousins and his aunts!</l>
</sp>
<sp>
<speaker>Rel.</speaker>
<l>And we are his sisters and his cousins and his aunts!</l>
</sp>
<!-- ... -->
</spGrp>
<head>Song — Sir Joseph</head>
<sp>
<l>I am the monarch of the sea,</l>
<l>The ruler of the Queen's Navee.</l>
<l>Whose praise Great Britain loudly chants.</l>
</sp>
<sp>
<speaker>Cousin Hebe</speaker>
<l>And we are his sisters and his cousins and his aunts!</l>
</sp>
<sp>
<speaker>Rel.</speaker>
<l>And we are his sisters and his cousins and his aunts!</l>
</sp>
<!-- ... -->
</spGrp>
<spGrp>
<head>Song — Sir Joseph</head>
<sp>
<lg part="I">
<l>I am the monarch of the sea,</l>
<l>The ruler of the Queen's Navee.</l>
<l>Whose praise Great Britain loudly chants.</l>
</lg>
</sp>
<sp>
<speaker>Cousin Hebe</speaker>
<lg part="M">
<l>And we are his sisters and his cousins and his aunts!</l>
</lg>
</sp>
<sp>
<speaker>Rel.</speaker>
<lg part="F">
<l>And we are his sisters and his cousins and his aunts!</l>
</lg>
</sp>
<!-- ... -->
</spGrp>
<head>Song — Sir Joseph</head>
<sp>
<lg part="I">
<l>I am the monarch of the sea,</l>
<l>The ruler of the Queen's Navee.</l>
<l>Whose praise Great Britain loudly chants.</l>
</lg>
</sp>
<sp>
<speaker>Cousin Hebe</speaker>
<lg part="M">
<l>And we are his sisters and his cousins and his aunts!</l>
</lg>
</sp>
<sp>
<speaker>Rel.</speaker>
<lg part="F">
<l>And we are his sisters and his cousins and his aunts!</l>
</lg>
</sp>
<!-- ... -->
</spGrp>
9 Dictionaries
9.1 Dictionary Body and Overall Structure
<body>
<div>
<head>English-French</head>
<entry>
<form>
<orth>cat</orth>
</form>
<!-- ... -->
</entry>
<entry>
<form>
<orth>dog</orth>
</form>
<!-- ... -->
</entry>
<entry>
<form>
<orth>horse</orth>
</form>
<!-- ... -->
</entry>
</div>
<div>
<head>French-English</head>
<entry>
<form>
<orth>chat</orth>
</form>
<!-- ... -->
</entry>
<entry>
<form>
<orth>chien</orth>
</form>
<!-- ... -->
</entry>
<entry>
<form>
<orth>cheval</orth>
</form>
<!-- ... -->
</entry>
</div>
</body>
<div>
<head>English-French</head>
<entry>
<form>
<orth>cat</orth>
</form>
<!-- ... -->
</entry>
<entry>
<form>
<orth>dog</orth>
</form>
<!-- ... -->
</entry>
<entry>
<form>
<orth>horse</orth>
</form>
<!-- ... -->
</entry>
</div>
<div>
<head>French-English</head>
<entry>
<form>
<orth>chat</orth>
</form>
<!-- ... -->
</entry>
<entry>
<form>
<orth>chien</orth>
</form>
<!-- ... -->
</entry>
<entry>
<form>
<orth>cheval</orth>
</form>
<!-- ... -->
</entry>
</div>
</body>
10 Manuscript Description
<head>Marsilius de Inghen, Abbreviata phisicorum Aristotelis; Italy, 1463.</head>
<msPart>
<msIdentifier>
<idno>A</idno>
<altIdentifier type="catalog">
<collection>Becker</collection>
<idno>48, Nr. 145</idno>
</altIdentifier>
<altIdentifier type="catalog">
<collection>Wiener Liste</collection>
<idno>4°5</idno>
</altIdentifier>
</msIdentifier>
<head>
<title xml:lang="lat">Gregorius: Homiliae in Ezechielem</title>
<origPlace key="tgn_7008085">Weissenburg (?)</origPlace>
<origDate notBefore="0801" notAfter="0815">IX. Jh., Anfang</origDate>
</head>
</msPart>
<msIdentifier>
<idno>A</idno>
<altIdentifier type="catalog">
<collection>Becker</collection>
<idno>48, Nr. 145</idno>
</altIdentifier>
<altIdentifier type="catalog">
<collection>Wiener Liste</collection>
<idno>4°5</idno>
</altIdentifier>
</msIdentifier>
<head>
<title xml:lang="lat">Gregorius: Homiliae in Ezechielem</title>
<origPlace key="tgn_7008085">Weissenburg (?)</origPlace>
<origDate notBefore="0801" notAfter="0815">IX. Jh., Anfang</origDate>
