Ejemplo: <lg> (line group)

These search results reproduce every example of the use of <lg> 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 <lg> 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.

3 Elements Available in All TEI Documents

3.5.3 Additions, Deletions, and Omissions

<lg>
 <l>Amıgas sey eu be<ex>n</ex> dunha molher</l>
 <l>Que se trabalha de uosco buscar</l>
 <l>Mal a uossamigo polo matar</l>
 <l>Mays todaquestamiga ela q<ex>ue</ex>r</l>
 <metamark function="signalChorus">꜒</metamark>
 <l>Por q<ex>ue</ex> nu<ex>n</ex>ca co<ex>n</ex> el pode poer</l>
 <l>Queo podesse por amigauer</l>
</lg>
<lg>
 <l>E buscalhi co<ex>n</ex> uosco q<ex>ua</ex>nto mal</l>
 <l>Ela mays pode aq<ex>ue</ex>sto sei eu</l>
 <l>E todaq<ex>ue</ex>stela faz polo seu</l>
 <l>E p<ex>or</ex>este p<unclear>ẏ</unclear>te non por al</l>
 <lb/>
 <metamark function="signalChorus">꜒</metamark>
 <l rend="nobreak" part="I">Por q<ex>ue</ex> nu<ex>n</ex>ca</l>
 <ellipsis>
  <metamark rend="nobreak"
   function="ellipsis">·:—</metamark>
  <supplied>
   <l rend="nobreak" part="F">co<ex>n</ex> el pode poer</l>
   <l>Queo podesse por amigauer</l>
  </supplied>
 </ellipsis>
</lg>
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<ellipsis> (en)

<lg>
 <l>What projects men make—what queer turns they take,</l>
 <l>Since <emph>steam</emph> has improved our condition;</l>
 <l>They never are still, but must cure or must kill</l>
 <l>With steam physic or steam ammunition.</l>
 <l>But a short time ago, to a quack you would go,</l>
 <l>To steam a fat man to a thinner;</l>
 <l>Now changed from all that, if you wish to get <emph>fat</emph>,</l>
 <l>Come to Barton’s and eat a <emph>steam dinner!</emph>
 </l>
 <l>Oh dear! think of a scheme, odd though it seem—</l>
 <l>I’m sure ’twill succeed if you make it by steam.</l>
</lg>
<lg>
 <l>You may sleep, you may dream, you may travel by steam,</l>
 <l>For the outcry is still to go faster;</l>
 <l>And what does it reck, should you e’en break your neck,</l>
 <l>If ’tis <emph>steam</emph> that brings on the disaster?</l>
 <ellipsis resp="#ChambersEdnbrghJrnl1880">
  <metamark function="multilineEllipsis"> * * * * </metamark>
  <desc resp="#teiProjectEditor2021">The printer omits four lines here,
     skipping the second half of the second octave, before the refrain.</desc>
 </ellipsis>
 <l>Oh dear! think of a scheme, odd though it seem—</l>
 <l>I’m sure ’twill succeed if you make it by steam.</l>
</lg>
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<ellipsis> (en)

<lg>
 <l>You think you’ve lost your love </l>
 <l>Well, I saw her yesterday </l>
 <l>It’s you she's thinking of </l>
 <l>And she told me what to say</l>
</lg>
<lg xml:id="chorus">
 <label>[Refrain]</label>
 <l>She says she loves you </l>
 <l>And you know that can’t be bad </l>
 <l>Yes, she loves you </l>
 <l>And you know you should be glad</l>
</lg>
<lg>
 <l>She said you hurt her so </l>
 <l>She almost lost her mind </l>
 <l>But now she said she knows </l>
 <l>You’re not the hurting kind</l>
</lg>
<ellipsis>
 <metamark>******</metamark>
 <supplied copyOf="#chorus"/>
</ellipsis>
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3.9.1 Notes and Simple Annotation

<lg>
 <l>The self-same moment I could pray</l>
 <l>And from my neck so free</l>
 <l>The albatross fell off, and sank</l>
 <l>Like lead into the sea.</l>
 <note type="gloss" place="margin">The spell begins to break</note>
</lg>
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3.9.1 Notes and Simple Annotation

<lg>
 <l>The self-same moment I could pray</l>
 <l>And from my neck so free</l>
 <l>The albatross fell off, and sank</l>
 <l>Like lead into the sea.</l>
 <label place="margin">The spell begins to break</label>
</lg>
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3.9.1 Notes and Simple Annotation

<lg>
<!-- ... -->
 <l>The self-same moment I could pray;
 <note place="margin" resp="#STC"
   type="gloss">The spell begins to break</note>
  <note place="bottom" resp="#JLL">The turning point of the poem...</note>
 </l>
</lg>
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3.11.3 Milestone Elements

<lg>
 <milestone unit="speaker" n="Man"/>
 <l>Oh what is this I cannot see</l>
 <l>With icy hands gets a hold on me</l>
 <milestone unit="speaker" n="Death"/>
 <l>Oh I am Death, none can excel</l>
 <l>I open the doors of heaven and hell</l>
</lg>
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3.13.1 Core Tags for Verse

