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  • Title: Versioning Machine
    Descriptive info: .. Sample Texts.. Download.. Documentation.. Credits.. Report a Bug.. The Versioning Machine is a framework and an interface for displaying multiple versions of text encoded according to the Text Encoding Initiative (TEI) Guidelines.. VM 4.. 0 has been updated to be P5 compatable.. While the VM provides for features typically found in critical editions, such as annotation and introductory material, it also takes advantage of the opportunities afforded by electronic publication to allow for the comparison diplomatic versions of witnesses, and the ability to easily compare an image of the manuscript  ...   to immediately see the consequences of their editorial decisions.. The Versioning Machine can be used locally on a Mac or a PC, or it can be mounted on the WWW for public access.. The documentation provided with the software not only provides information about the use of the software, but builds upon the Critical Apparatus chapter of the TEI Guidelines to give further guidance to those who wish to use this method of encoding.. Home.. |.. A Digital Collections Research project Last modified: Monday, July 25, 2011.. Susan Schreibman, 2002, 2010..

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  • Title: Samples – Versioning Machine
    Descriptive info: All texts are encoded according to TEI's Parallel Segmentation method, a feature of the TEI Guidelines that allows multiple versions of a text to be encoded in one document or apparatus.. The Versioning Machine interprets the encoding, parsing out the text into its constituent parts.. Anonymous.. 'The Prophecy of Merlin' (.. xml.. html.. ).. Emily Dickinson.. 'Faith is a fine invention' (.. 'There are two Ripenings'  ...   (.. Baroness Elsa Von Freytag-Loringhoven.. 'Orchard Farming' (.. 'Xray' (.. 'Thistledownflight' (.. XML versions of texts may not display correctly on all browsers.. HTML versions may be viewed on any Windows, Mac OS X, or Linux-based computer running Internet Explorer 7.. 0+, Mozilla Firefox 1.. 5+, Netscape 7.. 0+, Safari 1.. 2+, or Opera 8.. 5+.. A Digital Collections Research project Last modified: Thursday, May 19, 2011..

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  • Title: Download – Versioning Machine
    Descriptive info: Download Instructions.. The Versioning Machine has been tested on the following World Wide Web browsers: Firefox 2.. 2+, Internet Explorer 7.. 0+, and Opera 9.. 5.. Certain features may not work properly in other browsers.. We recommend working with pre-transformed HTML versions whenever possible.. Click here.. to download the latest or earlier versions of the Versioning Machine.. Once downloaded, extract the contents of the archive to your hard drive.. In most cases, the easiest way to do this is to drag  ...   you will need the.. Saxon XSLT Processor.. , version 6 (either full or instant format).. Note that the most recent versions (8.. x) support only XSLT version 2.. 0, and therefore do not work with the Versioning Machine's XSLT stylesheet.. We would appreciate any feedback you might have.. Please send all comments and suggestions to.. the Versioning Machine users list.. Please.. report any bugs.. you find will using this software.. A Digital Collections Research project Last modified: Monday, May 23, 2011..

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  • Title: Documentation – Versioning Machine
    Descriptive info: Versioning Machine 4.. 0.. by Lara Vetter, Maryland Institute for Technology in the Humanities, Summer 2003; Jarom McDonald, Maryland Institute for Technology in the Humanities, January 2005; Sean Daugherty, University of Maryland Libraries, November 2006, March 2007, and July 2007; Tanya Clement, Digital Cultures and Creativity, University of Maryland and Susan Schreibman, Digital Humanities Observatory, June 2010.. Overview.. Installation Requisites.. Encoding: The Basics.. Displaying Header Information.. Encoding the Body.. Using Transcription Tags.. Encoding Notes.. Encoding Images.. Attaching the Stylesheet.. Encoding: Using Critical Apparatus Tagset.. Recording Variant Encoding Methodology.. Recording a List of Witnesses.. Using Parallel Segmentation.. The Fundamentals of Parallel Segmentation.. The Notion of a Base Text.. Using Location-Referenced Encoding.. Line Numbering.. Witness Detail.. Viewing Your.. XML.. Files with Native Browser Support.. Technical Information.. Files and Directory Structure.. Customizing the VM.. The Versioning Machine (VM) is a software tool designed by literary scholars, programmers, and web designers at several institutions, including the Digital Humanities Observatory (DHO), the Maryland Institute for Technology in the Humanities (MITH), and the Office of Digital Collections and Research (DCR) at University of Maryland Libraries.. The VM not only provides for features traditionally found in codex-based critical editions, such as annotation and introductory material, but takes advantage of opportunities of electronic publishing, such as providing a frame to compare diplomatic versions of witnesses side by side, allowing for images of the witness to be viewed alongside the diplomatic edition, and providing users with an enhanced typology of notes.. The Versioning Machine 1.. 0 was launched at the 2002 ALLC/ACH (Association for Literary and Linguistic Computing/Association for Computers and the Humanities) Conference in Tubingen, Germany, July 2002.. Version 4.. 0 was released June 2010.. The VM supports display of XML texts encoded according to the P5 Guidelines of the Text Encoding Initiative (TEI).. To display texts in the VM, you must use the TEI's "critical apparatus tagset" (TEI.. textcrit) to encode all witnesses in one XML file.. Because the critical apparatus tagset offers the most efficient and thorough methodology for inscribing variants in a structured, machine-readable format, choosing.. this method.. can be more complicated in terms of markup but rewards the editor in efficiency in encoding.. Because using the critical apparatus tagset is at first challenging, instructions to augment the TEI Guidelines are provided below.. To install VM 4.. 0 locally, fill out the.. registration form on the VM website.. to download the zip file that contains a diretory that can be installed on any hard drive.. Once downloaded, use an unzipping program like WinZip to extract.. all.. files in the archive.. The contents should unzip into a folder entitled.. v-machine.. To view a description of the product, documentation, and samples, open the file.. v-machine/index.. html.. in a supported web browser.. To uninstall the VM: simply remove the folder.. from your hard drive.. Although initial testing of the VM 4.. 