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CONTENTS AND INTRODUCTION
This digest contains the highlights of our first six issues, spanning December 1996 to May 1997. Select from the following topics, or scroll through below:
The digest complements the CERES STARTER GUIDE. Note that in some cases our comments will be especially dated.
Not included here are the ephemera culled from our regular trawl of the University of Pennsylvania's Calls for Papers (CFP) service and usually swelling our 'News from the Net' section. You can always check CFP yourself via the following URL: http://dept.english.upenn.edu/CFP
Our customary reminders: that we are what you make us (plus a little extra) - we depend upon your feedback and contributions; and that in certain obvious cases the wording, spelling, and pronouns in blurbs are not ours.
THE MILTON TRANSCRIPTION PROJECT
The MTP is dedicated to making all of John Milton's poetry and
prose available for public access on the Internet. Although most
of Milton's poetry is available in modernized forms, the MTP is
preparing more accurate electronic facsimiles of the early editions
of Milton's poems. In addition, most of the English and Latin
prose - along with a great deal of fascinating Miltoniana - remains
to be done. Volunteers are invited to transcribe as much or as
little as they wish; each transcription will be proofread,
formatted, checked, and refereed. All accepted transcriptions will be
credited by name. More info can be had from Professor Hugh Wilson, MTP Editor, or Professor A.E.B. Coldiron, MTP Internet Liaison.
H-CERVANTES
New H-NET network for scholars and professionals active in studies
related to Miguel de Cervantes Saavedra. It encourages scholarly
exchanges on all aspects of the author, his works, his circle, his
times, and scholarship on the era, and welcomes participation by
scholars/specialists from all disciplines. More information is available at the H-Net Web Site (http://h-net.msu.edu). To join H-Cervantes, please send a message to
listserv@h-net.msu.edu with no subject line and only this text:
sub h-Cervantes firstname lastname, institution. Capitalization does not matter, but spelling, spaces and commas do.
For technical assistance, write to: help@h-net.msu.edu
This rather large section can be accessed by the following index, or you can scroll through below:
BROWN WOMEN WRITERS PROJECT
The main feature of this site is a list of texts 1350-1830 written
by women which are available in paper form (orders via e-mail,
details on website). It also has a discussion group and relevant
links and information on conferences etc. The project is
associated with OUP who are printing a series of WWP books. It can be reached at http://www.stg.brown.edu/projects/wwp/wwp_home.html
HYPERTEXT RICHARD III:
Produced by the Richard III Society, this is not a scholarly
edition but rather an electronic text with links at appropriate
points to notes taken from Charles Ross's 1981 biography of
Richard. Also offers links to related Richard III materials such
as ballad versions of the story, excerpts of historical accounts,
and details of films and other performances. Look for Richard at http://www.r3.org.
SPENSER HOME PAGE
This page has excellent links to services elsewhere, as well as
details of how to subscribe to SPENSER-L (see its review below), a
whopping Spenser bibliography, and page manager Richard Bear's own
collection of electronic texts. These include an ongoing
illustrated hypertext 'Lady of May', and transcriptions from
facsimiles of 'Amoretti and Epithalamion', 'Astrophel and Stella',
Wroth's 'Pamphilia to Amphilanthus', and so on. Also, there are
scannings-in of editions by Grosart; most of Spenser is available
in this form. View Spenser at http://darkwing.uoregon.edu/~rbear/.
16TH CENTURY RENAISSANCE ENGLISH LITERATURE
This is really a service to make term projects fun for students,
but it still has some great pictures (Sidney in colour) for your
wallpaper, and some good links. It can be accessed at http://www.luminarium.org/lumina.html.
MR WILLIAM SHAKESPEARE & THE INTERNET
A very good set of links with brief explanatory comments. This
page provides a good survey of the numerous sites where you can
find Renaissance resources and particularly texts. Mine these veins at http://daphne.palomar.edu/shakespeare/.
DE DOCTRINA WEBSITE
This features a lengthy scholarly essay prepared by five scholars
on the provenance and authorship of Milton's DDC. It can be reached at http://genmac.bangor.ac.uk/ddc.htm.
INTERACTIVE EMLS
Keep an eye on Early Modern Literary Studies, an on-line journal
and one of the best sources of Renaissance links. Its interactive
section, IEMLS, is accumulating a broad range of texts and
other resources and links: http://www.humanities.ualberta.ca/emls/emlshome.html.