<lg>
 <l>Come fill up the Glass,</l>
 <l rend="indent">Round, round let it pass,</l>
 <l>'Till our Reason be lost in our Wine:</l>
 <l rend="indent">Leave Conscience's Rules</l>
 <l rend="indent">To Women and Fools,</l>
 <l>This only can make us divine.</l>
</lg>
<lg n="Chorus" type="refrain">
 <l>Then a Mohock, a Mohock I'll be,</l>
 <l>No Laws shall restrain</l>
 <l>Our Libertine Reign,</l>
 <l>We'll riot, drink on, and be free.</l>
</lg>
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3.13.1 Core Tags for Verse

<lg type="sonnet">
 <lg type="octet">
  <l>Thus speaks the Muse, and bends her brow severe:—</l>
  <l>“Did I, <name>Lætitia</name>, lend my choicest lays,</l>
  <l>And crown thy youthful head with freshest bays,</l>
  <l>That all the' expectance of thy full-grown year</l>
  <l>Should lie inert and fruitless? O revere</l>
  <l>Those sacred gifts whose meed is deathless praise,</l>
  <l>Whose potent charms the' enraptured soul can raise</l>
  <l>Far from the vapours of this earthly sphere!</l>
 </lg>
 <lg type="sestet">
  <l>Seize, seize the lyre! resume the lofty strain!</l>
  <l>'T is time, 't is time! hark how the nations round</l>
  <l>With jocund notes of liberty resound,—</l>
  <l>And thy own <name>Corsica</name> has burst her chain!</l>
  <l>O let the song to <name>Britain's</name> shores rebound,</l>
  <l rend="indent(-1)">Where Freedom's once-loved voice is heard,
     alas! in vain.”</l>
 </lg>
</lg>
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3.13.1 Core Tags for Verse

<lg n="6" type="para">
<!-- ... -->
 <l>Unprofitably travelling toward the grave,</l>
 <l>Like a false steward who hath much received</l>
 <l part="I">And renders nothing back.</l>
</lg>
<lg type="para" n="7">
 <l part="F">Was it for this</l>
 <l>That one, the fairest of all rivers, loved</l>
 <l>To blend his murmurs with my nurse's song,</l>
<!-- ... -->
</lg>
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3.13.1 Core Tags for Verse

<sp>
 <speaker>First Voice</speaker>
 <lg type="stanza" part="I">
  <l>But why drives on that ship so fast</l>
  <l>Withouten wave or wind?</l>
 </lg>
</sp>
<sp>
 <speaker>Second Voice</speaker>
 <lg type="stanza" part="F">
  <l>The air is cut away before,</l>
  <l>And closes from behind.</l>
 </lg>
</sp>
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<lg> (en)

<lg type="free">
 <l>Let me be my own fool</l>
 <l>of my own making, the sum of it</l>
</lg>
<lg type="free">
 <l>is equivocal.</l>
 <l>One says of the drunken farmer:</l>
</lg>
<lg type="free">
 <l>leave him lay off it. And this is</l>
 <l>the explanation.</l>
</lg>
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<lg> (fr)

<div type="sonnet">
 <lg type="quatrain">
  <l>Les amoureux fervents et les savants austères</l>
  <l>Aiment également, dans leur mûre saison,</l>
  <l>Les chats puissants et doux, orgueil de la maison,</l>
  <l>Qui comme eux sont frileux et comme eux sédentaires.</l>
 </lg>
 <lg type="quatrain">
  <l>Amis de la science et de la volupté</l>
  <l>Ils cherchent le silence et l'horreur des ténèbres ;</l>
  <l>L'Erèbe les eût pris pour ses coursiers funèbres,</l>
  <l>S'ils pouvaient au servage incliner leur fierté.</l>
 </lg>
 <lg type="tercet">
  <l>Ils prennent en songeant les nobles attitudes</l>
  <l>Des grands sphinx allongés au fond des solitudes,</l>
  <l>Qui semblent s'endormir dans un rêve sans fin ;</l>
 </lg>
 <lg type="tercet">
  <l>Leurs reins féconds sont pleins d'étincelles magiques,</l>
  <l>Et des parcelles d'or, ainsi qu'un sable fin,</l>
  <l>Etoilent vaguement leurs prunelles mystiques.</l>
 </lg>
</div>
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<lg> (zh-TW)

<lg type="free">
 <l>把你的影子加點鹽</l>
 <l>醃起來</l>
 <l>風乾</l>
</lg>
<lg type="free">
 <l>老的時候</l>
 <l>下酒</l>
</lg>
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1 The TEI Infrastructure

