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        <title type="main">TEI by Example</title>
        <title type="sub">Module 3: Prose</title>
        <author xml:id="RvdB">Ron Van den Branden</author>
        <editor xml:id="EV">Edward Vanhoutte</editor>
        <editor xml:id="MT">Melissa Terras</editor>
        <sponsor>Association for Literary and Linguistic Computing (ALLC)</sponsor>
        <sponsor>Centre for Data, Culture and Society, University of Edinburgh, UK</sponsor> 
        <sponsor>Centre for Digital Humanities (CDH), University College London, UK</sponsor>
        <sponsor>Centre for Computing in the Humanities (CCH), King’s College London, UK</sponsor>
        <sponsor>Centre for Scholarly Editing and Document Studies (CTB) , Royal Academy of Dutch Language and Literature, Belgium</sponsor>
        <funder>
          <address>
            <addrLine>Centre for Scholarly Editing and Document Studies (CTB)</addrLine>
            <addrLine>Royal Academy of Dutch Language and Literature</addrLine>
            <addrLine>Koningstraat 18</addrLine>
            <addrLine>9000 Gent</addrLine>
            <addrLine>Belgium</addrLine>
          </address>
          <email>ctb@kantl.be</email>
        </funder>
        <principal>Edward Vanhoutte</principal>
        <principal>Melissa Terras</principal>
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      <publicationStmt>
        <publisher>Centre for Scholarly Editing and Document Studies (CTB) , Royal Academy of Dutch Language and Literature, Belgium</publisher>
        <distributor>Centre for Scholarly Editing and Document Studies (CTB) , Royal Academy of Dutch Language and Literature, Belgium</distributor>
        <pubPlace>Gent</pubPlace>
        <address>
          <addrLine>Centre for Scholarly Editing and Document Studies (CTB)</addrLine>
          <addrLine>Royal Academy of Dutch Language and Literature</addrLine>
          <addrLine>Koningstraat 18</addrLine>
          <addrLine>9000 Gent</addrLine>
          <addrLine>Belgium</addrLine>
        </address>
        <availability status="free">
          <p>Licensed under a <ref target="http://creativecommons.org/licenses/by-sa/3.0/">Creative Commons Attribution ShareAlike 3.0 License</ref>
                    </p>
        </availability>
        <date when="2010-07-09">9 July 2010</date>
      </publicationStmt>
      <seriesStmt>
        <title>TEI by Example.</title>
        <respStmt>
          <name>Edward Vanhoutte</name>
          <resp>editor</resp>
        </respStmt>
        <respStmt>
          <name>Ron Van den Branden</name>
          <resp>editor</resp>
        </respStmt>
        <respStmt>
          <name>Melissa Terras</name>
          <resp>editor</resp>
        </respStmt>
      </seriesStmt>
      <sourceDesc>
        <p>Digitally born</p>
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        <p>TEI by Example offers a series of freely available online tutorials walking individuals through the different stages in marking up a document in TEI (Text Encoding Initiative). Besides a general introduction to text encoding, step-by-step tutorial modules provide example-based introductions to eight different aspects of electronic text markup for the humanities. Each tutorial module is accompanied with a dedicated examples section, illustrating actual TEI encoding practise with real-life examples. The theory of the tutorial modules can be tested in interactive tests and exercises.</p>
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      <langUsage>
        <language ident="en-GB">en-GB</language>
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    <revisionDesc>
      <change when="2020-06-28" who="#RvdB">integrated examples in a single file</change>
    </revisionDesc>
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  <text xml:id="TBED03v00" type="examples">
    <body>
            <div xml:id="bronte" type="example">
        <head>Emily Bronte: <title level="m">Wuthering Heights</title>
                </head>
        <p>The following example is a fragment of Emily Bronte’s novel <title level="m">Wuthering Heights</title>, encoded and made available by the University of Virginia Library, for their Text Collection. The work consists of two volumes, containing 34 chapters. These are encoded as numbered text divisions. Each volume is encoded as <tag>div1 type="volume"</tag>; each chapter occurs one level deeper as <tag>div2 type="chapter"</tag>. Structurally, the text is fairly simple, consisting mainly of paragraphs (<gi>p</gi>). Page breaks are encoded as <gi>pb</gi> elements, whose <att>n</att> attributes record the number of the respective pages. The transcription contains one quoted song, encoded as a <gi>q</gi> element, in which each quoted song line occurs as <gi>l</gi>:
          <egXML xmlns="http://www.tei-c.org/ns/Examples">
            <q>
                            <l>"It was far in the night, and the bairnies grat,</l>
                            <l>The
              mither beneath the mools heard that" — </l>