OVID PROJECT
Some very pretty pictures at the University of
Vermont; site features engravings from the 1640 Sandys translation and
1703 engravings by Johann Wilhelm Baur. Achieve the green-mountain state at http://www.uvm.edu/~hag/ovid/.
MAILING LISTS
Diane Kovacs maintains an exhaustive-seeming list of scholarly,
widely accessible, e-mailing lists. URL: http://www.n2h2.com/KOVACS/
ITER
The Bibliography of Renaissance Europe 1350-1700
Visit: http://iter.library.utoronto.ca/.
ITER currently has 50,000 articles on the database and will have
100,000 books as well: clearly a database to be reckoned with.
The plan is that users will have to subscribe, but at present
(6/97) ITER is FREE!
SHAKESPEARE (again)
Another one to add to the list, but not just one of the crowd.
Matty Farrow of the Persistent Systems Research Group at the
University of Sydney has developed a site with a good search
facility and different versions of the collected works. A new
version of the search program is under development; try it out at http://www.psrg.cs.usyd.edu.au/~matty/Shakespeare/.
PALAEOGRAPHY ON THE WEB
Perhaps surprisingly the Web is not stuffed with samples of
fearsome Elizabethan secretary hands. What is underway, however,
is a large scale digitising of large numbers of manuscripts and
rare books in the name of access and also of conservation.
Currently pretty pictures are the order of the day.
A good place to start for the MS browser is: http://www.georgetown.edu/labyrinth/subjects/mss/mss.html. This has links to on-line manuscript catalogues, on-line manuscripts, and (perhaps most interestingly at this stage) to major manuscript projects that are underway e.g. in the Bodleian, British Library, Vatican Library etc.
Similar services at: http://www.byu.edu/~hurlbut/dscriptorium.
INTERNET SHAKESPEARE EDITIONS
CERES would like members to give these editions a thorough going
over and to report back to us. Clearly the potential of this
resource is enormous. Draft electronic versions of a number of
early quarto and folio texts are now available from the site of the
Internet Shakespeare Editions. The texts are available for
teaching purposes, and can be downloaded in either HTML format as
you browse, or as text files in what is variously known as
'Interchange Format,' 'Rich Text Format,' or 'RTF' by ftp. Most
word processors should be able to translate the text files to
provide basic formatting.
The site for the Internet Shakespeare Editions uses the metaphor of a library as a principle of organization. From the Foyer you can access discussions about the aims of the ISE texts, a list of the Editorial Board, and some material on the principles of tagging that are being employed. The Library will contain the final editions (nothing there yet). All material in this section will be refereed. The Annex is an area for informal discussion and the posting of useful, but unrefereed materials. This is where the current texts can be found.
The following are available in the Annex so far:
COPAC
COPAC is a new nationally accessible catalogue. Based at the
University of Manchester, it provides unified access to the
consolidated online catalogues of some of the largest university
research libraries in the UK and Ireland. COPAC is normally
available 24 hours a day 365 days a year and access is free of
charge.
The COPAC database currently contains approx. 3.5 million records. These represent the merged online library catalogues of: Cambridge University, Edinburgh University, Glasgow University, Leeds University, Oxford University, Trinity College Dublin.
The records from a further twelve university library catalogues
will be added in due course, and there are plans for the addition
of material from further libraries in the future. Records for
materials published pre-1900 make up c.4% of the database and the
proportion of older materials is growing. Records for periodicals
make up some 4% of the COPAC database.
A Text Interface: Telnet: copac.ac.uk (username: copac password: copac)
OTHER LIBRARIES - CATALOGUES ETC.
RENAISSANCE EMBLEMS
William Barker, Mark Feltham, and Jean Guthrie of the Memorial
University of Newfoundland have put online Andrea Alciato's Emblematum liber, text in Latin with English
translation. After an update at the end of 1996 the site now
includes the emblems of Whitney, Lefevre, and Palmer.
See http://www.mun.ca/alciato/. This site also has links to other resources, including a website at Glasgow specialising in French emblem books: http://www.gla.ac.uk/Library/Emblems/.
FONTS
CERES is interested to hear if members have good examples of
Renaissance (or other useful) fonts on their computers. A
premilinary foray into this area has unearthed a useful article
(how-to-do-it etc.) by Grazyna Cooper, of the Oxford University
Humanities Centre, at http://info.ox.ac.uk/oucs/humanities/fonts.html. NB when this article talks about 'Old English' it doesn't necessarily mean Anglo-Saxon. More information and possible downloads at the following URL:
http://info.ox.ac.uk/oucs/humanities/chcdown.html#oldengpc. There is also a font based on the Shakespeare First Folio from the Illinois Shakespeare Festival site. It includes no numerals and few special characters, which limits its use. A final point worth making is that some commercially available fonts are effectively early modern in style, such as Adobe's Caslon series (certainly available for Macs). This, of course, has the special characters and numbers, but also ligatures and some swashes.
