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Transcription
PersonsPersons
- Chilperic __ __ __ __ King of the FranksChilperic ..... King of the Franks
- Carloman __ __ __ __ Sons of Charles Martel ,Carloman ..... Sons of Charles Martel ,
- Pepin __ __ __ __ Consuls + Mayors of the PalacePepin ..... Consuls + Mayors of the Palace
- Marcomir __ __ __ __ A Frankish CountMarcomir ..... A Frankish Count
- Rachis __ __ __ __ King of the LombardsRachis ..... King of the Lombards
- Astolph __ __ __ __ His BrotherAstolph ..... His Brother
- Zacharias __ __ __ __ The PopeZacharias ..... The Pope
- Damiani __ __ __ __ An Italian BishopDamiani ..... An Italian Bishop
- Boniface __ __ __ __ A Missionary Saint
- Boniface __ __ __ __ A Missionary SaintBoniface ..... A Missionary Saint
- Geneviva __ __ __ __ Wife to CarlomanGeneviva ..... Wife to Carloman
Act I ** MSS. Eng . poet . d. 108 calls Act I ' The Defiance of Time . This manuscript also has Field's scene design sketches for each of the five acts . Scene Design : Act I
Photo: Bodleian Library [MSS. Eng. poet. d. 108] [Photo: Bodleian Library [MSS. Eng. poet. d. 108]]
Scene Design : Act I
Photo: Bodleian Library [MSS. Eng. poet. d. 108]Act I Scene 1Scene
About
About this text
In the Name of Time.The Papers of Michael Field.
Identification
Oxford, Bodleian Library, MS. Eng. Lett. e. 33Contents
Papers of 'Michael Field', arranged into five groups:
- Correspondence of 'Michael Field', 1867-1926
- Drafts, manuscripts and proofs of their plays, a few in prose (which are unpublished), the majority in verse, c. 1874-1918
- Drafts and manuscripts of their verse, 1861-1912
- Miscellaneous papers, mainly of personal and biographical interest, 1832-1924
- Later papers relating to 'Michael Field', 1890-1970
History
1832-1970.
About this edition
This is a born-digital scholarly edition of the first half of Act I of Michael Field's verse drama In the Name of Time from the Papers of Michael Field. Shelf mark: MSS. Eng. poet. c. 36 and MSS. Eng. poet. d. 110 Katherine Bradley (b.1846-d.1914) and Emma Cooper (b.1862-d.1913) wrote together under the pseudonym Michael Field. Literary- and life-partners, the couple published verse dramas and collections of poetry between the years 1881 and 1913. Their will donated all of their writing materials, including journals and unpublished works, including In the Name of Time to the Bodleian Libraries, British Library, and the Fitzwilliam Museum. Thomas Sturge Moore, their literary executor published this play in 1919 under their posthumous directive along with an edition of parts of their journals. This is the first new edition of any part of the play since its first public appearance 101 years ago. The transcription was encoded in TEI P5 XML by Elsa Kienberger.
Availability
Publication: Taylor Institution Library, one of the Bodleian Libraries of the University of Oxford, 2020. XML files are available for download under a Creative Commons Attribution-ShareAlike 4.0 International License . Images are available for download under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License .
Source edition
Field, Michael. In the Name of Time.
The Papers of Michael Field. Oxford, Bodleian Library, MS. Eng. poet. d. 206, MSS. Eng. poet. c. 36, MSS. Eng. poet. d. 110, MSS. Eng. poet. d. 109, MSS. Eng. poet. d. 108
Editorial principles
Created by encoding transcriptions from manuscripts and compiling them into an edition.
Treatment of the base text:
I. Manuscripts and Versioning History
- MSS. Eng. poet. d. 110 contains two versions of Act I of In the Name of Time , which I have labeled 110a and 110b to distinguish between the earlier and later version respectively
- MSS. Eng. poet. d. 109 also contains versions of Act I. I have not included this version in my transcriptions or genetic edition because Michael Field explicitly writes at the end of the first version ' Not to be printed'. I have also intentionally excluded loose papers belonging to another version of the first pages of Act I that were glued to the end pages of the MSS. Eng. poet. d. 110 notebook.
- Bradley and Cooper take turns writing, transcribing, and editing versions of the play. Bradley's handwriting is large and loopy, whereas Cooper's is smaller and does not interlock as much. MSS. Eng. poet. d. 110a is written entirely in Bradley's hand, MSS. Eng. poet. c. 36 is written entirely in Cooper's hand, and MSS. Eng. poet. d. 110b is written in Bradley's hand with Cooper's notes. Footnotes in the MSS. Eng. poet. d. 110b transcription indicate when the hand changes.
- Black lettering indicates black ink, red lettering indicates brown ink, gray lettering indicates pencil, and blue hyperlinks indicate syntax, word, and sentence differences between manuscript versions.
II. Spelling and Syntax
- Epsilon (ε) usage standardized to e
- Overwritten text cannot be displayed through XML mark-up and have been replaced with deletions in this file. Below are the instances of overwrites in MSS. Eng. poet. c. 36 (not present in other versions) with the letter overwritten in parantheses:
- - (s)river [folio p. 6]
- (h)His [folio p. 7]
- a(r)rested [folio p. 9]
- (c)Consul [folio p. 11]
- (o)Own [folio p. 11]
- Em dashes are not possible in XML mark-up and have been replaced with two en dashes
- MSS. Eng. poet. c. 36 has extra spaces between words and punctuation. For example: 'So will I be , a king .' instead of 'So will I be, a king.'. As a fair copy, the intention behind the increased space (not present in MSS. Eng. poet. d. 110a and MSS. Eng. poet. d. 110b) might be an effort to increase comprehension for the printing process, so that typesetters can easily distinguish punctuation. Since we can never know the authorial intention, these spaces should be recorded in a responsible transcription. Due to the time constraints of this project, however, I minimized coding the individual choices between manuscripts by removing the spaces around the punctuation in MSS. Eng. poet. c. 36. Please see images of this MSS for an accurate representation of Michael Field's concept of space on the page.
III. Defining the Act
- Due to the time constraints of this edition, I have only transcribed until Geneviva's first monologue in each of the versions. Not only is this location roughly halfway through the first act regardless of the version, it gives readers the chance to read a female character.
This edition would not be possible without the help and guidance of the professors and administrators at the University of Oxford and the transcendent work of Michael Field. I am entirely responsible for any errors or mistakes in this edition.
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