0 showed that the XML files displayed in all browsers, you may want to transform the XML to HTML manually using an XSLT processor.. You can perform this transformation in oXygen by applying the transformation scenario.. Once the browser window opens with the HTML displayed in versions, save the file as a.. html document.. The VM supports the display of many TEI header tags.. Header information is displayed in the.. Bibliographic Information.. popup window in the VM, with information from headers for individual files listed sequentially and separated by horizontal rules in the order enocded.. From the.. fileDesc.. , the following tags are supported in the display:.. within.. titleStmt.. title.. author.. editor.. sponsor.. funder.. respStmt.. publicationStmt.. publisher.. address.. date.. availability.. notesStmt.. sourceDesc.. encodingDesc.. , the following are supported in the display:.. projectDesc.. editorialDecl.. Note that since the VM will display all of the header information for every witness in the.. popup, you will want to customize information in the.. listWit.. as much as possible so that users can distinguish between the various versions.. For example, rather than titling the three versions of Emily Dickinson's poem "There Are Two Ripenings," we included within the.. information that pertains to each source in order to distinguish them.. Thus, one version is entitled "A456: A poem sent to unknown recipient," another is "A Tr60a: A poem sent by Mabel Loomis Todd to Kate Anthon," and still another "H47: Fascicle 14" When the user scrolls through the information regarding each witness, it is clear which information pertains to each version.. witness xml:id="A456" A 456, version sent to unknown recipient.. /witness.. witness xml:id="ATr60a" A Tr60a, version transcribed by Todd and sent to Anthon /witness.. witness xml:id="H47" H 47, Fascicle 14 /witness.. /listWit.. As mentioned previously, to use the VM one must use the Critical Apparatus tagset (Chapter 12), specifically the encoding method associated with Parallel Segmentation (section 12.. 2.. 3).. For detailed instructions in the TEI Guidelines see.. TEI P5 Guidelines.. and.. Index of Tutorials.. for more information on basic and advanced TEI encoding.. Included in the VM download are two sets of documents for styling, the original set (vmachine.. xsl, vmachine.. js, vmachine.. css) and styling used with the poetry of Elsa von Freytag-Loringhoven (vamachine_evfl.. xsl, vmachine_evfl.. js, vmachine_evfl.. css).. Most of the following encoding guidelines work for both.. Cases that pertain to one set or another are indicated below.. Because VM 4.. 0 is designed to aid editors creating editions with multiple witnesses, the VM supports special styling of certain TEI core tags that are used frequently when dealing with manuscript and typescript drafts,.. add.. del.. Each.. will display in green, courier-font typeface; each.. will display in red typeface with a strikethrough.. In addition, VM supports special styling on transcriptional choices represented by the.. choice.. element.. The intricacies of these elements are described in section.. 11.. 3.. 1.. in the TEI Guidelines.. In brief, these elements display in the VM by displaying the original word underlined with a dashed line.. Mousing over this line shows users a second word that is available for this point in the text.. The second word appears in a floating box.. In the following example from Xray by Elsa von Freytag-Loringhoven, she incorrectly spells the word People as Poeple.. This misspelling is encoded in.. to show the alternate spelling as follows.. sic Poeple /sic.. corr People /corr.. /choice.. The following is how the above encoding displays in the VM:.. There are three transcriptional "choices" that are available for display in the VM:.. "Alternate spelling" using.. sic.. corr.. "Regularized form" using.. orig.. reg.. "Expanded abbreviation" using.. abbr.. expanded.. Additionally, the VM supports.. space/.. (one of the elements of the TEI.. transcr, the tagset for transcription of primary sources).. To use.. , enter either.. horizontal.. or.. vertical.. as the value of the @dim attribute, and then a number in the @quantity attribute that represents the desired number of nonbreaking spaces, or line breaks, respectively.. To edit these default styles, see the.. CUSTOMIZING THE VM.. section.. Other TEI tags for transcription of primary sources (including.. gap.. ,.. damage.. unclear.. supplied.. restore.. handShift/.. ) are assigned a class by the VM but currently have no special styling; if you wish the data in these elements to render in a certain way, you may edit the VM's CSS (see the.. section for more information).. The VM displays information in.. note.. in.. (if the tag occurs in the.. teiHeader.. ) or as user-manipulated pop-up notes, marked by icons within the text itself.. The default display for the.. within the.. text.. is a small superscript N; however, if you wish to customize the icon display, you may draw from a short list of VM note types.. By using the.. attribute @type, you can alter the icon display to indicate what type of note is presented.. b.. A.. note type="biographical".. pertains to biographical information.. p.. note type="physical".. pertains to notes regarding the physical object of the page itself.. g.. note type="gloss".. pertains to a gloss or definition of a word or phrase.. c.. note type="critical".. note type="contextual".. pertains to references to critical, contextual, or secondary material information.. n.. All other notes, with or without a @type attribute.. The same support of note typology is available to notes in the header.. Notes from the header will display on the.. popup, preceded by the appropriate label (e.. g.. , biographical, gloss, etc.. ).. Please note two exceptionsin the vmachine_evfl styling:: a.. note type="image".. in your document is reserved for image data only and will not be displayed (see section on.. ) and notes in.. note type="critIntro".. will display on the.. Critical Introduction.. pop-up.. To create this pop-up, simply include a.. inside.. element in the.. When using the vmachine_evfl stylesheet, if you would prefer that either the.. Bibliograhpic Information.. pop-up or the.. pop-up windows do not appear when the broswer first opens, you can change this setting in the vmachine_evfl.. xsl file by changing the value on the following codes from "true" to "false":.. xsl:variable name= displayBibInfo true /xsl:variable.. xsl:variable name= displayCritInfo true /xsl:variable.. The representation of images is optional.. If you wish to display image facsimiles with your texts, however, the VM enables that functionality.. Note that because XSLT has difficulty referencing external files, catalogs are not supported; thus, information about graphic image formats must be included in the document itself.. The VM image viewer will support the following image types: jpeg, gif, and tiff.. Images larger than 600 pixels high and 600 pixels wide will be scaled to that size for display purposes.. If you are using the vmachine.. xsl styling, your images should be encoded within.. graphic.. The valie of @url contains the path to the image while the @xml:id value is a unique id for the image.. The.. element is placed within.. facsimile.. , which is placed after the closing.. /teiHeader.. element and before the opening.. graphic url= images/w15v.. jpg xml:id= w15v /.. graphic url= images/b15v.. jpg xml:id= b15v /.. graphic url= images/p10v.. jpg xml:id= p10 /.. /facsimile.. If you are using the vmachine_evfl.. xsl styling, the VM requires that references to images be tagged within a.. with attribute @type with the value of.. image.. (i.. e.. ,.. The best place to encode this is in the header's.. ; if you wish to encode this somewhere other than the.. , you will still need to follow the instructions below in regard to the contents of.. If your document does not already contain a.. , you will need to enter one within your document's.. (typically, after the.. and before the.. ) as below:.. figure.. graphic url="images/autumn_a2.. jpg".. /figure.. /note.. /notesStmt.. Within