REED
CERES has already mentioned REED-L, the Records of Early English
Drama Discussion Group (in the STARTER GUIDE). There are other
addresses to note:
MANTOVANO ARCHIVE AND VIRGIL BIBLIOGRAPHY
MANTOVANO is a list specialising in the reception of Virgil, as
reviewed below. Searchable archives for the lists are now
available at the following URL:
http://www.reference.com/cgi-bin/pn/listarch?list=MANTOVANO@virgil.org. MANTOVANO list manager David Wilson-Okamura has also updated his
Virgil bibliography, which can be found at:
http://www.virgil.org/.
STUDIES IN BIBLIOGRAPHY ONLINE
The online version of Studies in Bibliography can be found on the
homepage of the Bibliographical Society of Virginia at
http://etext.lib.virginia.edu/bsuva.
EARLY MODERN TRANS-ATLANTIC ENCOUNTERS
CERES Harvest I.iii carried the information about this conference
held March 6-7 1997 at CUNY. Some of the papers presented are
on-line, in addition to the programme. The conference website is:
http://web.gc.cuny.edu/dept/renai/conf/.
HISTORY OF CARTOGRAPHY WEBSITE
This is a very full site run from the Institute of Historical
Research. URL: http://ihr.sas.ac.uk/maps/.
The website has information about journals, conferences,
collections etc. What it does not have is lots of pretty pictures
but (i) it has links to them and (ii) it is intended to develop.
SIDNEY JOURNAL
Available at http://www.uoguelph.ca/englit/sidney/.
As is too often the case with periodicals on the Net, Sidney
Journal has only put contents pages on-line. There's
also the full text of the first-ever issue, and a few other
goodies.
THE PERDITA PROJECT
This is a planned database for early modern women's manuscript
collections. Run by Nottingham Trent University and the Oxford
Centre for Humanities Computing, it aims to produce a comprehensive
guide to over 300 miscellanies compiled by women. Publication may
be on CD-ROM or on the Internet; in either case the Internet will
be used to provide updated information. Interested contributors
and/or consumers should contact Victoria Burke (ems3burkeve@ntu.ac.uk).
CTI GUIDE TO DIGITAL RESOURCES
A pretty impressive list of various kinds of electronic resources based in Oxford. Still under
development, so the specifically literary section remains to be
evaluated. Still, the 'Bibliographic Resources and Tools' is
useful, particularly as a starting point. It includes entries for
twenty-eight bibliographic databases and other packages, with links
to Internet resources, and an overview essay of the resources
available in this area. Take an electronic trip to
http://info.ox.ac.uk/ctitext/resguide/.
CERRA INCREASES NET PROFILE
It is now possible to consult the schedule of the seminars of the
Centre d'Etudes et de Recherches sur la Renaissance Anglaise of
Montpellier on the research web server of Universite Paul-Valery at
the following URL:
http://serinf2.univ-montp3.fr/CERRA/CERRAsem97s21.html.
A link leads to a list of seminars since 1993. Soon coming: a presentation of the members' activities and bibliographies.
For the Centre's home-page and links to the on-line Cahiers Elizabethains, head for: http://serinf2.univ-montp3.fr/CERRA.html.
NORTON SHAKESPEARE CD-ROM
Information is available at: http://www.wwnorton.com/college/english/shakespeare/cdrom.htm.
You can see there a slightly uninspiring reproduction of a CD-ROM
page with a charming little link to a sound clip from the play.
'Not Hermia, but Helena I love' etc.
SHAKESPEARE ILLUSTRATED
Run by Harry Rusche at Emory, this features nineteenth-century paintings of Shakespearean
topics and, though still under development, is a pleasure to visit:
http://www.emory.edu/ENGLISH/classes/Shakespeare_Illustrated/Shakespeare.html.
APHRA BEHN SOCIETY
Website at http://prometheus.cc.emory.edu/behn/index.html.
This well-maintained site features the society's newsletter,
information about conferences and other projects, links to
electronic resources and on-line teaching resources, relating to
Aphra Behn and women's writing more generally. It also has a page
of members' e-mail addresses.