</head>
</msPart>
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>
12 Critical Apparatus
<listWit>
<witness xml:id="Ellesmere">Ellesmere, Huntingdon Library 26.C.9</witness>
<!-- ... -->
<listWit xml:id="Con">
<head>Constant Group C</head>
<witness xml:id="Cp">Corpus Christi Oxford MS 198</witness>
<witness xml:id="La">British Library Lansdowne 851</witness>
<witness xml:id="Sl2">British Library Sloane MS 1686</witness>
</listWit>
</listWit>
<witness xml:id="Ellesmere">Ellesmere, Huntingdon Library 26.C.9</witness>
<!-- ... -->
<listWit xml:id="Con">
<head>Constant Group C</head>
<witness xml:id="Cp">Corpus Christi Oxford MS 198</witness>
<witness xml:id="La">British Library Lansdowne 851</witness>
<witness xml:id="Sl2">British Library Sloane MS 1686</witness>
</listWit>
</listWit>
12.2.1 The Location-referenced Method
<text>
<body>
<div n="WBP" type="prologue">
<head>The Prologe of the Wyves Tale of Bathe</head>
<l n="1">Experience though noon Auctoritee</l>
<l>Were in this world ...</l>
</div>
</body>
</text>
<body>
<div n="WBP" type="prologue">
<head>The Prologe of the Wyves Tale of Bathe</head>
<l n="1">Experience though noon Auctoritee</l>
<l>Were in this world ...</l>
</div>
</body>
</text>
12.2.2 The Double End-Point Attachment Method
<variantEncoding method="double-end-point" location="external"/>
<!-- ... -->
<div n="WBP" type="prologue">
<head>The Prologe ... </head>
<l n="1" xml:id="WBP.1">Experience<anchor xml:id="WBP-A2"/> though noon Auctoritee</l>
<l>Were in this world ...</l>
</div>
<!-- ... -->
<div n="WBP" type="prologue">
<head>The Prologe ... </head>
<l n="1" xml:id="WBP.1">Experience<anchor xml:id="WBP-A2"/> though noon Auctoritee</l>
<l>Were in this world ...</l>
</div>
13 Names, Dates, People, and Places
<place xml:id="ROMA">
<placeName>Rome</placeName>
<!-- ... -->
<climate>
<ab>
<table>
<head>24-hr Average Temperature</head>
<row>
<cell/>
<cell role="label">Jan</cell>
<cell role="label">Jun</cell>
<cell role="label">Dec</cell>
</row>
<row>
<cell role="label">°C</cell>
<cell role="data">7.1</cell>
<cell role="data">21.7</cell>
<cell role="data">8.3</cell>
</row>
<row>
<cell role="label">°F</cell>
<cell role="data">44.8</cell>
<cell role="data">71.1</cell>
<cell role="data">46.9</cell>
</row>
</table>
</ab>
<note>Taken from <bibl>
<abbr>GHCN 2 Beta</abbr>: The Global Historical Climatology Network,
version 2 beta, 1904 months between 1811 and 1980. <ptr
target="http://www.worldclimate.com/cgi-bin/data.pl?ref=N41E012+1202+0004058G2"/>
</bibl>
</note>
</climate>
</place>
<placeName>Rome</placeName>
<!-- ... -->
<climate>
<ab>
<table>
<head>24-hr Average Temperature</head>
<row>
<cell/>
<cell role="label">Jan</cell>
<cell role="label">Jun</cell>
<cell role="label">Dec</cell>
</row>
<row>
<cell role="label">°C</cell>
<cell role="data">7.1</cell>
<cell role="data">21.7</cell>
<cell role="data">8.3</cell>
</row>
<row>
<cell role="label">°F</cell>
<cell role="data">44.8</cell>
<cell role="data">71.1</cell>
<cell role="data">46.9</cell>
</row>
</table>
</ab>
<note>Taken from <bibl>
<abbr>GHCN 2 Beta</abbr>: The Global Historical Climatology Network,
version 2 beta, 1904 months between 1811 and 1980. <ptr
target="http://www.worldclimate.com/cgi-bin/data.pl?ref=N41E012+1202+0004058G2"/>
</bibl>
</note>
</climate>
</place>
<listOrg>
<head>Libyans</head>
<org>
<orgName>Adyrmachidae</orgName>
<desc>These people have, in most points, the same customs as the Egyptians, but