the @url attribute of.. add a path to the first image which will take the form of "images/NAME.. jpg".. Information about the image graphic format must be added to the DOCTYPE declaration in order to direct the machine on how to read the file.. If your DOCTYPE declaration already contains data in square brackets, skip ahead to the next paragraph.. If not, within the DOCTYPE declaration, locate the DTD path within quotation marks.. Between the last quotation mark and the closing angle bracket, insert one space and two square brackets.. At this point, your DOCTYPE should look like this:.. !DOCTYPE TEI SYSTEM ".. /src/tei_all.. dtd" [.. ].. Between the square brackets, you will enter information about the the graphic image format you are using.. The following example is appropriate for JPEG images.. dtd" [.. !NOTATION JPEG PUBLIC "ISO DIS 10918//NOTATION JPEG Graphics Format//EN".. (Note that if you use your own DTD, rather than the default DTD provided, the path for the DTD file will not be ".. dtd" but will identify your own DTD.. Next, you will need to add the stylesheet path to your XML document, just below the.. ?xml.. tag and just before the DOCTYPE declaration.. Choose whether you will use the "vmachine.. xsl" styling or the "vmachine_evfl.. xsl" styling.. The top of your document might now look like one of the following:.. ?xml version="1.. 0" encoding="UTF-8"?.. ?xml-stylesheet href=".. /src/vmachine.. xsl" type="text/xsl"?.. dtd".. /src/vmachine_evfl.. Encoding: Using Critical Apparatus.. The Text Encoding Initiative (TEI) makes available a set of tags referred to as the "critical apparatus tagset" (TEI.. textcrit) designed to provide editors with a structured way to record differences or variations between multiple witnesses of the same text.. Using this tagset allows an editor to encode in one document multiple versions of that text; VM 4.. 0 is able to reconstruct multiple witnesses from the single XML-encoded document and display them, side-by-side,  ...   space.. rdg wit="#t7989-1-3 #t7989-1-1 #nocturne_poems" , /rdg.. As you can see, the tagging can get quite complex.. But because the.. tags are present in just one witness, we need to separate this witness from the rest; by doing so, we can take advantage of VM's rendering of the.. tags.. Let's consider another Macgreevy poem, "Autumn, 1922.. " There are four drafts and a published version, most of which have different titles.. The title of version t7989-1-10 is "A Short History of Our Own Times"; the second (t7989-1-8) has the title "CIVIL WAR" crossed out with "Ireland, Autumn 1922" written in to take its place; the third (t-7979-1-7) and fourth (t7989-1-9) bear the title "IRELAND, AUTUMN, 1922"; and the published version (pub) is entitled "AUTUMN, 1922" but the word "IRELAND" is written in before it.. The encoding of the title might look something like this:.. rdg wit="#t7989-1-10" A Short History of Our Own Times.. rdg wit="#t7989-1-8" del CIVIL WAR /del add Ireland, Autumn 1922 /add /rdg.. rdg wit="#t7989-1-7 #t7989-1-7" IRELAND, AUTUMN, 1922 /rdg.. rdg wit="#pub" add IRELAND /add AUTUMN, 1922 /rdg.. /title.. This is simple enough, as it uses principles explored in the previous poem as well.. However, "Autumn, 1922" presents at least three challenges not present in our earlier example: (1) one witness contains a third line that is omitted in the other witnesses; (2) one witness comprises one stanza, while the others comprise two; and (3) one witness splits into two lines what appears as one line in the other witnesses.. To address the first two items, let's first compare versions t7989-1-10 and t7989-1-8:.. Version t7989-1-8.. Version t7989-1-10.. Line three of version t7989-1-10 is missing in version t7989-1-8.. The VM will support two different ways of encoding this missing line.. The first inserts a line with an apparatus with only one reading:.. rdg wit="# t7989-1-10" Poets sing no more, /rdg.. The second method inserts two readings, one that has no content:.. rdg wit="#t7989-1-10" Poets sing no more, /rdg.. rdg wit="#t7989-1-8" /rdg.. There is a further complication here, however; two stanzas make up version t7989-1-8, while version t7989-1-10 contains only one.. TEI's critical apparatus tagging has well-known difficulties in dealing with encoding variants at a larger scale than the unit of the line; to get around this challenge in the case of a stanza break, the VM has built in the ability to read the.. milestone/.. tag with its @unit attribute value equal to stanza.. We insert the.. tag at the point of the stanza break in version t7989-1-8 like so:.. rdg wit="#t7989-1-10" The world withers, /rdg.. rdg wit="#t7989-1-8" The world withers milestone unit="stanza"/ /rdg.. The third challenge concerns version t7989-1-7, which contains a line broken into two that other versions represent as a single line:.. Version t7989-1-7.. The VM can handle this variation in one of three ways.. First, we might utilize a strategy similar to the.. method above by inserting a line break (.. lb/.. ) at the appropriate point in version t7989-1-7:.. rdg wit="#t7989-1-10 #t7989-1-8" And time grows afraid of the triumph of time.. rdg wit="#t7989-1-7" And time grows afraid lb / Of the triumph of time.. The second method is to tag version t7989-1-7's "Of the triumph of time" as a line which has no corresponding lines in the other two versions:.. rdg wit="#t7989-1-7" And time grows afraid /rdg.. rdg wit="#t7989-1-10 #t7989-1-8" /rdg.. rdg wit="#t7989-1-7" Of the triumph of time.. The third method is described below in.. "Using Location-Referenced Encoding".. Parallel segmentation does not.. require.. a base text, and structurally it does not privilege one witness over another; it does, however,.. allow for.. a base text.. Should you wish to denote that one text be considered the base text from which other versions vary, you would encode those variations contained in the base text as the lemma (.. lem.. ) instead of as a reading.. Moreover, you might use the.. to single out one version from the rest, whether or not it should be considered a base text.. Note, however, that VM 4.. 0 will not display the.. any differently from the.. without modifying the XSLT.. If, for instance, in the MacGreevy example above, you wanted version "t7989-1-3" to be considered the base text, you would encode it as follows:.. lem wit="#t7989-1-2" away /rdg.. lem wit="#t7989-1-2" on through /rdg.. rdg wit="#t7989-1-1 #nocturne_poems" in /rdg.. lem wit="#t7989-1-2".. Location-referenced encoding is primarily useful when witnesses change across different lines in the text.. This method of encoding is only used with the vmachine_evfl.. xsl styling.. For example, if in version #t7989-1-10, the first lines reads "I saw a dog" and this line appears in version three in the tenth line, location-referenced encoding allows you to note the similarity between these two blocks of texts and the VM will display this relationship.. Using location-referenced encoding is a matter of using the same value for the @loc attribute within each.. that contains corresponding text.. In the following example, from "Xray" by Freytag-Loringhoven, text within the different.. app loc="a7a".. blocks and text within.. app loc="a9b".. will display as parallel text in the VM even though they do not appear in the same line.. rdg wit="#va1 #va2 #va3" POEPLE /rdg.. rdg wit="#va4" PEOPLE POLISH /rdg.. rdg wit="#va1 #va2 #va3 #va4 #va5 #va7 #va8 #va9" POLISH /rdg.. rdg wit="#va2 #va3" - /rdg.. rdg wit="#va5 #va8 #va9 #va6" COSMIC HANDS /rdg.. rdg wit="#va9" del CROWDED /del /rdg.. rdg wit="#va8 #va9 #va6" DYNAMIC /rdg.. rdg wit="#va8" GANG /rdg.. rdg wit="#va5 #va7 #va8 #va6" POLISH /rdg.. rdg wit="#va7 #va8" - /rdg.. rdg wit="#pub1927" Polish - /rdg.. The result is a comparison across different blocks of text:.. The VM has the ability to display line numbers encoded into the TEI document.. When available, they are activated by default.. They can be deactivated by deselecting the "Show Line Numbers" checkbox in the VM interface.. To make use of this feature, you would encode the text as follows:.. lg n="1".. n="1".. rdg wit="#t7989-1-10 #t7989-1-8 #t7989-1-7 #t7989-1-9 #pub" The sun burns out, /rdg.. n="2".. rdg wit="#t7989-1-7 #t7989-1-9" The world withers, milestone unit="stanza"/ /rdg.. rdg wit="#t7989-1-8 #pub" The world withers milestone unit="stanza"/ /rdg.. n="3".. n="4".. rdg wit="#t7989-1-10 #t7989-1-8 #t7989-1-9 #pub" And time grows afraid of the triumph of time.. n="5".. /lg.. witDetail.. records notes pertaining only to a specific witness (or witnesses); it contains the functionality of the.. but is customized to treat witnesses.. Like a.. , a.. can occur almost anywhere within the document header or text.. Because.. requires a @target attribute for linking, it is typically used to refer to one particular.. and is preceded by a hashtag (#).. contains two required attributes, @wit and @target.. just as in the text encoding examples above, the @wit attribute records the @xml:id value (or values) corresponding to the appropriate witness (or witnesses).. Thus, to return to our MacGreevy example, a.. with a @wit value of "#pub" would contain information pertaining only to the published version of the poem and not to the manuscript versions.. Likewise, a.. with a @wit value of "#t7989-1-10 #pub" would contain information pertaining to one of the manuscripts and the published version, but not to the other two manuscripts.. VIEWING WITH MANUAL FILE TRANSFORMATIONS.. Manually transforming your XML files to HTML has many advantages over relying on.. native browser XSLT support.. , including increased compatibility and fewer browser-specific bugs.. We recommend using the Apply Transformation Scenario option in oXygen for the easiest results.. In oXygen,.. Open your XML file in the editing window.. From the menu bar, select Document Transformation Apply Transformation Scenario.. Your HTML document will open in your browser window.. Save this document as a Web Archive in the folder entitled.. samples.. Open the HTML file in your browser.. VIEWING YOUR XML FILES WITH NATIVE BROWSER SUPPORT.. The Versioning Machine can utilize browser transformation engines found in Internet Explorer 6.. 0+, Firefox 1.. 5+, Safari 1.. 2+, and Netscape 7.. 1+.. Please note that certain VM features are not fully supported across all browsers when relying on native browser support.. Once you have encoded your documents, you can view them by following these steps:.. If you are not using the default DTD provided, place your DTD file in the folder entitled.. src.. (See section.. below for restrictions on using your own DTD.. Place your XML documents in the folder entitled.. Place your images in the subdirectory of.. entitled.. images.. Open the file in your browser.. Refer to the.. Help.. section of the VM to navigate the product.. NOTE.. : Browsers running the Mozilla engine (i.. Mozilla, Netscape, and Firefox) are much stricter than Internet Explorer in requiring that file types match the declared mime-types of a server.. While the instructions above will allow you to view transformed files on your local machine, you may need to modify the mime-type configuration file on your server if you plan to deliver your documents on the web.. Specifically, these browsers require that the server declare files ending in.. xml and.. xsl as being of either type text/xml or application/xml.. If you do not have permission to change your server's configuration, contact the server administrator or consider manually transforming your files (see above).. TECHNICAL INFORMATION.. 0 resides in a folder entitled.. The root directory of the folder contains several HTML files: index.. html, a brief introduction to the Versioning Machine; terms.. html, containing the GNU General Public Licensed under which the VM is made available; documentation.. html, containing the documentation for the VM (which you are currently reading); and samples.. html, a table of contents listing the sample files provided with the VM.. In addition, the root directory also houses these five folders:.. folder contains the following:.. The javascript and xslt files that run the product (vmachine.. xsl, and vmachine.. The vmachine.. xsl file drives the VM for parallel segmentation and discrete witness files, respectively, by transforming the XML and calling the requisite JavaScript contained in vmachine.. js.. vmachine.. css, the cascading stylesheet file that defines features of display.. It also contains an XML P5 TEI DTD (tei_all.. dtd).. This default DTD was created using ".. Roma.. " and generating a validator from the largest possible schema with tagsets added for linking, figures, analysis, transcription, and critical apparatus.. vm-images.. folder contains images associated with the VM's user interface display.. folder contains images associated with the site surrounding the VM.. includes.. folder contains the cascading stylesheet for the site surrounding the VM.. folder contains sample encoded files that are included for demonstration purposes.. folder also contains an.. subdirectory that holds JPEGs of some of the sample encoded files.. Colors of the main or pop-up note backgrounds, text, or links, as well as the styling of.. , and other elements used for transcription of primary sources, are handled with a cascading stylesheet located within the src directory: vmachine.. css.. You may edit it if you wish to alter any of the default choices or add special rendering to particular tags.. Elements used in transcription are tagged post-transformation with a font tag that assigns an appropriate class attribute (e.. span class="sic".. ); you may alter the stylesheet to specify special rendering of the various classes.. If you want to use your own DTD, you should place it in the.. folder.. While the VM does not require that you have a DTD at all, it will not work unless your documents are (1) well-formed and (2) conform to TEI's parallel segmentation tagging as laid out above.. Since the XSL file is based in the tags and hierarchies of a TEI-conformant DTD with critical apparatus tagset, the VM will not work with other kinds of DTDs.. Thus, if you wish to use your own DTD, we strongly recommend that it be a TEI-conformant DTD that incorporates the critical apparatus tagset.. You may wish to preserve the look of the VM or create your own design.. If you wish to create your own, simply re-do the index.. html file within the.. folder to your liking.. If you wish to preserve the look of the VM, however, simply replace the links to our sample files in the samples.. html file with links to your own files, which should be placed within the.. folder; in this case, you may wish to also remove the link to the "Documentation" icon.. To do this, simply erase this link from the index.. html page:.. span a href=".. /documentation.. html" Documentation /a /span..