ERFURT ELECTRONIC STUDIES IN ENGLISH
EESE, which is under construction, offers a journal and a resources
area. It is apparent, though, that there is not much extra material
afforded by the latter to anyone acquainted with one of the
introductory sites already featured by CERES (EMLS, Jack Lynch,
etc.). It does, though, have a curious front-end picture which shows Shakespeare
with a black eye and a cathedral on his head. The journal is, like
its peers, OK if you like that sort of thing.
URL: http://webdoc.sub.gwdg.de/edoc/ia/eese/eese.html.
COMPUTERS AND ENGLISH STUDIES
Reading lists and URLs from a series of lectures in Oxford on this
topic. Plenty of food for thought here in the form of ruminations
on the place of electronic media in the study of literature, plus
numerous practical examples. URL: http://users.ox.ac.uk/~stuart/engcourse.html.
DAVID WILSON-OKAMURA
CERES salutes this man; creator of a splendid homepage and the
owner of the MANTOVANO list reviewed very favourably by Colin
Burrow below. His web pages feature Donatus's Life of Virgil in a
convenient English translation. Perhaps the appeal of his
excellent Virgil-reception bibliography (including lots on the
Renaissance) is even wider. His bookmarks are thorough and
impressive and will link you to most of the crucial resources, with
a Classics-and-English spin. Enjoy your excursion to URL:
http://student-www.uchicago.edu/users/dswilson/.
PERSEUS PROJECT GOES RENAISSANCE!
For a while the Perseus Project has provided electronic resources
for classicists (mainly Greek; the Roman section is just getting
started): URL http://www.perseus.tufts.edu/.
Now it plans to branch out into Renaissance materials, including an
impressive range of Shakespearean sources, sixteenth and
seventeenth-century critical essays (i.e. Smith and Spingarn plus),
religious materials, pamphlets, etc. So far there's only a
preliminary list, but if you wish to start your brain cells
salivating, or to check that everything's there, spur your browser
towards http://www.perseus.tufts.edu/sources.html.
IRISH ELECTRONIC TEXTS ON THE INTERNET
A new Web project called CELT is being launched by University
College Cork to make text material of Irish interest widely
available in computerised form. The project will cover
contemporary and historical topics from many areas, including
literature and the other arts. CELT replaces CURIA, a project
which had been joint-funded by the Royal Irish Academy.
The project's web pages start at http://www.ucc.ie/celt/.
SPENSER-L
Reviewed Spring, 1997
SPENSER-L is an unmoderated on-line discussion of things Spenserian and Sidneian. The list has about 300 members, some of whom will be temporary - students encouraged to think that sending in an enquiry may get their essay written for them. Most, though, are decent scholars. Contributions tend to be off the top of the head rather than considered; but then, this willingness to talk shop without checking references first has its advantages. The list is very good at responding promptly to simple queries ('What's the latest article on...?'), and at brainstorming (a request for analogues and sources for images of mining in Spenser, very productively). Also, a considered but open-ended question engaging members' general understanding of critical trends, methodology, or Spenser even, can lead to many provoked thoughts. Information and references can be vague, though seldom inscrutably so, but the recent recruiting of 'Analogy' Nohrnberg is raising the stakes here; worrying of course to see scholars getting addicted to e-mail (nosce teipsum!), but a precious few provide great service to the scholarly community.
SPENSER-L snuggles under the broad aegis of Richard Bear, who also runs the WWW Spenser home-page (http://darkwing.uoregon.edu/~rbear/). To subscribe, send the following command to majordomo@darkwing.uoregon.edu in the BODY of your e-mail: 'subscribe spenser-l'
For further information, contact Richard Bear (rbear@oregon.uoregon.edu).
REVIEW OF MILTON-L DISCUSSION GROUP
Reviewed by Colin Burrow, Spring 1997
As one versed in the extreme indecorum of Milton's own 'discussions' with his enemies, I imagined that the items on the Milton-L discussion group would be gobbets of bile. Here at last, I fondly dreamed, Stanley Fish and Christopher Ricks would finally say what they really thought of each other, and Abdiels would zealously defend the cause of righteousness. No such luck. The group is at present rather sleepy, and when not dozing is scrupulously polite. Even when a sophomore asks for hot tips about Milton's attitudes to beauty no-one says 'Er, what do blind iconoclasts usually think about beauty?' Instead there's a great deal of 'You might try looking at the description of Adam and Eve's bower at the end of book IV. Good luck with your term paper.' The advice is often quite teachy, and so is quite unoffputting and often quite helpful. It's hard to imagine Milton himself being that nice to John Phillips et al. Roy Flannagan puts in occasional genial and learned words when either too much heat or too much dozing is being generated. Odd little angles (not angels) pop up, and the odd really bad joke. I've found that when contributors suggest reading in reply to queries they tend to give half- remembered references on the hoof, so don't expect gleamingly up-to-date-references which you can paste into bibliographies. Unless you are desperate to have as many items in your in-tray as possible (as sad as me in fact) it's probably better to subscribe to Milton Digest, which pastes all the contributions handily together. That way you only have to delete one item... There is an archive of past contributions (address below), which includes discussions of Milton's theodicy, gnostic elements in 'Paradise Lost' and so on. It is unedited though, and the list as a whole is not moderated, so expect some dross, and not necessarily bullion dross at that.