use the costume of the Libyans. Their women wear on each leg a ring made of
bronze [...] </desc>
</org>
<org>
<orgName>Nasamonians</orgName>
<desc>In summer they leave their flocks and herds upon the sea-shore, and go up
the country to a place called Augila, where they gather the dates from the
palms [...]</desc>
</org>
<org>
<orgName>Garamantians</orgName>
<desc>[...] avoid all society or intercourse with their fellow-men, have no
weapon of war, and do not know how to defend themselves. [...]</desc>
<!-- ... -->
</org>
</listOrg>
<head>Libyans</head>
<org>
<orgName>Adyrmachidae</orgName>
<desc>These people have, in most points, the same customs as the Egyptians, but
use the costume of the Libyans. Their women wear on each leg a ring made of
bronze [...] </desc>
</org>
<org>
<orgName>Nasamonians</orgName>
<desc>In summer they leave their flocks and herds upon the sea-shore, and go up
the country to a place called Augila, where they gather the dates from the
palms [...]</desc>
</org>
<org>
<orgName>Garamantians</orgName>
<desc>[...] avoid all society or intercourse with their fellow-men, have no
weapon of war, and do not know how to defend themselves. [...]</desc>
<!-- ... -->
</org>
</listOrg>
<listEvent>
<head>Battles of the American Civil War: Kentucky</head>
<event xml:id="event01" when="1861-09-19">
<label>Barbourville</label>
<desc>The Battle of Barbourville was one of the early engagements of
the American Civil War. It occurred September 19, 1861, in Knox
County, Kentucky during the campaign known as the Kentucky Confederate
Offensive. The battle is considered the first Confederate victory in
the commonwealth, and threw a scare into Federal commanders, who
rushed troops to central Kentucky in an effort to repel the invasion,
which was finally thwarted at the <ref target="#event02">Battle of
Camp Wildcat</ref> in October.</desc>
</event>
<event xml:id="event02" when="1861-10-21">
<label>Camp Wild Cat</label>
<desc>The Battle of Camp Wildcat (also known as Wildcat Mountain and Camp
Wild Cat) was one of the early engagements of the American Civil
War. It occurred October 21, 1861, in northern Laurel County, Kentucky
during the campaign known as the Kentucky Confederate Offensive. The
battle is considered one of the very first Union victories, and marked
the first engagement of troops in the commonwealth of Kentucky.</desc>
</event>
<event xml:id="event03" from="1864-06-11" to="1864-06-12">
<label>Cynthiana</label>
<desc>The Battle of Cynthiana (or Kellar’s Bridge) was an engagement
during the American Civil War that was fought on June 11 and 12, 1864,
in Harrison County, Kentucky, near the town of Cynthiana. A part of
Confederate Brigadier General John Hunt Morgan's 1864 Raid into
Kentucky, the battle resulted in a victory by Union forces over the
raiders and saved the town from capture.</desc>
</event>
</listEvent>
<head>Battles of the American Civil War: Kentucky</head>
<event xml:id="event01" when="1861-09-19">
<label>Barbourville</label>
<desc>The Battle of Barbourville was one of the early engagements of
the American Civil War. It occurred September 19, 1861, in Knox
County, Kentucky during the campaign known as the Kentucky Confederate
Offensive. The battle is considered the first Confederate victory in
the commonwealth, and threw a scare into Federal commanders, who
rushed troops to central Kentucky in an effort to repel the invasion,
which was finally thwarted at the <ref target="#event02">Battle of