                        </q>
          </egXML>
          One more complex structure consists of an embedded epistle, concluding the 17th chapter. This is encoded as a <tag>div3 type="epistle"</tag> element. The text’s concluding formula <q>The End</q> is transcribed as <gi>trailer</gi> inside the last chapter.</p> 
        <figure xml:id="bronte-example">
          <egXML xmlns="http://www.tei-c.org/ns/Examples">
            
            <text xml:id="d1">
              <body xml:id="d2">
                <div1 type="volume" n="1" xml:id="d3">
                  <head>Volume 1</head>
                  <!-- ... -->
                  <div2 type="chapter" n="1.13" xml:id="d16">
                    <head>Chapter 1.13</head>
                    <pb n="134"/>
                    <p>For two months the fugitives remained absent; in those two months, Mrs.
                      Linton encountered and conquered the worst shock of what was denominated a
                      brain fever. No mother could have nursed an only child more devotedly than
                      Edgar tended her. Day and night he was watching, and patiently enduring all
                      the annoyances that irritable nerves and a shaken reason could inflict: and,
                      though Kenneth remarked that what he saved from the grave would only
                      recompense his care by forming the source of constant future anxiety — in
                      fact, that his health and strength were being sacrificed to preserve a mere
                      ruin of humanity — he knew no limits in gratitude and joy, when Catherine's
                      life was declared out of danger; and hour after hour he would sit beside
                      her, tracing the gradual return to bodily health, and flattering his too
                      sanguine hopes with the illusion that her mind would settle back to its
                      right balance also, and she would soon be entirely her former self.</p>
                    <p>The first time she left her chamber, was at the commencement of the following
                      March. Mr. Linton had put on her pillow, in the morning, a handful of golden
                      crocuses; her eye, long stranger to any gleam of pleasure, caught them in
                      waking, and shone delighted as she gathered them eagerly together.</p>
                    <p>"These are the earliest flowers at the Heights!" she exclaimed. "They remind
                      me of soft thaw winds, and warm sunshine, and nearly melted snow — Edgar, is
                      there not a south wind, and is not the snow almost gone ?"</p>
                    <p>"The snow is quite gone down here, darling," replied her husband, "and I only
                      see two white spots on the whole range of moors. The sky is blue, and the
                      larks are singing, and the becks and brooks are all brim full. Catherine,
                      last spring at this time I was longing to have you under this roof; now I
                      wish you were a mile or two up those hills; the air blows so sweetly, I feel
                      that it would cure you." </p>
                    <pb n="135"/>
                    <p>"I shall never be there but once more," said the invalid; "and then you'll
                      leave me, and I shall remain for ever. Next spring you'll long again to have
                      me under this roof, and you'll look back and think you were happy to-day." </p>
                    <p>Linton lavished on her the kindest caresses, and tried to cheer her by the
                      fondest words; but, vaguely regarding the flowers, she let the tears collect
                      on her lashes and stream down her cheeks unheeding. We knew she was really
                      better, and therefore decided that long confinement to a single place
                      produced much of this despondency, and it might be partially removed by a
                      change of scene. The master told me to light a fire in the
                      many-weeks-deserted parlour, and to set an easy-chair in the sunshine by the
                      window; and then he brought her down, and she sat a long while enjoying the
                      genial heat, and, as we expected, revived by the objects round her, which,
                      though familiar, were free from the dreary associations investing her hated
                      sick chamber. By evening she seemed greatly exhausted, yet no arguments
                      could persuade her to return to that apartment; and I had to arrange the
                      parlour sofa for her bed, till another room could be prepared. To obviate
                      the fatigue of mounting and descending the stairs, we fitted up this, where
                      you lie at present, on the same floor with the parlour; and she was soon
                      strong enough to move from one to the other, leaning on Edgar's arm. Ah, I