An archive of contributions in HTML format is under construction (i.e. not much use at present) at: http://www.urich.edu/~creamer/archive.html.
The bulk of the archive, though, can be obtained by anonymous FTP from ftp://urvax.urich.edu/milton/milton. Big files, though: long toil to read, too, since each message is preceded by a long account of how the electrons which make it up went around the world. Sometimes, one fears, the electrons zipped in vain.
To subscribe to Milton-L, send a message to Mailserv@urvax.urich.edu. The message should read: subscribe Milton-L To subscribe to Milton-Digest, send a message to Mailserv@urvax.urich.edu. The message should read: subscribe Milton-Digest These messages are case-sensitive.
You can subscribe via the Milton-L Homepage (http://www.urich.edu/~creamer/milton.html), though I tried that method and it didn't work for me. The Homepage is full of excellent links.
REVIEW OF MANTOVANO-L (DISCUSSION GROUP OF VIRGIL AND HIS AFTERLIFE)
Reviewed by Colin Burrow, Spring 1997
It's hard to know what a discussion group should be. I suppose it should be fairly polite to initiates who ask for a few tips, and should let scholars know what other scholars want to know in a format which saves them time. There's also a case for a group which doesn't encourage people to say 'Oh hum there was this article in the BJRL a few years ago' when they're asked for reading on an arcane point. A good list manager will encourage contributors to give full and accurate citations in answer to queries. People who want to learn what a discussion group can do might do a lot worse than subscribe to Mantovano-L for a week or so. Topics vary as they always do in these groups: one day a teacher might be asking which edition of Virgil to use to teach High-School students, and get a surprisingly unanimous answer the next; another day someone might wonder if Fulgentius's commentary on the 'Aeneid' is partly intended as a joke. Students who ask what the Virgilian allusions in Tennyson's 'Virgil' are get rapidly starved out in the fairly recondite air of this group, but it's usually kindly done.
Presiding over it all is David Wilson-Okamura, who does a heroic job. He chugs out reading suggestions with great accuracy and detail on some fairly restricted areas, and keeps decorum kindly. (His Bookmarks are a very good start to anyone looking for Latin material on the Web, by the way: http://student-www.uchicago.edu/users/dswilson/bookmark.html) Subscribers to Ceres might find the whole thing a bit specialised in areas which aren't quite theirs (it has a very strong interest in early commentaries on Virgil, for example), but it is good to see that the temptations of e-mail to say what the hell you like as badly as you like can be resisted, and that the result can be a genuinely useful scholarly medium.
Mantovano says that it exists to discuss: 1.The works attributed to Publius Vergilius Maro; 2.Commentary on Virgil and his works; a. from late antiquity (e.g., Servius, Macrobius); b. from the middle ages (e.g., 'Anselm of Laon'); c. from the renaissance (e.g., Landino); d. from the enlightenment to the present; 3.Virgil's influence on subsequent literature (e.g., Lucan, Statius, Dante, Ariosto, Petrarch, Tasso, Spenser, Milton). My experience suggests that 1 and 2 are more popular among its contributors than 3.
You can subscribe to Mantovano-l at its Home Page: http://www.virgil.org/mantovano.
Alternatively you can send the message 'subscribe mantovano' to: majordomo@virgil.org.
This section is dedicated to sites and services which provide access to texts in various electronic forms. Many of the Internet sites found above or in the CERES guide no. 2, 'Internet Sites', can lead you to texts as well. The point of this section is to explain how to gain access to useful text providers.