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  • Title: Credits – Versioning Machine
    Descriptive info: The Versioning Machine was conceived in 2000 by Susan Schreibman, who remains its Founding Editor.. She gratefully acknowledges the Digital Humanities Observatory, the University of Maryland Libraries, the Maryland Institute for Technology in the Humanities, and the New Jersey Institute of Technology for their generous support.. She also thanks her colleagues, the programmers, designers, and literary scholars, who have so graciously given their time, skills, and energy to the development of the Versioning Machine.. The Versioning Machine Development Team.. The Versioning Machine 4.. 0 (released May 2010).. 0 updated the Versioning Machine to support documents encoded with using the recently released TEI P5 guidelines, as well as greater support for prose documents and images, and various performance enhancements.. Susan Schreibman.. is the first Director of the.. Digital Humanities Observatory.. (Dublin, Ireland), a national digital humanities center which is being developed under the auspices of the Royal Irish Academy.. She was previously Assistant Dean for Digital Collections and Research, University of Maryland Libraries (2005-2008), and Assistant Director of the Maryland Institute for Technology in the Humanities (2001-2004).. Dr Schreibman is the Founding Editor of.. The Thomas MacGreevy Archive.. Irish Resources in the Humanities.. She is the co-editor of.. A Companion to Digital Literary Studies.. (Blackwell, 2008) and.. A Companion to Digital Humanities.. (Blackwell, 2004), as well as the author of.. Collected Poems of Thomas MacGreevy: An Annotated Edition.. Tanya Clement.. is the Associate Editor of the Versioning Machine.. She has a PhD in English from the University of Maryland, College Park and an M.. F.. A.. in fiction from the University of Virginia where she was first trained in humanities computing at the Electronic Text Center and the Institute for Advanced Technology in the Humanities (IATH).. She is the editor of In Transition: Selected Poems by the Baroness Elsa von Freytag-Loringhoven at www.. lib.. umd.. edu/digital/transition.. Currently, she is the Associate Director of Digital Cultures and Creativity, an undergraduate honors program associated with the Maryland Institute for Technology (MITH) at the University of Maryland, College Park.. Sean Daugherty.. is Interface Specialist at the Office of Digital Collections and Research at the University of Maryland Libraries.. He has been lead programmer for the Versioning Machine since version 3.. 0, and has been involved in the development of UM's Digital Collections site.. He has an M.. L.. S.. and an M.. in American History from the History and Library Science program (HiLS) at the the University of Maryland, College Park.. He has previously worked at the.. National Center for Preservation Technology and Training.. (NCPTT) at the National Park Service.. Ann  ...   from University of Kentucky in 2002.. His other humanities computing work includes.. teiPublisher.. and the.. Virtual Lightbox.. Tony Ross.. worked as a graduate assistant at Digital Collections and Research at the University of Maryland Libraries until July 2007, when he earned his Masters in Library Science at the University of Maryland College Park.. He has previously worked in book and magazine publishing industries, and for several advertising agencies.. The Versioning Machine team gratefully thanks Tamara Lopez and John A.. Walsh at Indiana University for code used in the Versioning Machine image and note viewer.. This code was original developed for the.. Chymistry of Isaac Newton Project.. 0 (released May 2003) and 2.. 0 (released December 2003).. The Versioning Machine debuted at the 2002 ALLC/ACH (Association for Literary and Linguistic Computing / Association for Computers and the Humanities) Conference in Tübingen, Germany.. Version 2.. 1 supported the following new features: support for multiple web browsers, including Internet Explorer, Mozilla 1.. 7+ and Firefox 1.. 0+ (with all Mozilla-based browsers functioning on Windows and Macintosh); the ability to statically transform documents to HTML prior to upload; the pretransformed HTML gave greater access across multiple browsers, including Netscape 7.. 0 and Mozila 1.. 3+ (Windows and Mac), Internet Explorer 5.. 5 (Windows), and Safari 1.. 2+ (Mac).. The Development Team included Susan Schreibman and Amit Kumar, with the assistance of:.. Jarom McDonald.. is Assistant Research Professor at the Humanities Technology and Research Support Center, Brigham Young University.. He was previously project manager of the.. Dickinson Electronic Archives.. at the University of Maryland, where he received his Ph.. D in 2005.. Lara Vetter.. is Assistant Professor of English, University of North Carolina at Charlotte.. She is General Editor of the.. ; coeditor of the writings of Emily Dickinson and several members of her family; and head of a project to encode Dickinson's manuscripts, the Dickinson family papers, and related secondary works in.. TEI.. -conformant XML.. Eric White.. is a former graphic designer and webmaster at the Maryland Institute for Technology in the Humanities (MITH).. He received his BA in art history from the University of Maryland in 2002.. He is currently a freelance web designer.. Other Contributions.. Jose Chua.. was an early contributor to the Versioning Machine.. He wrote the JavaScript and.. XSLT.. for the first version of the VM which was launched at a poster session at the 2001 ACH/ALLC in New York City.. Michael Beddow.. was one of the first Beta-testers for the Versioning Machine.. He made several improvements to the code, including making the VM fully functional in Netscape..

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  • Title: Report a Bug – Versioning Machine
    Descriptive info: Submit a Bug Report.. Name:.. *E-mail address:.. *Operating system:.. Select Operating System.. Windows 98.. Windows 2000+.. Windows XP.. Windows Vista.. Mac OS 9.. 1 and below.. Mac OS X.. Linux / BSD / Unix.. Other.. *Web browser:.. Select Browser.. Internet Explorer 7.. Internet Explorer 6.. Internet Explorer 5 or earlier.. Firefox / Netscape 6+.. Netscape 4.. 7.. Safari / Konqueror.. Opera.. *Bug description:.. To confirm you're not a script, please type the word displayed in this image:.. Phonetic spelling (mp3)..

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  • Title: Prophecy of Merlin -- The Versioning Machine 4.0
    Descriptive info: Prophecy of Merlin.. has 3 versions.. Line Numbers:.. Popup notes.. Inline notes.. Hide notes.. Index of texts.. Bibliographic Information.. by Anonymous.. Original Source.. Diplomatic editions of this text are based on transcriptions created by James M Dean for The Camelot Project at the University of Rochester.. http://www.. rochester.. edu/camelot/.. Versions are from: Trinity College Dublin MS 516 fol.. 115r; Oxford University, Bodleian Library MS 6943 fol.. 78r; Magdalene College.. Cambridge MS 1236 fol.. 91r.. Witness List.. Witness dublin:.. The Prophecy of Merlin.. Witness oxford:.. Witness cambridge:.. Textual Notes.. There are three MS versions of this poem transcribed by James M.. Dean and made publicly available through http://www.. This version is based on his transcriptions.. Electronic Edition Information:.. Responsibility Statement:.. Text Encoding by Susan Schreibman.. Transcription by James M Dean.. Publication Details:.. Published by Susan Schreibman.. This poem is being made available for demonstration purposes only.. It may not be reproduced without.. For further information, please contact Susan Schreibman at sschreib[at]umd.. edu.. Encoding Principles.. Test document for versioning machine project.. Marked-up collation of The Prophecy of Merlin.. DTD constructed from TEI poetry base with tagsets for linking, figures, analysis, transcr, textcrit.. Witness.. 1: dublin.. 2: oxford.. 3: cambridge.. The Prophecy of Merlin.. 1.. When feythe fayleth in prestys sawys,.. g.. Gloss note:.. With sharpened swords, and men ready to terrorize.. c.. Critical note:.. sayings; When feythe fayleth.. Versions of this lyric - identified as "Chaucer's Proverbs" - were regularly printed in earlier editions of Chaucer.. Richard Morris's edition contains the following lyric:.. Qwan prestis faylin in her sawes,.. And Lordis turnin Goddis lawes.. Ageynis ryght;.. And lecherie is holdin as privy solas,.. And robberie as fre purchas,.. Bewar than of ille!.. Than schall the Lond of Albion Turnin to confusion,.. As sumtyme it befelle.. As printed in The Poetical Works of Geoffrey Chaucer, rev.. ed.. (London: Bell, 1875), vol.. 6, p.. 307.. Skeat prints a similar version of this poem from Caxton's edition of Chaucer, as the first one  ...   5.. And robbery is hold no trespace -.. held to be no crime.. And oppressyon for truwe purchace;.. And robbery ys goode purchas:.. booty.. n.. Note:.. purchas.. Skeat glosses purchas as "bargain.. " It is that which is acquired.. 6.. And whan the moon is on David stall,.. David's stable.. David stall.. David's stable, a reference to Christ's birth in Bethlehem (city of David).. Of the apocalyptic element in this poem Gray comments: "On the more intellectual prophetic tradition, reflected in the Joachimite dream of a renovatio mundi, compare M.. Reeves, The Influence of Prophecy in the Later Middle Ages (Oxford, 1969).. ".. 7.. And the kynge passe Arthures hall,.. by-passes.. 8.. Then schal the lond of Albyon torne into confusioun!.. Albyon.. The legendary, antique name for Britain, as in Geoffrey of Monmouth's History of the Kings of Britain.. The fool in King Lear quotes this or a related poem when he says: "Then shall the realm of Albion / Come to great confusion" (III.. ii.. 85-86).. Than is the lande of Albyoun.. Nexst to his confusyoun.. Near; its.. Than is the.. Skeat's correction of MS Þat is is.. Than shall the londe of Albeon.. Be turned into confusion.. Britain.. 9.. A M CCCC lx and on, few lordes or ellys noone.. In 1461 [there are];.. A M CCCC lx and on.. RHR does not print this part of the poem, nor does he include the material I have here numbered 7-10 as if it were subjoined to the above six lines.. The lyrics are separate poems, yet the thought seems to be related.. The dating 1461 should be compared with "When Rome Is Removed" lines 60-63.. Textual Notes.. cambridge.. Line number 1.. Gloss note:.. Critical note:.. dublin.. Line number 2.. oxford.. Line number 3.. Line number 4.. Line number 5.. Note:.. Line number 6.. Line number 7.. Line number 8.. Line number 9.. Sorry, but there are no notes associated with any currently displayed witness.. Image Viewer..