1.3.1.1.4 Sources, certainty, and responsibility


<!-- in the <text> ... --><lg>
<!-- ... -->
 <l>Punkes, Panders, baſe extortionizing
   sla<choice>
   <sic>n</sic>
   <corr resp="#JENSJ">u</corr>
  </choice>es,</l>
<!-- ... -->
</lg>
<!-- in the <teiHeader> ... -->
<!-- ... -->
<respStmt xml:id="JENSJ">
 <resp>Transcriber</resp>
 <name>Janelle Jenstad</name>
</respStmt>
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att.global.responsibility (en)


<!-- in the <text> ... --><lg>
<!-- ... -->
 <l>Punkes, Panders, baſe extortionizing
   sla<choice>
   <sic>n</sic>
   <corr resp="#JENS1_transcriber">u</corr>
  </choice>es,</l>
<!-- ... -->
</lg>
<!-- in the <teiHeader> ... -->
<!-- ... -->
<respStmt xml:id="JENS1_transcriber">
 <resp when="2014">Transcriber</resp>
 <name>Janelle Jenstad</name>
</respStmt>
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att.typed (en)

<div type="verse">
 <head>Night in Tarras</head>
 <lg type="stanza">
  <l>At evening tramping on the hot white road</l>
  <l>…</l>
 </lg>
 <lg type="stanza">
  <l>A wind sprang up from nowhere as the sky</l>
  <l>…</l>
 </lg>
</div>
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2 The TEI Header

2.3.7 The Classification Declaration

<taxonomy>
 <category xml:id="poe">
  <catDesc>Poetry</catDesc>
  <category xml:id="sonn">
   <catDesc>Sonnet</catDesc>
   <category xml:id="shakesSonn">
    <catDesc>Shakespearean Sonnet</catDesc>
   </category>
   <category xml:id="petraSonn">
    <catDesc>Petrarchan Sonnet</catDesc>
   </category>
  </category>
  <category xml:id="met">
   <catDesc>Metrical Categories</catDesc>
   <category xml:id="ft">
    <catDesc>Metrical Feet</catDesc>
    <category xml:id="iamb">
     <catDesc>Iambic</catDesc>
    </category>
    <category xml:id="troch">
     <catDesc>trochaic</catDesc>
    </category>
   </category>
   <category xml:id="ftNm">
    <catDesc>Number of feet</catDesc>
    <category xml:id="penta">
     <catDesc>>Pentameter</catDesc>
    </category>
    <category xml:id="tetra">
     <catDesc>>Tetrameter</catDesc>
    </category>
   </category>
  </category>
 </category>
</taxonomy>
<!-- elsewhere in document -->
<lg ana="#shakesSonnet #iamb #penta">
 <l>Shall I compare thee to a summer's day</l>
<!-- ... -->
</lg>
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<taxonomy> (en)

<taxonomy>
 <category xml:id="literature">
  <catDesc>Literature</catDesc>
  <category xml:id="poetry">
   <catDesc>Poetry</catDesc>
   <category xml:id="sonnet">
    <catDesc>Sonnet</catDesc>
    <category xml:id="shakesSonnet">
     <catDesc>Shakespearean Sonnet</catDesc>
    </category>
    <category xml:id="petraSonnet">
     <catDesc>Petrarchan Sonnet</catDesc>
    </category>
   </category>
   <category xml:id="haiku">
    <catDesc>Haiku</catDesc>
   </category>
  </category>
  <category xml:id="drama">
   <catDesc>Drama</catDesc>
  </category>
 </category>
 <category xml:id="meter">
  <catDesc>Metrical Categories</catDesc>
  <category xml:id="feet">
   <catDesc>Metrical Feet</catDesc>
   <category xml:id="iambic">
    <catDesc>Iambic</catDesc>
   </category>
   <category xml:id="trochaic">
    <catDesc>trochaic</catDesc>
   </category>
  </category>
  <category xml:id="feetNumber">
   <catDesc>Number of feet</catDesc>
   <category xml:id="pentameter">
    <catDesc>>Pentameter</catDesc>
   </category>
   <category xml:id="tetrameter">
    <catDesc>>Tetrameter</catDesc>
   </category>
  </category>
 </category>
</taxonomy>
<!-- elsewhere in document -->
<lg ana="#shakesSonnet #iambic #pentameter">
 <l>Shall I compare thee to a summer's day</l>
<!-- ... -->
</lg>
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4 Default Text Structure

4.3.1 Grouped Texts

<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>
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5 Characters, Glyphs, and Writing Modes

5.7.1 Vertical Writing Modes

<div>
 <lg xml:lang="ja"
  style="writing-mode: vertical-rl">
  <l>古池や</l>
  <l>蛙</l>
  <l>飛び込む</l>
  <l>水の音</l>
 </lg>
 <lg xml:lang="ja-Latn"
  style="writing-mode: horizontal-tb">
  <l>furu ike ya</l>
  <l>kawazu tobikomu</l>
  <l>mizu no oto</l>
 </lg>
 <lg xml:lang="en">
  <l>Old pond,</l>
  <l>and a frog dives in—</l>
  <l>"Splash"!</l>
 </lg>
</div>
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5.8 Text Rotation