                      thought myself she might recover, so waited on as she was. And there was
                      double cause to desire it, for on her existence depended that of another; we
                      cherished the hope that in a little while Mr. Linton's heart would be
                      gladdened, and his lands secured from a stranger's gripe, by the birth of an
                      heir. </p>
                    <p>I should mention that Isabella sent to her brother, some six weeks from her
                      departure, a short note announcing her marriage with Heathcliff. It appeared
                      dry and cold, but at the bottom was dotted in with pencil an obscure
                      apology, and an entreaty for kind remembrance and reconciliation, if her
                      proceeding had offended him, asserting that she could not help it then, and,
                      being done, she had now no power to repeal it. <pb n="136"/>Linton did not
                      reply to this, I believe; and in a fortnight more I got a long letter which
                      I considered odd, coming from the pen of a bride just out of the honeymoon.
                      I'll read it, for I keep it yet. Any relic of the dead is precious if they
                      were valued living. </p>
                    <div3 type="epistle" xml:id="d17">
                      <p>DEAR ELLEN, it begins, I came last night to Wuthering Heights, and heard
                        for the first time that Catherine has been, and is yet, very ill. I must
                        not write to her, I suppose, and my brother is either too angry or too
                        distressed to answer what I sent him. Still, I must write to somebody,
                        and the only choice left me is you. </p>
                      <p>Inform Edgar that I'd give the world to see his face again — that my
                        heart returned to Thrushcross Grange in twenty-four hours after I left
                        it, and is there at this moment, full of warm feelings for him and
                        Catherine. I can't follow it, though (those words are underlined); they
                        need not expect me; and they may draw what conclusions they please,
                        taking care, however, to lay nothing at the door of my weak will or
                        deficient affection. </p>
                      <p>The remainder of the letter is for yourself alone. I want to ask you two
                        questions; the first is — How did you contrive to preserve the common
                        sympathies of human nature when you resided here? I cannot recognize any
                        sentiment which those around share with me. </p>
                      <p>The second question I have great interest in; it is this — Is Mr.
                        Heathcliff a man? If so, is he mad? And if not, is he a devil? I shan't
                        tell my reasons for making this inquiry, but I beseech you to explain,
                        if you can, what I have married — that is, when you call to see me; and
                        you must call, Ellen, very soon. Don't write, but come, and bring me
                        something from Edgar. </p>
                      <p>Now you shall hear how I have been received in my new home, as I am led
                        to imagine the Heights will be. It is to amuse myself that I dwell on
                        such subjects as the lack of external comforts; they never occupy my
                        thoughts, except at the moment when I miss them. I should laugh and
                        dance for joy if I found their absence <pb n="137"/> was the total of my
                        miseries, and the rest was an unnatural dream. </p>
                      <p>The sun set behind the Grange as we turned on to the moors: by that I
                        judged it to be six o'clock; and my companion halted half an hour to
                        inspect the park and the gardens, and probably the place itself, as well
                        as he could; so it was dark when we dismounted in the paved yard of the
                        farmhouse, and your old fellow-servant Joseph issued out to receive us
                        by the light of a dip candle. He did it with a courtesy that redounded
                        to his credit. His first act was to elevate his torch to a level with my
                        face, squint malignantly, project his under lip, and turn away. Then he
                        took the two horses and led them into the stables, reappearing for the
                        purpose of locking the outer gate, as if we lived in an ancient castle. </p>
                      <!-- ... -->
                      <p>I do hate him — I am wretched — I have been a fool Beware of uttering one
                        breath of this to any one at the Grange. I shall expect you every day.
