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a. multilingual processes that have variously contributed to the
development of Early Modern English drama through
Shakespeare;
b. the specificity of various narrative elements when they have
been adjusted to mimetic genres;
c. the relevance and meaning of this translation in the
construction of a shared European patrimony;
d. our own perception of this patrimony as precisely European.
SEN
S
Shakespeare European Narrative Sources
http://www.skenejournal.it/digitalarchives/?page_id=199)
SCS
Shakespeare Classical Sources
http://www.skenejournal.it/digitalarchives/?page_id=337
SKENÈ. Theatre and Drama Studies
http://www.skenejournal.it/
Technical details:
 the texts will be collected in a MySql database;
 the interface will use the AJAX technology, which allows to
upload data on request;
 the site will be linked at our skenejournal.it page;
 the mark-up will be carried out according to TEI guidelines.
The project has been divided into several phases:
①Textual elaboration and construction of a corpus of interlinked texts
according to pre-set research paths;
①Elaboration of a software for advancing individual research:
i. semantic computational approach including the following searching
possibilities:
a. names;
b. collocations;
c. similes (‘like’);
d. oxymora (based on ‘x-antonym’ search);
ii. and elaboration of advanced OCR for Roman and Gothic typefaces
in different languages;
③Publication of digitized facsimiles.
PHASE 1
① diplomatic editions;
② semi-diplomatic editions with emendation of mistakes and normalization
of a few graphs (u/v; vv = w; ʃ= s; ß = ss);
③ normalized critical editions;
④ alignment of diplomatic and semi-diplomatic editions;
⑤ uploading of critical editions;
⑥ segmentation of the normalized editions [click on segmentation];
⑦ identification of individual intertextual paths based on multilingual links of
a semantic type (imagery, rhetorical figures etc.);
⑧ commentary:
a) philological (with links to the apparatus of variants);
b) semantic;
c) critical. [click on the blue arrow]
DRAMA TEXT
The following criteria may be relevant both individually and in combination:
a.
b.
c.
d.
significant turn-takings;
significant changes of topic;
significant deictic orientations marking situational changes;
significant discursive changes depending on the use of the
performatives.
The word ‘significant’ here refers to the relevance of the single issues to the
overall action and the main topics. For instance:
a. turn taking
b. topic change
c.
deictic orientation
d. discursive orientation pivoting on performatives
NARRATIVE TEXTS
① the énoncé (the enunciated): changes of topic;
② the énonciation (enunciation): this entails a narrative foregrounding:
metatextuality = the narrator talks about the text (about its
structure or about its content: ideological function
=
comments; testimonial function etc.);
metadiscursivity/metanarrativity = the narrator talks about his
discursive/narrative act;
interdiscursivity = the narrator quotes other discourses, e.g.
proverbs, maxims, common sense, etc.;
③ dialogue embedded in the narrative: turn taking [click on the blue arrow that
will appear below]
Da Porto
Bandello
Boaistuau
Brooke
Painter
Shakespeare
PARATEXTS
TEXTS
EDITIONS
GLOSSARIES
OTHER TEXTS
CONTEXTS
Da Porto
Bandello
Boaistuau
Brooke
Painter
Shakespeare
Da Porto
Bandello
Boaistuau
Brooke
Painter
Shakespeare
Da Porto
Bandello
Boaistuau
Brooke
Painter
Shakespeare
A custom built
glossary for
each text
…
Dante
Masuccio
Cinzio
Groto
Ber. Gar.
Coeval texts
and treatises
on:
duels
medicine
…
Diplomatic edition
1530
Semi–diplomatic ed.
EXAMPLE
Titles, prefaces,
arguments, etc. of
modernized editions
with a repertory of
variants.
Modernized
version of each
text which will
be segmented
and will include
marked up
correspondences
to : fabula, plot,
and thematic,
lexematic,
rhetorical,
metaphorical
relations in each
elected segment.
1) diplomatic and
semi–diplomatic
editions
(downloadable)
Diplomatic edition
Da Porto
1535
Semi–diplomatic ed.
Diplomatic edition
2) aligned diplomatic
editions
3) aligned semi–
diplomatic editions
1539
see example: click
HERE
Semi–diplomatic ed.
SEGMENTATION
ROMEO. If I profane with my unworthiest hand
This holy shrine, the gentler sin is this:
My lips, two blushing pilgrims, ready stand
To smooth that rough touch with a tender kiss.