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  • Title: "Faith is a fine invention" -- The Versioning Machine 4.0
    Descriptive info: "Faith is a fine invention".. has 7 versions.. No notes found.. by by Emily Dickinson.. See Witness List.. Witness a660:.. A 660, verse embedded in letter to Samuel Bowles.. Witness h201:.. H 201, fascicle version of poem.. Witness h72:.. H 72, fascicle version of poem.. Witness p1891:.. Published as poem XXX in the second volume of Todd and Higginson's Poems of Emily Dickinson.. Witness l1894:.. Letter to Samuel Bowles published in Todd's edition of Dickinson's letters.. Witness cp32:.. Published as poem LVI in Martha Dickinson Bianchi's Complete Poems of Emily Dickinson.. Witness ll227:.. Letter to Samuel Bowles published in Bianchi's The Life and Letters of  ...   research project to experiment with ways of displaying multiple witnesses of a TEI-encoded poem using XML, XSLT and JavaScript.. Marked-up collation of three manuscript witnesses: A 660, H 201, and H 72, and four early print witnesses: Poems (1891)--XXX, Letters (1894)--p.. 191, Complete Poems (1924)--LVI, and Life and Letters (1926)--p.. 227.. DTD constructed from TEI prose base with tagsets for linking, figures, analysis, transcr, textcrit.. 1: a660.. 2: h201.. 3: h72.. 4: p1891.. 5: l1894.. 6: cp32.. 7: ll227.. "Faith".. Faith.. FAITH.. is a fine invention.. When.. For.. Gentlemen.. gentlemen.. can.. who.. see.. !.. -.. ;.. ,.. But.. Microscopes.. microscopes.. are prudent.. In an.. Emergency.. emergency..

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  • Title: "There are two Ripenings" -- The Versioning Machine 4.0
    Descriptive info: "There are two Ripenings".. by By Emily Dickinson.. Witness A456:.. A 456, version sent to unknown recipient.. Witness ATr60a:.. A Tr60a, version transcribed by Todd and sent to Anthon.. Witness H47:.. H 47, Fascicle 14.. render:.. Additions appear in a green, fixed-width font.. Edited and marked up by Lara Vetter.. Marked-up collation of all three versions: A 456, A Tr60a, H 47.. Note that I have removed issue of transcription by another hand in order to better demonstrate method.. 1:  ...   -.. Sight - whose Forces.. sight.. Whose forces.. Spheric.. spheric.. spheric + round.. wind.. wind,.. Until the.. Velvet.. velvet.. product.. Product.. Drops.. Drop,.. Drop.. spicy.. spicy,.. to the.. Ground -.. ground -.. homelier.. Homelier -.. maturing -.. process.. Process.. the Bur -.. Bur.. 10.. That.. + Which.. teeth.. Teeth.. Frosts.. of.. Frosts,.. alone.. Frosts alone.. disclose.. disclose -.. 12.. In.. + In.. On.. far.. + still.. October.. Air.. Air -.. + far -.. + that Teeth.. + on far -..