                        Don't disappoint me. </p>
                      <p> ISABELLA.</p>
                    </div3>
                  </div2>
                  <!-- ... -->
                </div1>
                <div1 type="volume" n="2" xml:id="d19">
                  <head>Volume 2</head>
                  <!-- ... -->
                  <div2 type="chapter" n="2.20" xml:id="d39">
                    <head>Chapter 2.20</head>
                    <pb n="326"/>
                    <!-- ... -->
                    <p>I lingered round them under that benign sky, watched the moths fluttering
                      among the heath and harebells, listened to the soft wind breathing through
                      the grass, and wondered how any one could ever imagine unquiet slumbers for
                      the sleepers in that quiet earth. </p>
                    <trailer> The End </trailer>
                  </div2>
                </div1>
              </body>
            </text>
          </egXML>
          <head type="legend">Adapted from a TEI P4 XML encoding of Emily Bronte’s novel <title level="m">Wuthering Heights</title> (<ref type="bibl" target="#bronte1847">Bronte 1847</ref>. TEI XML source available from <ptr target="http://xtf.lib.virginia.edu/xtf/view?docId=modern_english/uvaGenText/tei/BroWuth.xml;raw=1"/>.</head>
        </figure>
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    <back>
      <div type="bibliography">
        <listBibl>
          <bibl xml:id="bronte1847">
                        <author>Bronte, Emily</author>. <date>1847</date>. <title level="m">Wuthering Heights</title>. <pubPlace>London</pubPlace>: <publisher>Thomas Cautley Newby, publisher</publisher>. Encoded and made available by the University of Virginia Library, Text Collection at <ptr target="http://etext.lib.virginia.edu/toc/modeng/public/BroWuth.html"/>.</bibl>
          <bibl xml:id="cather1919">
                        <author>Cather, Willa</author>. <date>1919</date>. <title level="a">Roll Call on the Prairies</title>. <title level="j">The Red Cross Magazine</title>, <biblScope unit="issue">14</biblScope> (<date>July 1919</date>). <biblScope unit="page">27–31</biblScope>. Edited by <editor>Andrew Jewell</editor>. <pubPlace>Lincoln</pubPlace>: <publisher>Center for Digital Research in the Humanities, University of Nebraska-Lincoln</publisher>. Available online at         <ptr target="http://cather.unl.edu/nf007.html"/>.</bibl>
          <bibl xml:id="jones2006">
                        <author>Jones, Malcolm</author>. <date>2006</date>. <title level="a">Print of the month, September 2006</title>. <title level="s">British Printed Images to 1700</title>. <pubPlace>London</pubPlace>: <publisher>Centre for Computing in the Humanities, King’s College</publisher>. Available online at <ptr target="https://web.archive.org/web/20160604002829/http://www.bpi1700.org.uk/research/printOfTheMonth/september2006.html"/>.</bibl>
          <bibl xml:id="morgan1997">
                        <author>Morgan, Eric Lease</author>. <date>1997</date>). <title level="a">Clarence meets Alcuin; or, expert systems are still an option in reference work.</title> In: <title level="m">The Cybrarian’s manual</title>. Edited by <editor>P. Ensor</editor>. <pubPlace>Chicago</pubPlace>: <publisher>American Library Association</publisher>. <biblScope unit="page">127–134</biblScope>. Available online at <ptr target="http://infomotions.com/musings/clarence-meets-alcuin/"/>.</bibl>
          <bibl xml:id="muller">
                        <author>Muller, Charles</author>. <date>s.d.</date> <title level="u">XML Technical Notes on the Yogācāra Bibliography</title>. Accompanying documentation for the Yogācāra Buddhism Research Association. Available online at <ptr target="http://www.acmuller.net/yogacara/bibliography/bibnotes.html"/>.</bibl>
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