Camp Wildcat</ref> in October.</desc>
</event>
<event xml:id="event02" when="1861-10-21">
<label>Camp Wild Cat</label>
<desc>The Battle of Camp Wildcat (also known as Wildcat Mountain and Camp
Wild Cat) was one of the early engagements of the American Civil
War. It occurred October 21, 1861, in northern Laurel County, Kentucky
during the campaign known as the Kentucky Confederate Offensive. The
battle is considered one of the very first Union victories, and marked
the first engagement of troops in the commonwealth of Kentucky.</desc>
</event>
<event xml:id="event03" from="1864-06-11" to="1864-06-12">
<label>Cynthiana</label>
<desc>The Battle of Cynthiana (or Kellar’s Bridge) was an engagement
during the American Civil War that was fought on June 11 and 12, 1864,
in Harrison County, Kentucky, near the town of Cynthiana. A part of
Confederate Brigadier General John Hunt Morgan's 1864 Raid into
Kentucky, the battle resulted in a victory by Union forces over the
raiders and saved the town from capture.</desc>
</event>
</listEvent>
14 Tables, Formulæ, Graphics and Notated Music
<table rend="boxed" rows="2" cols="2">
<head rend="it">Report of the conduct and progress
of Ernest Pontifex. Upper Vth form — half
term ending Midsummer 1851</head>
<row>
<cell role="label">Classics</cell>
<cell>Idle listless and unimproving</cell>
</row>
<row>
<cell role="label">Mathematics</cell>
<cell>ditto</cell>
</row>
<row>
<cell role="label">Divinity</cell>
<cell>ditto</cell>
</row>
<row>
<cell role="label">Conduct in house</cell>
<cell>Orderly</cell>
</row>
<row>
<cell role="label">General conduct</cell>
<cell>Not satisfactory, on
account of his great unpunctuality and inattention to
duties</cell>
</row>
</table>
<head rend="it">Report of the conduct and progress
of Ernest Pontifex. Upper Vth form — half
term ending Midsummer 1851</head>
<row>
<cell role="label">Classics</cell>
<cell>Idle listless and unimproving</cell>
</row>
<row>
<cell role="label">Mathematics</cell>
<cell>ditto</cell>
</row>
<row>
<cell role="label">Divinity</cell>
<cell>ditto</cell>
</row>
<row>
<cell role="label">Conduct in house</cell>
<cell>Orderly</cell>
</row>
<row>
<cell role="label">General conduct</cell>
<cell>Not satisfactory, on
account of his great unpunctuality and inattention to
duties</cell>
</row>
</table>
<table rows="4" cols="4">
<head>Poor Man's Lodgings in Norfolk (Mayhew, 1843)</head>
<row role="label">
<cell/>
<cell>Dossing Cribs or Lodging Houses</cell>
<cell>Beds</cell>
<cell>Needys or Nightly Lodgers</cell>
</row>
<row>
<cell role="label">Bury St Edmund's</cell>
<cell>5</cell>
<cell>8</cell>
<cell>128</cell>
</row>
<row>
<cell role="label">Thetford</cell>
<cell>3</cell>
<cell>6</cell>
<cell>36</cell>
</row>
<row>
<cell role="label">Attleboro'</cell>
<cell>3</cell>
<cell>5</cell>
<cell>20</cell>
</row>
<row>
<cell role="label">Wymondham</cell>
<cell>1</cell>
<cell>11</cell>
<cell>22</cell>
</row>
</table>
<head>Poor Man's Lodgings in Norfolk (Mayhew, 1843)</head>
<row role="label">
<cell/>
<cell>Dossing Cribs or Lodging Houses</cell>
<cell>Beds</cell>
<cell>Needys or Nightly Lodgers</cell>
</row>
<row>
<cell role="label">Bury St Edmund's</cell>
<cell>5</cell>
<cell>8</cell>
<cell>128</cell>
</row>
<row>
<cell role="label">Thetford</cell>
<cell>3</cell>
<cell>6</cell>
<cell>36</cell>
</row>
<row>
<cell role="label">Attleboro'</cell>
<cell>3</cell>
<cell>5</cell>
<cell>20</cell>
</row>
<row>
