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EDITORIAL CONVENTIONS USED IN THE TEXTS

Editorial conventions for the French text
Editorial Conventions used in the English translation the Alexis Chanson
Editorial conventions used in the transcription of the Psalms and Canticles


Editorial conventions for the French text,  by Margaret Jubb

  1. The text of the Alexis poem is laid out without line or stanza divisions, as it appears in the manuscript.
  2. The original punctuation is retained, a mid-line point being used to indicate what we can deduce (from the assonance) to be the end of a line of verse, though the scribe leaves some line-ends unmarked.  Passages of direct speech are left unmarked by punctuation.
  3. A forward slash indicates the end of a line of writing in the manuscript (not the end of a line of verse).  Where this occurs in the middle of a word, there is no space after the slash.  A double forward slash indicates scribal use of a curly bracket to separate captions from text.
  4. The original capitalisation is retained, notably at the beginning of each strophe/stanza (group of five lines) in the poem.  Personal and place names, including deus, are not capitalised.
  5. Abbreviations and contractions have been filled out and the additional matter enclosed within square brackets.
  6. Scribal errors have been noted in square brackets.  Variant readings are in Roman type and editorial comments in italics. 
  7. Diacritics (acute accents, cedillas, trémas) have not been introduced. 
  8. However, the scribe himself sometimes uses a double acute accent above a vowel.  This has been indicated in the transcript by a single acute accent above the relevant vowel.  When used, by no means systematically, above an ‘i’, the accent indicates that the ‘i’ is to be read as ‘j’ in the pronoun ío.  When used, again not systematically, above an ‘a’, e.g. cártre (p. 64) or ‘e’, e.g. pecét (p. 59), it indicates that the preceding ‘c’ is to be read as ‘ch’.  When used above the ‘o’ of (p. 59 and passim ) and icó (p. 66), it indicates, as a modern cedilla under the ‘c’ would do, that the ‘c’ is sibilant.  In the translation of Gregory’s letter (p. 68), however, it indicates that the ‘c’ of  cóse is to be read as ‘ch’.
  9. The original use of ‘i’ for ‘j’, e.g. iuvene (p. 57), iustice (p. 58) has been retained, but ‘v’ has been differentiated from ‘u’.  Very occasionally, the scribe uses a single acute accent to distinguish an ‘i’ from a ‘j’.  The pronoun i is so marked once on p. 63 and once on p. 66 and in Gregory’s letter the ‘i’ of icele and icels is treated likewise.  This marking has not been retained in the transcript. 
  10. In the translation of Gregory’s letter (p. 68), there is evidence of scribal confusion.  A single acute accent is used above the ‘u’ of aurier and above the ‘v’ of sivre.  There is also an instance of a double acute accent over the ‘u’ of aurier and over the pronoun i. None of these markings has been retained in the transcript.  
  11. The following minor changes have been made in order to assist the reader.  An inverted comma has been inserted before an elision, e.g. l’amistet (p. 57), n’ert, d’un (p. 58).  A space has been inserted where the scribe has omitted to leave a space between separate words, e.g. deu methime (p.57).    

Editorial Conventions used in the English translation the Alexis Chanson, by Margaret Jubb

  1. The text of the poem is laid out as verse, and stanzas and lines are numbered for ease of reference in the accompanying essay.
  2. Capitalisation and punctuation have been introduced to assist the reader.
  3. Five lines (ll. 255, 274, 275, 349, 472) and the first word, “pur” of line 518 are missing from the text in the Hildesheim MS. The sense of these has been taken from other MS versions of the text. This material is enclosed in square brackets in the translation.
  4. On four occasions, lines have been transposed in the Hildesheim MS. Thus, l. 378 comes after 380, 404 after 405, 414 after 415 and 463 after 464. The translation restores them to their proper order.

Editorial conventions used in the transcription of the Psalms and Canticles
by Kristine Haney and Sue Niebrzydowski

  1. The original capitalisation is retained with no additional capitalisation added.
  2. The original punctuation, including a point and inverted semi-colon (serving as commas), and a point (serving as a full stop), is represented by colon and full stop followed by a slash /. Where words have been divided at line-endings, the scribe has signalled this by /; in the transcription a hyphen has been used.
  3. The original non-vocalic ‘u’ has been retained throughout.
  4. Abbreviations are expanded and shown in square brackets [ ]; textual omissions by the scribe are signalled < >;  scribal insertions between the lines are signalled as \ /; where cancelled letters are still legible they are reproduced and inserted in square brackets as in [ab] and the substitution of letters by transformation are signalled by an arrowhead as in a > b. Where letters have been lost due to the insertion of an historiated initial, the number of letters lost has been given along with the letters themselves in double square brackets, thus [[ +3, ave]].

 

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