<lg style="transform:rotateZ(90deg)">
 <l>My tender age in ſorrow did beginne:</l>
 <l>And ſtill with ſickneſſes and ſhame</l>
<!-- ... -->
</lg>
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6 Verse

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>
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6.1 Structural Divisions of Verse Texts

<lg>
 <l>The Frost performs its secret ministry,</l>
 <l>Unhelped by any wind. ...</l>
 <l>Whose puny flaps and freaks the idling Spirit</l>
 <l>By its own moods interprets, every where</l>
 <l>Echo or mirror seeking of itself,</l>
 <l part="I">And makes a toy of Thought.</l>
</lg>
<lg>
 <l part="F">But O! how oft,</l>
 <l>How oft, at school, with most believing mind</l>
 <l>Presageful, have I gazed upon the bars,</l>
 <l>To watch that fluttering <hi>stranger</hi>! ... </l>
</lg>
<lg>
 <l>Dear Babe, that sleepest cradled by my side,</l>
</lg>
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6.1 Structural Divisions of Verse Texts

<lg>
 <l>Sire Thopas was a doghty swayn;</l>
 <l>White was his face as payndemayn,</l>
 <l>His lippes rede as rose;</l>
 <l>His rode is lyk scarlet in grayn,</l>
 <l>And I yow telle in good certayn,</l>
 <l>He hadde a semely nose.</l>
</lg>
<lg>
 <l>His heer, his ber was lyk saffroun,</l>
 <l>That to his girdel raughte adoun;</l>
</lg>
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6.1 Structural Divisions of Verse Texts

<lg type="stanza">
 <lg type="sestet">
  <l>In the first year of Freedom's second dawn</l>
  <l>Died George the Third; although no tyrant, one</l>
  <l>Who shielded tyrants, till each sense withdrawn</l>
  <l>Left him nor mental nor external sun:</l>
  <l>A better farmer ne'er brushed dew from lawn,</l>
  <l>A worse king never left a realm undone!</l>
 </lg>
 <lg type="couplet">
  <l>He died — but left his subjects still behind,</l>
  <l>One half as mad — and t'other no less blind.</l>
 </lg>
</lg>
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6.1 Structural Divisions of Verse Texts

<text>
 <body>
  <lg>
   <lg type="quatrain">
    <l>My Mistres eyes are nothing like the Sunne,</l>
    <l>Currall is farre more red, then her lips red</l>
    <l>If snow be white, why then her brests are dun:</l>
    <l>If haires be wiers, black wiers grown on her head:</l>
   </lg>
   <lg type="quatrain">
    <l>I have seene Roses damaskt, red and white,</l>
    <l>But no such Roses see I in her cheekes,</l>
    <l>And in some perfumes is there more delight,</l>
    <l>Then in the breath that from my Mistres reekes.</l>
   </lg>
   <lg type="quatrain">
    <l>I love to heare her speake, yet well I know,</l>
    <l>That Musicke hath a farre more pleasing sound:</l>
    <l>I graunt I never saw a goddesse goe,</l>
    <l>My Mistres when shee walkes treads on the ground.</l>
   </lg>
  </lg>
  <lg type="couplet">
   <l>And yet by heaven I think my love as rare,</l>
   <l>As any she beli'd with false compare.</l>
  </lg>
 </body>
</text>
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6.1 Structural Divisions of Verse Texts

<body>
 <div n="I" type="book">
  <div n="1" type="canto">
   <lg n="I.1.1" type="stanza">
    <l>A Gentle Knight was pricking on the plain</l>
    <l>Y cladd in mightie armes and silver shielde,</l>
   </lg>
  </div>
 </div>
</body>
bibliografía ⚓︎

6.3 Encoding Textual Structures Across Verses

<lg type="couplet">
 <l>
  <said xml:id="eg1-said1"
   next="#eg1-said2">Our lives</said>, ſaid he,
 <said xml:id="eg1-said2"
   next="#eg1-said3" prev="#eg1-said1">wee'll give before we yield</said>,
 </l>
 <l>
  <said xml:id="eg1-said3"
   prev="#eg1-said2">Wee'll win your battles, or dye in the field</said>.
 </l>
</lg>
bibliografía ⚓︎

6.3 Encoding Textual Structures Across Verses

<lg type="couplet">
 <l>
  <seg xml:id="eg2-said1">Our lives</seg>, ſaid he,
 <seg xml:id="eg2-said2">wee'll give before we yield</seg>,
 </l>
 <l>
  <seg xml:id="eg2-said3">Wee'll win your battles, or dye in the field</seg>.
 </l>
</lg>
<!-- Elsewhere in the document -->
<p>
 <join result="said" scope="root"
  target="#eg2-said1 #eg2-said2 #eg2-said3"/>
</p>
bibliografía ⚓︎