<cell role="label">Wymondham</cell>
<cell>1</cell>
<cell>11</cell>
<cell>22</cell>
</row>
</table>
<table>
<head>US State populations, 1990</head>
<row>
<cell>
<name>Wyoming</name>
</cell>
<cell>
<num>453,588</num>
</cell>
</row>
<row>
<cell>
<name>Alaska</name>
</cell>
<cell>
<num>550,043</num>
</cell>
</row>
<row>
<cell>
<name>Montana</name>
</cell>
<cell>
<num>799,065</num>
</cell>
</row>
<row>
<cell>
<name>Rhode Island</name>
</cell>
<cell>
<num>1,003,464</num>
</cell>
</row>
</table>
<head>US State populations, 1990</head>
<row>
<cell>
<name>Wyoming</name>
</cell>
<cell>
<num>453,588</num>
</cell>
</row>
<row>
<cell>
<name>Alaska</name>
</cell>
<cell>
<num>550,043</num>
</cell>
</row>
<row>
<cell>
<name>Montana</name>
</cell>
<cell>
<num>799,065</num>
</cell>
</row>
<row>
<cell>
<name>Rhode Island</name>
</cell>
<cell>
<num>1,003,464</num>
</cell>
</row>
</table>
<table>
<head>US State populations, 1990</head>
<row>
<cell role="statename">Wyoming </cell>
<cell role="pop">453,588 </cell>
</row>
<row>
<cell role="statename">Alaska </cell>
<cell role="pop">550,043 </cell>
</row>
<row>
<cell role="statename">Montana </cell>
<cell role="pop">799,065 </cell>
</row>
<row>
<cell role="statename">Rhode Island</cell>
<cell role="pop">1,003,464</cell>
</row>
</table>
<head>US State populations, 1990</head>
<row>
<cell role="statename">Wyoming </cell>
<cell role="pop">453,588 </cell>
</row>
<row>
<cell role="statename">Alaska </cell>
<cell role="pop">550,043 </cell>
</row>
<row>
<cell role="statename">Montana </cell>
<cell role="pop">799,065 </cell>
</row>
<row>
<cell role="statename">Rhode Island</cell>
<cell role="pop">1,003,464</cell>
</row>
</table>
<table rows="4" cols="4">
<head>Poor Men's Lodgings in Norfolk (Mayhew, 1843)</head>
<row role="label">
<cell role="data"/>
<cell role="data">Dossing Cribs or Lodging Houses</cell>
<cell role="data">Beds</cell>
<cell role="data">Needys or Nightly Lodgers</cell>
</row>
<row role="data">
<cell role="label">Bury St Edmund's</cell>
<cell role="data">5</cell>
<cell role="data">8</cell>
<cell role="data">128</cell>
</row>
<row role="data">
<cell role="label">Thetford</cell>
<cell role="data">3</cell>
<cell role="data">6</cell>
<cell role="data">36</cell>
</row>
<row role="data">
<cell role="label">Attleboro'</cell>
<cell role="data">3</cell>
<cell role="data">5</cell>
<cell role="data">20</cell>
</row>
<row role="data">
<cell role="label">Wymondham</cell>
<cell role="data">1</cell>
<cell role="data">11</cell>
<cell role="data">22</cell>
</row>
</table>
<head>Poor Men's Lodgings in Norfolk (Mayhew, 1843)</head>
<row role="label">
<cell role="data"/>
<cell role="data">Dossing Cribs or Lodging Houses</cell>
<cell role="data">Beds</cell>
<cell role="data">Needys or Nightly Lodgers</cell>
</row>
<row role="data">
<cell role="label">Bury St Edmund's</cell>
<cell role="data">5</cell>
<cell role="data">8</cell>
<cell role="data">128</cell>
</row>
<row role="data">
<cell role="label">Thetford</cell>
<cell role="data">3</cell>
<cell role="data">6</cell>
<cell role="data">36</cell>
</row>
<row role="data">
<cell role="label">Attleboro'</cell>
<cell role="data">3</cell>
<cell role="data">5</cell>
<cell role="data">20</cell>
</row>
<row role="data">
<cell role="label">Wymondham</cell>
<cell role="data">1</cell>
<cell role="data">11</cell>
<cell role="data">22</cell>
</row>
</table>
<table rows="4" cols="4">
<head>Persistance de la neige dans les Alpes suisses (Denzler). </head>