OXFORD TEXT ARCHIVE
Reviewed Spring, 1997
This sounds like a great service, but, as ever, what is freely available is useless, and what is good takes some effort to get hold of (SEE BELOW). You might want to see what is available in the 3 main categories (free by FTP; application only; Oxford users only) by looking at the main catalogue (http://firth.natcorp.ox.ac.uk/ota/public/catalogue/index.html). As far as freely available stuff goes, for some reason Oxford have removed line breaks from all verse texts. So Paradise Lost reads 'Book One Of Man's first disobedience and the fruit Of that forbidden tree', and so on. Beautifully ancient as a writing system, but annoying. Such free texts as this and Marvell work just as well for concordancing in this form, however, so unless you actually propose reading the thing on screen, or printing it all off, this format is not as handicapped as it might appear to be. The KJB is available via this route, and has paragraph breaks, not because it is more authentic a manifestation of God's lexicon than Paradise Lost, of course, but because it is prose. If without a Rosetta Stone, you may wish to look for texts in more eclectic spaces, such as the home pages for the authors concerned (Spenser home page has links to Milton home page, and MILTON-L home page).
Several CERES members now have experience of acquiring electronic texts from the OTA. Texts are divided into various classes: P (publically available), U (available to scholars), A (as U but requires written permission from the person who deposited the text), X (Oxford users only). The introduction above dealt with texts publically available over the internet. Most texts, however, are in class U. Getting hold of these is more complicated, but they tend to be of better quality and so greater utility. Examples include J.C. Smith's 'Faerie Queene', very usefully marked up with book, canto, and stanza numbers; texts used to make some Cornell concordances (e.g. Donow's Sidney); a transcription of the 1609 'Sonnets' deposited by Gary Taylor; and thousands of other things. These may contain a smattering or a hailstorm of codes (for instance for small capitals or italics), which you may be able to utilise, or you may wish to delete [OTA has links to information about mark-up systems].
For more information on the OTA, see recent coverage in Harvest III.iii here.
OTHER NOTABLE E-TEXT DEPOSITORIES
THOMAS HARIOT: an excellent-looking site with transcriptions, facsimiles, variants, and introductions to both the 1588 quarto and 1590 folio of Hariot's 'A Briefe and True Report of the New Found Land of Virginia. It's at the following URL: http://fermi.clas.virginia.edu/~msk5d/hariot/main.html
In making use of the many rhetoric-connected resources on the internet one must bear in mind that the USA is a classical republic. Most of the services and most of the people using them are connected to institutions which teach rhetoric as a part of courses on writing or communication. The list H-RHETOR is a case in point. Its mission statement is as follows:
'H-RHETOR will provide a forum for scholars and teachers of the history of rhetoric, writing, and communication. There are no geographical or chronological boundaries... The primary purpose of H-RHETOR is to enable historians to communicate current research and research interests; to discuss new articles, books, papers, approaches, methods and tools of analysis; and to test new ideas and share comments and tips on teaching.'
The list can be received in a digested form (recommended), and is a fairly busy forum. It sends out details of [ir]relevant job vacancies, conferences (such as a full programme for this year's International Society for the History of Rhetoric conference), and news (much forwarding of Reuters reports on the discovery of the Lyceum in Athens). As is the case with many lists, its members are happiest to volunteer short contributions which require minimal thought, though occasionally a discussion will lead to the exchange of massive bibliographies on a particular issue which to Renaissance rhetoricians may look utterly alien. One string which produced much correspondence started life as a suggestion that a discussion be started on rhetoric in the New Testament. A volley of full references was returned from various professors of the history of communication. The writer of the original query then wrote in with notable dignity to remark on the way he had been taken for an ignoramus in need of bibliographical help rather than a scholar wishing to exchange ideas. And the references kept coming ('good luck with your project'). The references were in fact very good; and it is quite possible that the list members were right in their assumptions and did not wish to get drawn into idle banter. But I have seen nothing to suggest that the many members of H-RHETOR have much of a communal identity or sense of what the list ought to be for. (One possible exception was a lamentably popular chain of rhetoric jokes.) Where other lists have habits and protocols, a culture in short, H-RHETOR seems an awkward infant. This may be because the area is too big. Or perhaps it was a bad year. If you wish to subscribe send the following message to listserv@msu.edu, substituting your name and affiliation whereappropriate: 'SUB H-RHETOR firstname surname affiliation' (Example: SUB H-RHETOR Philologus Waffle University of Cambridge).
The list is archived at Carnegie-Mellon University: http://english-www.hss.cmu.edu/rhetoric/searching-h-rhetor.txt.