6.4.1 Sample Metrical Analyses

<div type="book" n="1" met="-+|-+|-+|-+|-+/"
 rhyme="aa">
 <lg n="1" type="paragraph">
  <l>'Tis hard to say, if greater Want of Skill</l>
  <l>Appear in <hi>Writing</hi> or in <hi>Judging</hi> ill;</l>
  <l>But, of the two, less dang'rous is th'Offence,</l>
  <l>To tire our <hi>Patience</hi>, than mis-lead our <hi>Sense</hi>:</l>
 </lg>
</div>
bibliografía ⚓︎

6.4.1 Sample Metrical Analyses

<lg type="chevy-chase-stanza"
 met="-+-+-+-+/-+-+-+" rhyme="ababcdcd">
 <l n="1"> Und frische Nahrung, neues Blut</l>
 <l n="2" real="+--+-+"> Saug' ich aus freier Welt;</l>
 <l n="3" real="+--+-+-+"> Wie ist Natur so hold und gut,</l>
 <l n="4" real="---+-+"> Die mich am Busen hält!</l>
 <l n="5"> Die Welle wieget unsern Kahn</l>
 <l n="6"> Im Rudertakt hinauf,</l>
 <l n="7"> Und Berge, wolkig himmelan,</l>
 <l n="8"> Begegnen unserm Lauf.</l>
</lg>
bibliografía ⚓︎

6.4.3 Metrical Analysis of Stanzaic Verse

<div type="canzone"
 met="E/E/S/E/S/E/E/S/E/S/E/S/S/E/S/E/E/S/S/E/E" rhyme="abbcdaccbdceeffghhhgg">
 <lg n="1" type="stanza">
  <l n="1">Doglia mi reca nello core ardire</l>
 </lg>
</div>
bibliografía ⚓︎

6.4.3 Metrical Analysis of Stanzaic Verse

<div met="[...]">
 <lg>
  <l> ... </l>
 </lg>
 <lg type="commiato"
  met="E/S/S/E/S/E/E/S/S/E/E" rhyme="abbccdeeedd">
  <l n="1">Canzone, presso di qui è une donna</l>
 </lg>
</div>
bibliografía ⚓︎

6.5 Rhyme

<lg rhyme="aa-a">
 <l>Why, all the Saints and Sages who discuss'd</l>
 <l>Of the Two Worlds so learnedly, are thrust</l>
 <l>Like foolish Prophets forth; their Words to Scorn</l>
 <l>Are scatter'd, and their Mouths are stopt with Dust. </l>
</lg>
bibliografía ⚓︎

6.5 Rhyme

<lg type="couplet" rhyme="aa">
 <l>Outside in the distance a wildcat did <rhyme>growl</rhyme>
 </l>
 <l>Two riders were approaching and the wind began to <rhyme>howl</rhyme>
 </l>
</lg>
bibliografía ⚓︎

6.5 Rhyme

<lg type="quatrain" rhyme="abab">
 <l>I wander thro' each charter'd <rhyme label="a">street</rhyme>,</l>
 <l>Near where the charter'd Thames does <rhyme label="b">flow</rhyme>,</l>
 <l>And mark in every face I <rhyme label="a">meet</rhyme>
 </l>
 <l>Marks of weakness, marks of <rhyme label="b">woe</rhyme>.</l>
</lg>
<lg rhyme="abab">
 <l>In every cry of every <rhyme label="a">Man</rhyme>
 </l>
 <l>In every Infant's cry of <rhyme label="b">fear</rhyme>,</l>
 <l>In every voice, in every <rhyme label="a">ban</rhyme>,</l>
 <l>The mind-forg'd manacles I <rhyme label="b">hear</rhyme>.</l>
</lg>
bibliografía ⚓︎

6.5 Rhyme

<lg rhyme="ABCCBBA">
 <l>The sunlight on the <rhyme label="A">garden</rhyme>
 </l>
 <l>
  <rhyme label="A">Harden</rhyme>s and grows <rhyme label="B">cold</rhyme>,</l>
 <l>We cannot cage the <rhyme label="C">minute</rhyme>
 </l>
 <l>Wi<rhyme label="C">thin it</rhyme>s nets of <rhyme label="B">gold</rhyme>
 </l>
 <l>When all is <rhyme label="B">told</rhyme>
 </l>
 <l>We cannot beg for <rhyme label="A">pardon</rhyme>.</l>
</lg>
bibliografía ⚓︎

6.5 Rhyme

<lg rhyme="AB-BBA">
 <l>The sunlight on the <rhyme xml:id="V-A1">garden</rhyme>
 </l>
 <l>
  <rhyme xml:id="V-A2">Harden</rhyme>s and grows <rhyme xml:id="V-B1">cold,</rhyme>
 </l>
 <l>We cannot cage the <rhyme xml:id="V-C1">minute</rhyme>
 </l>
 <l>Wi<rhyme xml:id="V-C2">thin it</rhyme>s nets of <rhyme xml:id="V-B2">gold</rhyme>
 </l>
 <l>When all is <rhyme xml:id="V-B3">told</rhyme>
 </l>
 <l>We cannot beg for <rhyme xml:id="V-A3">pardon</rhyme>.</l>
</lg>
bibliografía ⚓︎