<row>
<cell role="label">A l'altitude de</cell>
<cell role="data">650 m.</cell>
<cell role="data">1300m.</cell>
<cell role="data">1950m.</cell>
<cell role="data">2700m.</cell>
</row>
<row>
<cell role="label">la neige reste</cell>
<cell role="data">77 jours.</cell>
<cell role="data"> 200 jours.</cell>
<cell role="data"> 245 jours.</cell>
<cell role="data"> 365 jours.</cell>
</row>
</table>
<head>Persistance de la neige dans les Alpes suisses (Denzler). </head>
<row>
<cell role="label">A l'altitude de</cell>
<cell role="data">650 m.</cell>
<cell role="data">1300m.</cell>
<cell role="data">1950m.</cell>
<cell role="data">2700m.</cell>
</row>
<row>
<cell role="label">la neige reste</cell>
<cell role="data">77 jours.</cell>
<cell role="data"> 200 jours.</cell>
<cell role="data"> 245 jours.</cell>
<cell role="data"> 365 jours.</cell>
</row>
</table>
<table rows="4" cols="4">
<head>台北飯店提供住房數目(2008年雙十國慶 )</head>
<row role="label">
<cell role="data"/>
<cell role="data">經濟客房</cell>
<cell role="data">標準客房</cell>
<cell role="data">高級客房</cell>
</row>
<row role="data">
<cell role="label">圓山大飯店</cell>
<cell role="data">203</cell>
<cell role="data">168</cell>
<cell role="data">66</cell>
</row>
<row role="data">
<cell role="label">凱撒大飯店</cell>
<cell role="data">216</cell>
<cell role="data">140</cell>
<cell role="data">32</cell>
</row>
<row role="data">
<cell role="label">喜來登大飯店</cell>
<cell role="data">197</cell>
<cell role="data">160</cell>
<cell role="data">50</cell>
</row>
<row role="data">
<cell role="label">君悅大飯店</cell>
<cell role="data">177</cell>
<cell role="data">130</cell>
<cell role="data">22</cell>
</row>
</table>
<head>台北飯店提供住房數目(2008年雙十國慶 )</head>
<row role="label">
<cell role="data"/>
<cell role="data">經濟客房</cell>
<cell role="data">標準客房</cell>
<cell role="data">高級客房</cell>
</row>
<row role="data">
<cell role="label">圓山大飯店</cell>
<cell role="data">203</cell>
<cell role="data">168</cell>
<cell role="data">66</cell>
</row>
<row role="data">
<cell role="label">凱撒大飯店</cell>
<cell role="data">216</cell>
<cell role="data">140</cell>
<cell role="data">32</cell>
</row>
<row role="data">
<cell role="label">喜來登大飯店</cell>
<cell role="data">197</cell>
<cell role="data">160</cell>
<cell role="data">50</cell>
</row>
<row role="data">
<cell role="label">君悅大飯店</cell>
<cell role="data">177</cell>
<cell role="data">130</cell>
<cell role="data">22</cell>
</row>
</table>
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="Fig1.pdf"/>
<head>The View from the
Bridge</head>
</figure>
<graphic url="Fig1.pdf"/>
<head>The View from the
Bridge</head>
</figure>
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>
14.4 Specific Elements for Graphic Images
<figure>
<graphic url="Fig1.jpg"/>
<head>Figure One: The View from the Bridge</head>
<figDesc>A Whistleresque view showing four
or five sailing boats in the foreground, and a
series of buoys strung out between them.</figDesc>
</figure>
<graphic url="Fig1.jpg"/>
<head>Figure One: The View from the Bridge</head>
<figDesc>A Whistleresque view showing four
or five sailing boats in the foreground, and a
series of buoys strung out between them.</figDesc>
</figure>
<figure>
<head>The View from the Bridge</head>
<figDesc>A Whistleresque view showing four or five sailing boats in the foreground, and a
series of buoys strung out between them.</figDesc>
<graphic url="http://www.example.org/fig1.png" scale="0.5"/>
</figure>
<head>The View from the Bridge</head>