As for the WWW, there is no ideal site or set of links, perhaps because most of the resources on offer are either texts or lists of figures for students taught by H-RHETOR members. You might like to try Carnegie-Mellon: http://english-www.hss.cmu.edu/rhetoric/. Or the H-RHETOR homepage: http://h-net2.msu.edu/~rhetor/. Or, more low-level, Georgia Rhetoric Resources: http://www.lcc.gatech.edu/gallery/rhetoric/. Or, the American Communication Association links at http://www.uark.edu/depts/comminfo/www/classical.html. Most of these seem to be links to texts, and to other sets of links. For which one might just as well start at Cambridge classical links: http://www.classics.cam.ac.uk/Faculty/linguistics.html. Or try any of the general Renaissance links pages listed in our starter guide.
Perhaps a better method to generate your own avenues of enquiry is to try a search at, for example: http://altavista.digital.com. An advanced search such as 'rhetoric and dialectic' [document will contain both words], or 'rhetoric near dialectic' [within 10 words of each other] will narrow the field.
But now for the good news.
A number of companies, like AltaVista, have computers which cross-index every word every time it appears in any document on the internet. Making the most of this facility can be problematic: a search on 'tragedy' will yield many tens of thousands of hits, 90% of which will make no reference to literature. If you can find the right word, however - something nice and rare, something with only one meaning - you can strike gold. Any rhetorical figure is such a word. Just try searching for paralepsis at AltaVista, and you will get a score of hits, very few of which are likely to be red herrings. Narrow it to 'paralepsis near (rhetoric or rhetorical)' or 'paralepsis and epanorthosis' and further refine your bullion. With a single word search you will also discover what I discovered, which is a wonderful service offered by a company called ZenSoft. They have created pages with links to the results of searches on single words by all the dozen or so other companies (AltaVista, Yahoo, HotBot, etc.) to create what they call 'Ultimate home pages'. I found a great deal at: http://zensoft.com/pages/aposiopesis.html.
This included useful references to articles; two discussions of the figure in the New Testament from online biblical commentaries; an interesting use of the figure in Joseph of Exeter's C12 'Judgement of Paris', identified by the hypertext commentary; an online review of Burmeister's 'Musica Poetica'; and a mention in a recent book on art theory, a chapter from which had been put on the Web as a taster. I also discovered Monty Python's Announcement for People who hate Figures of Speech: http://bau2.uibk.ac.at/sg/python/Scripts/BrandNewPapperbok/HateFigures.html.
The best thing about ZenSoft's service is that you can go straight to the page by typing in the URL: http://zensoft.com/pages/[word, including proper nouns].html.
To test their comprehensiveness I tried the ultimate big word, and was duly impressed: http://zensoft.com/pages/honorificabilitudinitatibus.html.
Honorificabilitudinitatibus! Welcome to the ULTIMATE Honorificabilitudinitatibus Homepage!
Looking for stuff about honorificabilitudinitatibus? Congratulations! You've come to the right place!
From this page, you can directly search every major search engine for honorificabilitudinitatibus with a single click! The entire world wide web is at your disposal! And please, don't forget to visit our sponsor!
If you have used any of the Chadwyck-Healey Databases before, Editions and Adaptations of Shakespeare should look familiar. The interface is very similar to that of The Bible in English. You are presented at start-up (well, after several minutes frantic chugging from a terminal in the UL) with either a search window which uses standard Boolean terms, or with a menu of contents. The icon with a red magnifying glass on the toolbar opens the search window if it does not open up straight away, but don't be hasty: the main problem with this software in its UL manifestation is that it is so slow that you make every command twice since you don't believe just how slow it is. Wait. It will happen. Eventually.
The icon on the toolbar that looks like an open book will give you the menu of contents, if it does not come onto the screen straight away. Again, wait. From the menu you can choose from a range of editions from the First Folio, through Rowe, Pope and co. up to the Cambridge edition of 1863-6, and a range of adaptations of the plays (from Dryden's All for Love through Davenant and Betterton's Hamlet, to Brough's Perdita or the Royal Milkmaid). What there isn't is any representative modernised text to compare with the earlier editorial tradition, although the Cambridge edition comes as close to this as copyright allows. (Probably the most reliable source of a modern e-Shakespeare is Shakespeare by Andromeda, which is the Oxford Shakespeare on CD, although the search engine is dreadful and the application doesn't coexist happily with others). You'll find too that sometimes Chadwyck-Healey have, for reasons of space, opted for the first edition of a particular edited version (as in the case of Rowe); in other cases they have taken the last and fullest (as in the case of Malone's edition, where the text used is the 1821 Malone/Boswell variorum). These choices are on the whole well made, but if you want to compare different editions of the same edited version you have to return to the world of paper. (Don't worry: it's still out there.) Click a radio button on the menu and you will open up the volume you want. (More frantic wheezing and a lot of waiting.) Click more radio buttons and more editions will appear. (Chug wheeze.)