6.6 Metrical Notation Declaration

<encodingDesc>
<!-- ... -->
 <metDecl xml:id="md_en" type="met"
  pattern="((SU|US)USUSUSUS/)">
  <metSym value="S">stressed syllable</metSym>
  <metSym value="U">unstressed syllable</metSym>
  <metSym value="/">metrical line boundary</metSym>
 </metDecl>
 <metDecl xml:id="md_fr" type="met"
  pattern="(AAAAAT\|AAAAT(A)?)">
  <metSym value="T">syllabe tonique</metSym>
  <metSym value="A">syllabe atone</metSym>
  <metSym value="|">pause métrique</metSym>
 </metDecl>
<!-- ... -->
</encodingDesc>
<!-- ... -->
<body>
 <div decls="#md_en">
  <lg>
   <l>
<!-- ... -->
   </l>
<!-- ... -->
  </lg>
 </div>
 <div decls="#md_fr">
  <lg>
   <l>
<!-- ... -->
   </l>
<!-- ... -->
  </lg>
 </div>
</body>
bibliografía ⚓︎

<metDecl> (fr)

<lg n="1" type="quatrain">
 <l n="1">J'ai longtemps habité sous de vastes portiques</l>
</lg>
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<rhyme> (en)

<lg rhyme="abababcc">
 <l>'Tis pity learned virgins ever <rhyme label="a">wed</rhyme>
 </l>
 <l>With persons of no sort of edu<rhyme label="b">cation</rhyme>,</l>
 <l>Or gentlemen, who, though well born and <rhyme label="a">bred</rhyme>,</l>
 <l>Grow tired of scientific conver<rhyme label="b">sation</rhyme>:</l>
 <l>I don't choose to say much on this <rhyme label="a">head</rhyme>,</l>
 <l>I'm a plain man, and in a single <rhyme label="b">station</rhyme>,</l>
 <l>But — Oh! ye lords of ladies inte<rhyme label="c">llectual</rhyme>,</l>
 <l>Inform us truly, have they not hen-<rhyme label="c">peck'd you all</rhyme>?</l>
</lg>
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<rhyme> (en)

<lg>
 <l>Tyger! Tyger! burning <rhyme label="a">bright</rhyme>
 </l>
 <l>In the forests of the <rhyme label="a">night</rhyme>,</l>
 <l>What immortal hand or <rhyme label="b">eye</rhyme>
 </l>
 <l>Could frame thy fearful <rhyme label="b" type="eye-rhyme">symmetry</rhyme>?</l>
</lg>
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<rhyme> (en)

<lg>
 <l>"Hark! Lakshman! Hark, again that <rhyme label="a">cry</rhyme>!</l>
 <l>It is, — it is my husband's <rhyme label="b">voice</rhyme>!</l>
 <l>hasten, to his succour <rhyme label="a">fly</rhyme>,</l>
 <l>No more hast thou, dear friend, a <rhyme label="b">choice</rhyme>.</l>
 <l>He calls on thee, perhaps his <rhyme label="c">foes</rhyme>
 </l>
 <l>Environ him on all sides <rhyme label="d">round</rhyme>,</l>
 <l>That wail, — it means death's final <rhyme label="c">throes</rhyme>!</l>
 <l>Why standest thou, as magic-<rhyme label="d">bound</rhyme>?</l>
</lg>
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<rhyme> (fr)

<lg type="quatrain" rhyme="aabccb">
 <l> Les étoiles, points d'or, percent les branches n<rhyme label="a">oires</rhyme> ; </l>
 <l> Le flot huileux et lourd décompose ses m<rhyme label="a">oires</rhyme>
 </l>
 <l> Sur l'océan blê<rhyme label="b">mi</rhyme> ;</l>
 <l>Les nuages ont l'air d'oiseaux prenant la f<rhyme label="c">uite</rhyme>,</l>
 <l>Par moments le vent parle, et dit des mots sans s<rhyme label="c">uite</rhyme>
 </l>
 <l> Comme un homme endor<rhyme label="b">mi</rhyme>.</l>
</lg>
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<rhyme> (zh-TW)

<lg rhyme="ou">
 <l>故人西辭黃鶴 <rhyme label="lou2">樓</rhyme>，</l>
 <l>煙花三月下揚<rhyme label="jou">州</rhyme>；</l>
 <l>孤帆遠影碧山<rhyme label="jin4">盡</rhyme>，</l>
 <l>唯見長江天際流<rhyme label="liou2">sation</rhyme>。</l>
</lg>
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7 Performance Texts

7.1.2 Prologues and Epilogues

<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 — &amp; 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>
bibliografía ⚓︎

<epilogue> (en)

<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 — &amp; 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>
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<epilogue> (fr)

<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>
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<epilogue> (zh-TW)

<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>
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7.2.3 Grouped Speeches