<figDesc>A Whistleresque view showing four or five sailing boats in the foreground, and a
series of buoys strung out between them.</figDesc>
<graphic url="http://www.example.org/fig1.png" scale="0.5"/>
</figure>
<figure>
<head>La tour rouge, de Giorgio De Chirico</head>
<figDesc>Le tableau représente un donjon au pied duquel s'étend un espace quasiment vide,
hormis quelques détails</figDesc>
<graphic
url="http://www.cineclubdecaen.com/cinepho/peint/dechericho/tourrouge.jpg"
scale="0.5"/>
</figure>
<head>La tour rouge, de Giorgio De Chirico</head>
<figDesc>Le tableau représente un donjon au pied duquel s'étend un espace quasiment vide,
hormis quelques détails</figDesc>
<graphic
url="http://www.cineclubdecaen.com/cinepho/peint/dechericho/tourrouge.jpg"
scale="0.5"/>
</figure>
<figure>
<head>圖一: 橋上的視野</head>
<figDesc>前景有四五隻風帆，中間一堆救生圈串連。</figDesc>
<graphic url="http://www.example.org/fig1.png" scale="0.5"/>
</figure>
<head>圖一: 橋上的視野</head>
<figDesc>前景有四五隻風帆，中間一堆救生圈串連。</figDesc>
<graphic url="http://www.example.org/fig1.png" scale="0.5"/>
</figure>
<figure>
<graphic url="emblem1.png"/>
<head>Emblemi d'Amore</head>
<figDesc>A pair of naked winged cupids, each holding a
flaming torch, in a rural setting.</figDesc>
</figure>
<graphic url="emblem1.png"/>
<head>Emblemi d'Amore</head>
<figDesc>A pair of naked winged cupids, each holding a
flaming torch, in a rural setting.</figDesc>
</figure>
16 Linking, Segmentation, and Alignment
<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>
<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 type="simple">
<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 type="simple">
<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>
16.3 Blocks, Segments, and Anchors
<div1 n="Gen" type="book">
<head>The First Book of Moses, Called</head>
<head type="main">Genesis</head>
<div2 n="1" type="chapter">
<ab n="1">In the beginning God created the heaven and the
earth.</ab>
<ab n="2">And the earth was without form, and void; and darkness
<hi>was</hi> upon the face of the deep. And the Spirit of God
moved upon the face of the waters.</ab>
<ab n="3">And God said, Let there be light: and there was
light.</ab>
</div2>
</div1>
<head>The First Book of Moses, Called</head>
<head type="main">Genesis</head>
<div2 n="1" type="chapter">
<ab n="1">In the beginning God created the heaven and the
earth.</ab>
<ab n="2">And the earth was without form, and void; and darkness
<hi>was</hi> upon the face of the deep. And the Spirit of God
moved upon the face of the waters.</ab>
<ab n="3">And God said, Let there be light: and there was
light.</ab>
</div2>
</div1>
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>
16.3 Blocks, Segments, and Anchors
<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>
<ab>Bote-swaine.</ab>
</sp>
<sp>
<speaker>Botes.</speaker>
<ab>Heere Master: What cheere?</ab>
</sp>
<sp>
<speaker>Mast.</speaker>
<ab>Good: Speake to th' Mariners: fall too't, yarely,
or we run our selues a ground, bestirre, bestirre.
<stage type="move">Exit.</stage>
</ab>
</sp>
<stage type="move">Enter Mariners.</stage>
<sp>
<speaker>Botes.</speaker>
<ab>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.</ab>
</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>
<ab>Bote-swaine.</ab>
</sp>
<sp>
<speaker>Botes.</speaker>
<ab>Heere Master: What cheere?</ab>
</sp>
<sp>
<speaker>Mast.</speaker>
<ab>Good: Speake to th' Mariners: fall too't, yarely,
or we run our selues a ground, bestirre, bestirre.