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  • Title: The Altar -- The Versioning Machine 4.0
    Descriptive info: The Altar.. •.. See witness list.. Witness w:.. Williams MS.. Jones B62.. Witness b:.. Bodleian MS.. Tanner 307.. Witness p:.. The Temple: Sacred Poems and Private Ejaculations, first edition (Cambridge, 1633).. Transcribed, encoded, and edited by Robert Whalen.. Sponsored by Northern Michigan University and the National Endowment for the Humanities.. Funding provided by Northern Michigan University and the National Endowment for the Humanities.. Published by Robert Whalen for demonstration purposes only.. May not be reproduced without permission.. "The Altar" is part of a comprehensive edition of George Herbert's English verse,.. This larger project includes computer-readable transcriptions, in both original- and modern-spelling versions, of Williams MS.. Jones B62, Bodleian MS.. Tanner 307, and a copy of.. The Temple: Sacred Poems and Private Ejaculations.. , first edition (Cambridge, 1633); high-resolution digital images of the sources (excepting the Latin verse in Williams); an apparatus that includes critical, textual, and technical introductions and annotations; and a user interface with which to navigate these materials.. Transcriptions are encoded in TEI(P5)-conformant XML.. Currently, only the Williams images and transcriptions are captured directly from the source.. Images (where available) and transcriptions of the Bodleian MS.. and first edition are captured from Scolar black-and-white facsimiles.. Apparent errors are preserved and editorial corrections provided using SIC and CORR tags, but only where the editor conjectures that the original scribe or compositor would have recognized the instance as an error.. For example, what according to modern usage is incorrect subject/verb agreement might have been deemed acceptable to a seventeenth-century scribe or compositor.. All such instances are treated instead using the ORIG and REG tags.. (See below.. ).. Original spellings, abbreviations, and orthography are preserved and regularizations provided.. Where in the manuscripts a character's status as majuscule or miniscule is ambiguous, the editor has silently chosen one or the other based on context and judgment (i.. , does not register such ambiguity in either the markup or the notes).. Original quotation marks, if any, are preserved.. Original hyphenation is preserved.. 1: w.. 2: b.. 3: p.. See Wilcox (89) for the poem's debt to the pattern and.. schola cordis.. (School of the Heart) emblem traditions.. The title signifies the stone altar that in Catholic tradition was associated with Christ's sacrifice on the Cross; the speaker's heart offered as a "living sacrifice" (Romans 12:1); the poem itself and.. The Temple.. as a whole.. (The following poem in all three sources happens to be "The Sacrifice.. ").. Though metaphorically the speaker's heart, the phrase.. broken Altar/ALTAR.. in the first line would have provocatively suggested Reformation acts of iconoclasm that included the removal and/or destruction of such remnants of the old religion.. Toward the end of Herbert's life, advocates of ceremonial worship and what Archbishop William Laud was to call the Beauty of Holiness boldly restored the altars to a place of prominence in some English churches.. The Cambridge printers' innovation in #p—i.. , the upper-case rendering of.. ALTAR.. HEART.. , and.. SACRIFICE.. —foregrounds as complementary the poem's devotional and ceremonial features, and thereby privileges a.. via media.. reading of an otherwise ideologically conflicted poem.. Indeed, the change from.. onely.. to.. bleſsed.. in line 15 of witness #w suggests Herbert's concern that.. onely sacrifice.. might seem a  ...   raised to be a glorified body.. Made of a.. Hart.. Heart.. cimented.. cemented.. w.. th.. with.. teares.. tears.. Made of a heart,.. and.. with.. Made of a heart, and cemented with.. :.. Whose parts are as thy hand did frame.. Whose parts are, as thy hand did frame;.. Whoſe.. Whose.. parts are as thy hand did frame;.. frame.. : prepare, as a carpenter, for use in building (.. 4).. Jesus was a carpenter (Mark 6:3) and is "a son over his own house; whose house are we," for "he that built all things is God" (Hebrews 3:4-6).. No.. workmans.. workman's.. toole.. tool.. hath touch'd.. y.. e.. the.. same.. workemans.. tool hath touch'd the.. ſame.. A heart alone.. A H E A R T alone.. : only.. Is such a stone.. Is such a stone,.. Is.. ſuch.. such.. a.. ſtone.. stone.. As nothing but.. Thy.. powre.. power.. doth.. cutt.. cut.. Thy power doth cut.. Thy pow'r doth cut.. Lines 5-8.. : "Only a heart is so hard as that God's power alone is able to penetrate it.. Wherefore each part.. Wherefor.. Wherefore.. each part.. Øf.. Of.. my hard.. hart.. heart.. Of my hard heart.. Meets in this frame.. Meets in this frame,.. : i.. , the poem; the stone altar of sacrifice; the speaker's body which houses his.. hart/heart.. —"My body is the frame wherein 'tis held" (Shakespeare, Sonnet 24, line 3)— and is "the temple of God" (1 Corinthians 3:16).. To.. praiſe.. praise.. thy name.. To praise thy Name.. 13.. That If I chance to hold my peace.. That, if I chance to hold my peace,.. That if I chance to hold my peace,.. 14.. Theſe.. These.. stones to.. thee may not.. ceaſe.. cease.. These stones to praise thee may not cease.. ſtones.. stones.. Lines 13-14.. : "And some of the Pharisees from among the multitude said unto him, Master, rebuke thy disciples.. And he answered and said unto them, I tell you that, if these should hold their peace, the stones would immediately cry out" (Luke 19:39-40).. 15.. Ø.. O.. lett.. let.. thy.. only.. blessed.. sacrifice.. bee.. be.. mine,.. O.. thy blessed sacrifice be mine,.. O let thy.. bleſſed.. S A C R I F I C E be mine,.. See headnote for the significance of the #w emendation.. 16.. And.. sanctifie.. sanctify.. this Altar to.. thine.. And sanctify this Altar to be thine.. ſanctifie.. this A L T A R to be thine.. Lines 15-16.. : For the multiple significations of.. Altar/ALTAR.. , see headnote and the note for line 11.. Though the placement of.. over.. in #p is fortuitous and perhaps deliberate (as is the "broken" spacing of the words in these as well as lines 1 and 5), the layout in both manuscripts is unremarkable.. But for.. Altar.. having a majuscule initial, neither word there is distinguished in any way.. Had Herbert intended to highlight them in #w (the only source in which he is known to have had a hand), he might have specified an italic script, as indeed he does elsewhere in #w—for example, in the final line of "Poetry" (entitled "The Quiddity" in #b/#p).. Line number 11.. Line number 14.. Line number 15.. Line number 16..

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  • Title: The Pearl -- The Versioning Machine 4.0