95
JULIET. Good pilgrim, you do wrong your hand too much,
Which mannerly devotion shows in this,
For saints have hands that pilgrims’ hands do touch,
And palm to palm is holy palmers’ kiss.
ROMEO. Have not saints lips, and holy palmers too?
100
JULIET. Ay, pilgrim, lips that they must use in prayer.
ROMEO. O then, dear saint, let lips do what hands do;
They pray; grant thou, lest faith turn to despair.
JULIET. Saints do not move, though grant for prayers’ sake.
ROMEO. Then move not while my prayer’s effect I take.
[He kisses her]
Thus from my lips, by thine, my sin is purged.
JULIET. Then have my lips the sin that they have took.
ROMEO. Sin from my lips? O trespass sweetly urged!
Give me my sin again. [He kisses her]
JULIET.
You kiss by th’ book.
[click on 15.5]
Segment 15.5
Description: Romeo and Juliet
meet (the shared sonnets and
the kiss).
Da Porto 9 10
Bandello 23 24
Boaistuau 27 28 29 30
Brooke 26 27
Painter 26 27 28 29
Each segment will be also linked to a general ‘segmentation tree’:
15. Romeo and Juliet meet at the feast [14]:
link to the
corresponding
FABULA segment
15.1 Capulet welcomes the guests.
15.2 Capulet talks with his cousin.
15.3 Romeo sees Juliet.
15.4 Tybalt recognises Romeo and quarrels with Capulet over him.
15.5 Romeo and Juliet meet (the shared sonnets and the kiss).
15.6. The Nurses interrupts Romeo and Juliet. Romeo discovers who Juliet is.
15.7 Benvolio urges his friends to go away and they say goodbye to Capulet.
15.8 Juliet discovers who Romeo is.
DP 17 (Da Porto)
BAN 35 (Bandello)
R&J 17.9 (Shakespeare)
Giulietta rebukes Romeo for being so
foward and declares she is ready to
marry him in order to stop his
calndestine visits.
Giulietta refuses with animosity and
suggests, instead, that he marries her
Juliet asks Romeo to marry her and promises to send
him somebody the following day.
Allora la bella giovane quasi
sdegnando disse. Romeo io tanto vi
amo; quanto si possa persona
lecitamente amare, & più vi conciedo
di quello, che alla mia onestà si
converria: & ciò faccio d’amore col
valor vostro uinta. Ma se voi pensaste
o per longo vagheggiarmi, o per altro
modo più oltra come innamorato
dell’Amor mio godere, questo pensier
lasciate da parte, che alla fine in tutto
vano lo trovarete. E per non tenervi
più ne’ pericoli, ne’ quali veggio
essere la vita vostra venendo ogni
notte per queste contrade, vi dico che
quando a voi piaccia di accettarmi per
vostra donna, che io son pronta a
darmi tutta: con voi in ogni luogo che
vi sia in piacere, senza alcun rispetto
venire.
«Romeo, voi sapete l’amor vostro ed
io so il mio, e so che v’amo quanto si
possa persona amare, e forse piú di
quello che all’onor mio si conviene.
Ma ben vi dico che, se voi pensate di
me godere oltra il convenevole nodo
del matrimonio, voi vivete in
grandissimo errore e meco punto non
sarete d’accordio. E perché conosco
che praticando voi troppo sovente per
questa vicinanza potreste di leggero
incappare negli spiriti maligni1 ed io
non sarei piú lieta giá mai, ma
conchiudo che, se voi desiderate esser
cosí mio come io eternamente bramo
esser vostra, che debbiate per moglie
vostra legitima sposarmi. Se mi
sposarete, io sempre sarò presta a
venir in ogni parte ove piú a grado vi
fia . . . ».
Three words, dear Romeo, and good night indeed.
If that thy bent of love be honorable,
Thy purpose marriage, send me word tomorrow,
By one that I’ll procure to come to thee,
Where and what time thou wilt perform the rite,
And all my fortunes at thy foot I’ll lay
And follow thee my lord throughout the world
Note to additional
comments, further
correspondences to
other texts, etc.
Luigi Da Porto, Historia Novellamente Ritrovata di due nobili Amanti
perché trattasi la maschera, come ogni altro faceva, e in abito di ninfa trovandosi, non
fu occhio che a rimirarlo non volgesse, sì per la sua bellezza, che quella d’ogni donna
avanzava che ivi fosse {agguagliava}, come per meraviglia che in quella casa
massimamente la notte fosse venuto.