<stage type="move">Exit.</stage>
</ab>
</sp>
<stage type="move">Enter Mariners.</stage>
<sp>
<speaker>Botes.</speaker>
<ab>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.</ab>
</sp>
</div2>
</div1>
<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>
<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>
<div xml:id="E98" xml:lang="en" type="lesson">
<head>The Study</head>
<ab>The Study</ab>
<ab>is a place</ab>
<ab>where a Student,</ab>
</div>
<div xml:id="L98" xml:lang="la" type="lesson">
<head>Muséum</head>
<ab>Museum</ab>
<ab>est locus</ab>
<ab>ubi Studiosus,</ab>
</div>
<head>The Study</head>
<ab>The Study</ab>
<ab>is a place</ab>
<ab>where a Student,</ab>
</div>
<div xml:id="L98" xml:lang="la" type="lesson">
<head>Muséum</head>
<ab>Museum</ab>
<ab>est locus</ab>
<ab>ubi Studiosus,</ab>
</div>
<list>
<head>Authors</head>
<item xml:id="a_uf">Figge, Udo </item>
<item xml:id="a_ch">Heibach, Christiane </item>
<item xml:id="a_gh">Heyer, Gerhard </item>
<item xml:id="a_bp">Philipp, Bettina </item>
<item xml:id="a_ms">Samiec, Monika </item>
<item xml:id="a_ss">Schierholz, Stefan </item>
</list>
<join target="#a_ch #a_bp #a_ss" result="list">
<desc>Authors from Heidelberg</desc>
</join>
<head>Authors</head>
<item xml:id="a_uf">Figge, Udo </item>
<item xml:id="a_ch">Heibach, Christiane </item>
<item xml:id="a_gh">Heyer, Gerhard </item>
<item xml:id="a_bp">Philipp, Bettina </item>
<item xml:id="a_ms">Samiec, Monika </item>
<item xml:id="a_ss">Schierholz, Stefan </item>
</list>
<join target="#a_ch #a_bp #a_ss" result="list">
<desc>Authors from Heidelberg</desc>
</join>
16.9.3 Stand-off Markup in TEI
<text>
<body>
<head>1755</head>
<l>To make a prairie it takes a clover and one bee,</l>
<l>One clover, and a bee,</l>
<l>And revery.</l>
<l>The revery alone will do,</l>
<l>If bees are few.</l>
</body>
</text>
<body>
<head>1755</head>
<l>To make a prairie it takes a clover and one bee,</l>
<l>One clover, and a bee,</l>
<l>And revery.</l>
<l>The revery alone will do,</l>
<l>If bees are few.</l>
</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>
<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>
17 Simple Analytic Mechanisms
<head>
<s>A short affair</s>
</head>
<s>When are you leaving?</s>
<s>Tomorrow.</s>
<s>A short affair</s>
</head>
<s>When are you leaving?</s>
<s>Tomorrow.</s>
22 Documentation Elements
22.1.2 Element and Attribute Descriptions
<div3>
<head>Element and attribute descriptions</head>
<p>Within the body of a document using this module, the following
elements may be used to reference parts of the specification elements
discussed in section <ptr target="#TDcrystals"/>, in particular the
brief prose descriptions these provide for elements and attributes.
<specList>
<specDesc key="specList"/>
<specDesc key="specDesc"/>
</specList>
</p>
<p>TEI practice requires that a <gi>specList</gi> listing the elements
...
</p>
<!-- ... -->
</div3>
<head>Element and attribute descriptions</head>
<p>Within the body of a document using this module, the following
elements may be used to reference parts of the specification elements
discussed in section <ptr target="#TDcrystals"/>, in particular the
brief prose descriptions these provide for elements and attributes.
<specList>
<specDesc key="specList"/>
<specDesc key="specDesc"/>
</specList>
</p>
<p>TEI practice requires that a <gi>specList</gi> listing the elements
...
</p>
<!-- ... -->
</div3>
<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>