    Descriptive info: The Pearl.. "The Pearl" is part of a comprehensive edition of George Herbert's English verse,.. Pearle.. Pearl.. : Matth: 13.. 45.. Math.. ¶ The Pearl.. Matth.. "Again, the kingdom of heaven is like unto a merchant man, seeking goodly pearls: who, when he had found one pearl of great price, went and sold all that he had, and bought it" (Matthew 13:45-46).. Elaborating this passage from the Sermon on the Mount, the poem reviews wistfully even while denouncing much of what is positive in worldly experience: the pleasures of intellect, social distinction, and the flesh.. I know.. wayes.. ways.. of learning, both the Head.. waies.. of Learning.. both the head.. I.. Know.. know.. the.. of learning; both the head.. And Pipes that feed.. Preſs.. Press.. and make it.. runn.. run.. And pipes,.. t.. that.. feed.. presse.. press.. make it.. runne.. And pipes that feed the.. preſſe.. , and make it.. Lines 1-2.. : The.. Head/head.. Pipes/pipes.. can be read as both mechanical components of the printing press and the human head and its channels through which experience enters the mind via the eyes and ears and, transformed into knowledge, exits via the mouth (speech being counterpart to the printed word).. This opening metaphor immediately establishes the tone of the poem by suggesting that much of human knowledge is but a mechanistic response to sensory stimuli—knowledge which.. reason/reaſon hath from Nature/nature.. (line 3).. What reason hath from Nature purchased.. What reason hath from Nature borrowed,.. What.. reaſon.. reason.. hath from nature borrowed,.. Ør.. Or.. of itself like a good.. huſwife.. housewife.. spunn.. spun.. Or of.. it selfe.. itself.. , like a good.. huswife.. spunne.. it ſelf.. ſpunne.. In.. lawes.. laws.. Policie.. Policy.. : what.. starres.. stars.. conspire:.. In Laws.. what.. conspire,.. In laws and.. policie.. policy.. ; what the.. ſtarres.. conſpire.. conspire.. Lines 4-5, or … Policie/policie.. : Reason, like a resourceful housewife who makes due with the materials at her immediate disposal, is self-sufficient with respect to the knowledge and practice of law and politics.. conspire/conſpire.. : combine harmoniously (.. a).. What willing Nature speaks, what.. forst.. forc'd.. by fire:.. What willing Nature.. speakes.. speaks.. , what forc'd by fire.. What willing nature.. ſpeaks.. , what forc'd by.. fire.. fire.. "What is immediately apparent, what revealed by fire," the latter referring perhaps to some alchemical or occult process through which nature's secrets are exposed.. Both th'old.. diſcoveries.. discoveries.. new-found seas,.. Both the'old.. discoueries.. New found.. New-found.. seas,.. Both th' old.. new found.. new-found.. ſeas.. seas.. The stock and surplus, cause and History.. The stock.. surplus, cause and history:.. ſtock.. stock.. ſurplus.. surplus.. cauſe.. cause.. hiſtorie.. history.. The abundance of knowledge already acquired, and how it came to be (i.. , philology).. All these stand open or I have the.. keyes.. keys.. All these stand open, or I.. haue.. have.. All.. theſe.. these.. ſtand.. stand.. open, or I have the.. , means and methods with which to unlock nature's secrets (see line 6 and note).. Yet I love Thee.. Yet I.. loue.. love.. thee.. Yet I love thee.. I know the.. of Honour: what maintains.. honor.. honour.. mantaines.. maintains.. of honour, what maintains.. The quick.. returnes.. returns.. curtesie.. courtesy.. witt.. wit.. The quick returns of.. courteſie.. and wit:.. "The courtier's skill in lively banter.. vyes.. vies.. fauours.. favours.. whither.. whether.. party gains,.. fauo.. rs.. , whether party.. gaines.. gains.. In vies of favours whether.. partie.. party.. gains,.. "Which of two courtiers wins favour in a contest of deference to a person of rank.. When glory.. swels.. swells.. and moldeth it.. When Glory swells.. heart,.. moldeth it.. glorie.. glory.. ſwells.. the heart, and moldeth it.. To all.. expreſsions.. expressions.. both of hand.. eye.. To all expressions both of hand.. eie.. expreſſions.. both of hand and eye,.. W.. ch.. Which.. on the world a.. tru.. true.. -love-.. knott.. knot.. may.. tye.. tie.. on.. World a true-.. -knot may tie.. Which on the world a true-love-knot may tie,.. tru/true-love/loue-knot.. : ornamental knot used as a symbol of true love.. 17.. beare.. bear.. bundle.. wheresoere.. wheresoe'er.. it goes.. bundle,.. it goes:.. And bear the bundle,.. whereſoe're.. Lines 15-17.. : "When the desire for fame and reputation at court is evident in subtle physical gestures and glances: a wooing of  ...   smacks of dainties and their exaltation:.. smacks.. : agreeable flavours (.. c).. dainties.. : choice viands (.. 6).. their exaltation.. : the elation they cause (.. My stuff is flesh, not.. brasse.. brass.. ; my senses.. liue.. live.. My.. ſtuffe.. stuff.. is.. fleſh.. flesh.. , not.. braſſe.. ; my.. ſenſes.. senses.. live,.. 28.. What both.. stops and pegs of pleasure.. stops.. : ventages or apertures on the tube of a wind instrument (.. pegs.. : tuning pegs of a stringed instrument (.. And grumble oft; that they.. more in.. mee.. me.. And grumble oft, that they have more in me.. 29.. ioyes.. joys.. of Company or Contemplation.. "The pleasures of society or solitary reflection.. Then.. Than.. he,.. curbs them, being but one to.. fiue.. five.. he that curbs them, being but one to.. five.. Lines 27-29.. : "I am made of flesh and my five senses complain often that they are restrained by Reason even though outnumbering him five to one.. 30.. 31.. I know all these.. have them in my hand.. I know all these,.. them in my hand.. I know all.. , and have them in my hand:.. have/haue them in my hand.. , by virtue of having written this poem.. 32.. Therefore not.. seeled.. sealed.. , but.. open eyes.. Therefore not sealed, but with open eyes.. ſealed.. , but with open eyes.. 33.. I fly to thee, and fully.. vnderstand.. understand.. flie.. fly.. to thee, and fully.. underſtand.. 34.. Both the.. maine.. main.. sale and the Commodities.. Both.. sale, and the commodities:.. Both the main.. ſale.. sale.. , and the commodities;.. 35.. And at what rate.. price I.. thy love,.. And at what rate and price I have thy love;.. Lines 32-35.. : Using a cold, mercantile language of exchange, the speaker arrogantly presumes to comprehend the extent of the sacrifice required to follow Christ.. Worse yet, he fails utterly to comprehend the extent of Christ's sacrifice relative to his own.. 36.. With.. all the Circumstances.. moue.. move.. With all.. circumstances,.. With all the.. circumſtances.. circumstances.. that may move:.. "The speaker even claims to be able to anticipate changes in circumstances and to understand how they will affect the agreement" (Wilcox, 326).. 37.. Yet.. ‸.. r.. ough.. through.. these labyrinths not my.. groueling.. groveling.. Yet through these.. labarinths.. labyrinths.. , not my.. Yet through the labyrinths, not my groveling wit,.. labyrinths/labarinths.. : mazes, recalling the story of Theseus and the Minotaur in Ovid's.. Metamorphoses.. (8.. 130ff.. After slaying the beast, Theseus finds his way out of the labyrinth by means of Ariadne's thread (the latter suggested here by the.. silk twist/twiſt.. in the following line).. groueling/groveling witt/wit.. : This sudden assertion that the poem to this point has been merely obsequious seems entirely at odds with the arrogance of the lines (32-36) immediately preceding.. The crucial question is whether the acknowledgement of such folly has sufficiently corrected it.. But perhaps that is the point: nothing the speaker says or does can redeem him.. The poem's conclusion is the moment before the.. clime/climbe.. (line 40) has even begun.. 38.. But thy silk-twist,.. downe.. down.. from.. Heauen.. Heaven.. But thy silk twist, let.. heauen.. heaven.. But thy.. ſilk.. silk.. twiſt.. twist.. let down from heav'n to me,.. silk-/silk/ſilk twist/twiſt.. : In addition to the echo of Ovid (see line 37 and note), Wilcox (326-27) cites three possible interpretations of this much-discussed phrase: an echo of Jacob's ladder linking heaven and earth (Genesis 28:12); the proverbial "threefold cord" that "is not quickly broken" (Ecclesiastes 3:12) and therefore a type of the Trinity; and a passage in Calvin's.. Institutes.. (1.. 6.. 3) in which the "twist" of God's Word is said to lead the Christian to salvation.. 39.. Did both conduct and teach.. how by.. Did both conduct,.. teach.. , how by it.. Did both.. conduct.. and teach me, how by it.. 40.. clime.. climb.. to Thee.. climbe.. to thee.. Line number 12.. Line number 13.. Line number 17.. Line number 18.. Line number 19.. Line number 21.. Line number 22.. Line number 23.. Line number 25.. Line number 26.. b p.. Line number 27.. Line number 28.. Line number 29.. Line number 31.. Line number 35.. Line number 36.. Line number 37.. Line number 38..

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