1530
perche trattasi
la maschera: come ogni altro
facea: e
in habito di ninpha troandosi:
non fu occhio ch’a rimirarlo non volgesse:
si per
la sua bellezza: che quella d’ogni
donna avanzava: che ivi fosse: agguagliava:
come
per maraviglia che in quella casa:
massimamente la notte: fosse venuto
1535
perche trattasi la maschera: come
ogn’altro facea: e in habito di nimpha
trovandosi: non fu occhio ch’a rimirarlo
non volgesse si per la sua bellezza: che
quella d’ogni donna avanzava: che ivi fosse:
agguagliava: come per maraviglia che in quella
casa: massimamente la notte: fosse venuto:
1539
Era costui giovane molto, et
bellissimo, et grande
della persona, leggiadro et
accostumato assai: perché trattasi
la Maschera, come ogni altro
faceva, et in habito di donna
trovandosi, non fu quivi occhio,
che a rimirarlo non si rivolgesse, si per la sua bellezza; che
quella di qualunque
bella donna, che quivi fosse
aguagliava; et si per maraviglia, che in quella casa
(massimamente la notte) venuto
fosse.
Costui, preso alquanto d’ardire, seguì:
- Se io a voi con la mia mano la vostra riscaldo, voi con i begli occhi il mio cuore
accendete.La donna dopo un breve sorriso, schifando d’essere con lui veduta o udita
ragionare, ancora gli disse:
- Io vi giuro, Romeo, per mia fede, che non è qui donna, la quale come voi
siete agli occhi miei bella paia.Alla quale il giovane, già tutto di lei acceso, rispose:
- Qual io mi sia sarò alla vostra beltà, s’a quella non spiacerà, fedele servo.-
Bandello (6)
il più bello e cortese di tutta la gioventú di Verona.
Boaistuau (5)
le plus beau et mieux accompli gentilhomme qui fut en toute la
jeunesse de Veronne
Brooke (6)
as yet, no manlike beard there grew,
Whose beauty and whose shape so far the rest did stain,
That from the chief of Verona youth he greatest fame did gain,
Painter (5)
the fairest and best conditioned gentleman that was amongst the
Veronian youth,
Miss Ellen Tree (1837)
Charlotte and Susan
Cushman as Romeo
and Juliet. From a
drawing by Margaret
Gilles (1846)
Oh sweet Juliet,
Thy beauty hath made me effeminate
(Romeo and Juliet, 3.1.115-16)
Art thou a man? Thy form cries out thou art.
Thy tears are womanish; thy wild acts denote
The unreasonable fury of a beast.
Unseemly woman in a seeming man,
An ill-beseeming beast in seeming both.
(Romeo and Juliet, 3.3. 109-13)
“Art thou,” quoth he, “a man? Thy shape saith, so thou art;
Thy crying, and thy weeping eyes denote a woman’s heart.
For manly reason is quite from off thy mind outchased,
And in her stead affections lewd and fancies highly placed:
So that I stood in doubt, this hour, at the least,
If thou a man or woman wert, or else a brutish beast.
(Brooke, Romeus and Juliet, 1353-8)
y Thank you y
ALIGNED EDITIONS
(e.g. Romeo and Juliet Q1, Q2 , and F)
Q1 (1597)
Enter 2. Seruing-men of the Capolets.
GRegorie, of my word Ile carrie no coales.
No, for if you doo, you should be a Collier.
1 If I be in choler, Ile draw.
2 Euer while you liue, drawe your necke out of
the
the collar.
Q2 (1599)
Enter Sampson and Gregorie, with Swords and
Bucklers, of the house of Capulet.
Samp. Gregorie, on my word weele not carrie
Coles.
Greg. No, for then we should be Collyers.
Samp. I meane, and we be in choller, weele
draw.
Greg. I while you liue, draw your necke out of
choller.
F (1623)
Actus Primus. Scœna Prima.
Enter Sampson and Gregory, with Swords
and Bucklers,
of the House of Capulet.
Sampson.
Gregory: A my word wee'l not carry coales.
Greg. No, for then we should be Colliars.
Samp. I mean, if we be in choller, wee'l
draw.
Romeo and Juliet (2.1.7-11 )
Q2 critical edition with variants from Q1:
Q1] daughter is a
stranger
Capulet. But saying o’re what I have said before,
My child is yet a stranger in the world,
She hath not seen the change of fourteen years,
Let two more summers wither in their pride,
Ere we may think her ripe to be a bride.
Q1] fit
[click on the blue arrow]
Q1] not yet
attainde to