<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>
bibliografía ⚓︎

7.2.5 Speech Contents

<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>
bibliografía ⚓︎

7.2.6 Embedded Structures

<sp>
 <speaker>Kelly</speaker>
 <stage>(calmly).</stage>
 <p>Aha, so you've bad minds along with th' love of gain.
   You thry to pin on others th' dirty decorations that
   may be hangin' on your own coats.</p>
 <stage>(He points, one after the other at Conroy, Bull,
   and Flagonson. Lilting)</stage>
 <lg type="song">
  <l>Who were you with last night?</l>
  <l>Who were you with last night?</l>
  <l>Will you tell your missus when you go home</l>
  <l>Who you were with last night?</l>
 </lg>
</sp>
<sp>
 <speaker>Flagonson</speaker>
 <stage>(in anguished indignation).</stage>
 <p>This is more than a hurt to us: this hits at the
   decency of the whole nation!</p>
</sp>
bibliografía ⚓︎

7.2.6 Embedded Structures

<sp>
 <speaker>Kelly</speaker>
 <stage>(wheeling quietly in his semi-dance,
   as he goes out):</stage>
 <lg type="stanza" part="I">
  <l>Goodbye to holy souls left here,</l>
  <l>Goodbye to man an' fairy;</l>
 </lg>
</sp>
<sp>
 <speaker>Widda Machree</speaker>
 <stage>(wheeling quietly in her semi-dance,
   as she goes out):</stage>
 <lg type="stanza" part="F">
  <l>Goodbye to all of Leicester Square,</l>
  <l>An' the long way to Tipperary.</l>
 </lg>
</sp>
bibliografía ⚓︎

7.2.6 Embedded Structures

<div1 n="4" type="act">
 <div2 n="5" type="scene">
  <stage>Elsinore. A room in the Castle.</stage>
  <stage type="setting">Enter Ophelia, distracted.</stage>
  <sp>
   <speaker>Ophelia</speaker>
   <p>Where is the beauteous Majesty of Denmark?</p>
  </sp>
  <sp>
   <speaker>Queen</speaker>
   <p>How now, Ophelia?</p>
  </sp>
  <sp>
   <speaker>Ophelia</speaker>
   <stage>Singing</stage>
   <lg next="#Tl2" xml:id="Tl1" type="song"
    part="Y">
    <l>How should I your true-love know</l>
    <l>From another one?</l>
    <l>By his cockle hat and staff</l>
    <l>And his sandal shoon.</l>
   </lg>
  </sp>
  <sp>
   <speaker>Queen</speaker>
   <p>Alas, sweet lady, what imports this song?</p>
  </sp>
  <sp>
   <speaker>Ophelia</speaker>
   <p>Say you? Nay, pray you mark.</p>
   <stage>Sings</stage>
   <lg prev="#Tl1" xml:id="Tl2" type="song"
    part="Y">
    <l>He is dead and gone, lady,</l>
    <l>He is dead and gone;</l>
    <l>At his head a grass-green turf,</l>
    <l>At his heels a stone.</l>
   </lg>
   <p>O, ho!</p>
  </sp>
 </div2>
</div1>
bibliografía ⚓︎

7.2.6 Embedded Structures

<text>
 <body>
  <div1 n="4" type="act">
   <div2 n="5" type="scene">
    <stage type="setting">Elsinore. A room in the Castle.</stage>
    <sp>
     <speaker>Queen</speaker>
     <p>How now, Ophelia?</p>
    </sp>
    <sp>
     <speaker>Ophelia</speaker>
     <stage type="delivery">Singing</stage>
     <lg xml:id="TL1" type="song" part="Y">
      <l>How should I your true-love know</l>
      <l>From another one?</l>
      <l>By his cockle hat and staff</l>
      <l>And his sandal shoon.</l>
     </lg>
    </sp>
    <sp>
     <speaker>Queen</speaker>
     <p>Alas, sweet lady, what imports this song?</p>
    </sp>
    <sp>
     <speaker>Ophelia</speaker>
     <p>Say you? Nay, pray you mark.</p>
     <stage type="delivery">Sings</stage>
     <lg xml:id="TL2" type="song" part="Y">
      <l>He is dead and gone, lady,</l>
      <l>He is dead and gone;</l>
      <l>At his head a grass-green turf,</l>
      <l>At his heels a stone.</l>
     </lg>
     <p>O, ho!</p>
     <join type="lg" target="#TL1 #TL2"/>
    </sp>
   </div2>
  </div1>
 </body>
</text>
bibliografía ⚓︎

13 Critical Apparatus

<listApp> (en)

