Editorial conventions for the
French text, by Margaret Jubb
- The text of the
Alexis poem is laid out without line or stanza divisions, as it appears
in the manuscript.
- 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.
- 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.
- 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.
and contractions have been filled out and the additional matter enclosed
within square brackets.
- Scribal errors
have been noted in square brackets. Variant readings are in Roman type
and editorial comments in italics.
- Diacritics (acute
accents, cedillas, trémas) have not been introduced.
- 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 có (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’.
- 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.
- 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.
- 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
Conventions used in the English translation the Alexis Chanson,
by Margaret Jubb
- The text of the
poem is laid out as verse, and stanzas and lines are numbered for ease
of reference in the accompanying essay.
and punctuation have been introduced to assist the reader.
- 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.
- 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
The original capitalisation is
retained with no additional capitalisation added.
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.
original non-vocalic ‘u’ has been retained throughout.
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]].