<body>
 <div>
  <lg type="stanza" xml:id="Y-36.01"
   xml:lang="pal-Avst" rend="italic">
   <l xml:id="Y-36.01_L-1">
    <w xml:id="Y-36.01_L1_W-01">ahiiā</w>
    <w xml:id="Y-36.01_L1_W-02">ϑβā</w>
    <w xml:id="Y-36.01_L1_W-03">āϑrō</w>
    <w xml:id="Y-36.01_L1_W-04">vərəzə̄nā</w>
    <w xml:id="Y-36.01_L1_W-05">paouruiiē</w>
    <w xml:id="Y-36.01_L1_W-06">pairijasāmaiδē</w>
    <w xml:id="Y-36.01_L1_W-07">mazdā</w>
    <w xml:id="Y-36.01_L1_W-08">ahurā</w>
   </l>
<!-- ... -->
  </lg>
 </div>
</body>
<!-- ... -->
<back>
 <div>
  <listApp xml:id="CA_Y-36"
   xml:lang="pal-Avst">
   <head>Variants from witnesses in Avestan script</head>
   <app from="#Y-36.01_L1_W-01">
    <rdg wit="#Pt4 #F2 #J2 #M1">ahiiā</rdg>
   </app>
   <app from="#Y-36.01_L1_W-02">
    <rdg wit="#Pt4 #F2 #J2 #M1">ϑβā</rdg>
   </app>
   <app from="#Y-36.01_L1_W-03">
    <rdg wit="#Pt4 #J2 #M1">āϑrō</rdg>
    <rdg wit="#F2">āϑrōi</rdg>
   </app>
<!-- ... -->
  </listApp>
  <listApp xml:id="CA_PY-36"
   xml:lang="pal-Phlv">
   <head>Variants from witnesses written in Pahlavi script</head>
   <app from="#PY-36.01_L1_W-01">
    <rdg wit="#Pt4 #F2 #J2 #M1">ʾytwnˈ</rdg>
   </app>
   <app from="#PY-36.01_L1_W-02">
    <rdg wit="#Pt4 #F2 #J2 #M1">ʾwˈ</rdg>
   </app>
   <app from="#PY-36.01_L1_W-03">
    <rdg wit="#Pt4 #F2 #J2 #M1">ḤNʾ</rdg>
   </app>
<!-- ... -->
  </listApp>
 </div>
</back>
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17 Linking, Segmentation, and Alignment

<listAnnotation> (en)

<standOff>
 <listAnnotation>
  <note target="#RotAM.4.15" place="margin"
   resp="#STC" type="gloss"> The spell begins to
     break </note>
  <note target="#RotAM.4.15" place="bottom"
   resp="#JLL"> The turning point of the poem...
  </note>
 </listAnnotation>
</standOff>
<!-- ... -->
<lg xml:id="RotAM.4.15" rhyme="ABCB">
 <l>The self-same moment I could pray;</l>
 <l>And from my neck so free</l>
 <l>The albatross fell off, and sank</l>
 <l>Like lead into the sea.</l>
</lg>
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21 Non-hierarchical Structures

21.1 Multiple Encodings of the Same Information

<lg>
 <l>Catholic woman of twenty-seven with five children</l>
 <l>And a first-rate body—pointed her finger</l>
 <l>at the back of one certain man and asked me,</l>
 <l>"Is that guy a psychiatrist?" and by god he was! "Yes,"</l>
 <l>She said, "He <emph>looks</emph> like a psychiatrist."</l>
 <l>Grown quiet, I looked at his pink back, and thought.</l>
</lg>
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21.2 Boundary Marking with Empty Elements

<lg>
 <l>
  <seg>Scorn not the sonnet;</seg>
  <hr:s sID="s02"/>critic, you have frowned, </l>
 <l>Mindless of its just honours; <hr:s eID="s02"/>
  <hr:s sID="s03"/>with this key </l>
 <l>Shakespeare unlocked his heart; <hr:s eID="s03"/>
  <hr:s sID="s04"/>the melody </l>
 <l>Of this small lute gave ease to Petrarch's wound. <hr:s eID="s04"/>
 </l>
</lg>
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21.3 Fragmentation and Reconstitution of Virtual Elements

<lg>
 <l>Catholic woman of twenty-seven with five children</l>
 <l>And a first-rate body—pointed her finger</l>
 <l>at the back of one certain man and asked me,</l>
 <l>
  <said n="quotation1">Is that guy a psychiatrist?</said> and by god he was!
 <said n="quotation2">Yes,</said>
 </l>
 <l>She said, <said n="quotation2">He <emph>looks</emph> like a
     psychiatrist.</said>
 </l>
 <l>Grown quiet, I looked at his pink back, and thought.</l>
</lg>
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21.3 Fragmentation and Reconstitution of Virtual Elements

<lg>
 <l>
  <seg part="I">Catholic woman of twenty-seven with five children</seg>
 </l>
 <l>
  <seg part="M">And a first-rate body—pointed her finger</seg>
 </l>
 <l>
  <seg part="M">at the back of one certain man and asked me,</seg>
 </l>
 <l>
  <seg part="F">"<seg>Is that guy a psychiatrist?</seg>" and by god he was!</seg>
  <seg part="I">"<seg part="I">Yes,</seg>"</seg>
 </l>
 <l>
  <seg part="F">She said, "<seg part="F">He <emph>looks</emph> like a psychiatrist.</seg>"</seg>
 </l>
 <l>
  <seg>Grown quiet, I looked at his pink back, and thought.</seg>
 </l>
</lg>
bibliografía ⚓︎