You can view an edition in three ways: table of contents only; text only; text and table of contents. Unless you want to read through from the start (let's face it, no-one reads e-text) it's best to use text and table of contents (TTOC), which you access by clicking the icon on the toolbar (helpfully unnamed) that looks like a double column of text. A screen split between contents (left) and text (right) will appear. You can adjust the divider by dragging it with the mouse. You can make text bigger or smaller by pressing Shift at the same time as the up or down direction keys. (Irritatingly there is no way of saving these changes for when you open a new window, since there is no Preferences command, so you have to do it every time you open a new volume.) The TOC will have the title of the volume with a + sign in a box beside it. Click once on the + sign to expand the contents list. Beware oh ye instinctive double clickers that if you double click here the machine will groan and wheeze for a minute and briefly expand the tree before groaning and wheezing and then collapsing it again.
Anyway, you then find the bit of the particular volume you want via the Table of Contents and, well, you could then read it. A brilliant feature of the software (as of The Bible in English and English Verse Drama), though, is its ability to indulge one's desire infinitely to postpone reading into a play of difference that is jouissance (a.k.a. nerdery). That is that it lets you collate versions easily. Open several editions; click on the Full Text icon on the toolbar (FT plus loads of lines); click on 'Window' in the command bar; then 'Tile Vertically'; find the place you're looking for ('O what a rogue and peasant slave', say) in one edition, and then click on the icon in the text window which looks like two little books being pecked by red arrows. Zap kerpow, all your open editions are open at the same spot (or more or less, my experiments suggest).
This is excellent for comparing quarto and folio texts. Except that on the UL machines it is not Zap kerpow at all but anxious whirs and 'where's my brain gone?' from those dear little things that were born to be dumb terminals. Write to your MP asking for more RAM in the UL. Ask them to load the tables of contents onto the hard disks of the terminals too, since that speeds the program up a lot.
Note though: reasonably enough this collation feature, or 'text synchronise' feature as they call it, does not work with the adaptations, since the texts are often so different as to make it impossible to collate Shakespearean scenes with their derivatives. Fair enough. But, dear Mr Chadwyck-Healey why didn't you bother to make the collation feature work for the sonnets and narrative poems? For these you just have to Page Down manually, which is annoying, since someone has been paid to do the job electronically and hasn't finished it off properly. Do, by the way, use Page Down rather than the scroll bar or the direction keys: the scroll bar covers the whole volume you're looking at, which might contain twenty different printed volumes, so you move very crudely down; the direction keys go so slowly that the temptation is to keep pressing and pressing. If you do that you will find, minutes later, that the UL terminal has had one of its sudden bursts of frisky energy and has decided to canter past where you want to be. And then you page up ...
So it has bad points, slowness chief.
It also has some more serious deficiencies, several of which derive from the way the early printed material is grouped into volumes. Some of the 'volumes' are oddly selected. 'The First Folio and Collected Poems' is particularly badly thought out: the 'Collected Poems' is Benson's 1640 edition of the Sonnets, reordered and de-homosexualised, and full of demonstrably non-Shakespearean material. There is no Venus and Adonis or Lucrece in this volume, and no 1609 Quarto of the Sonnets. You have to look for these in 'Early Quartos and First Printings'. The reason for this, is, I suppose that the whole enterprise is aimed to represent the reception of Shakespeare as much as an idealised version of his texts abstracted from historical contingency, and Benson played a very strong role in determining the reception of Shakespeare's poems. His text, lovingly reproduced with all its unquestionably non-Shakespearean material (Heywood's Ovidian epistles and so on) is given an extremely misleading centrality, for the uninitiated at any rate, by being put together with F1 as the volume you are presented with by default. And if you choose 'Search first Folio' without otherwise limiting your search the program will also search the 'Collected Poems'. So if you want to know about 'lo?e' in F1, say, you will also have to find out something about Heywood's uses of the word 'love', unless you select all the plays individually. I suppose Margreta de Grazia's arguments that Benson's volume is designed to look like the second Folio influenced Chadwyck-Healey here, despite the fact that Benson's text derives entirely from the 1609 Quarto, and despite the fact that he and Cotes clearly were not intending to produce a 'Collected Poems' volume since they made no efforts to obtain the copyright on the narrative poems. Benson's volume belongs among 'Adaptations', and the 'Folio and Collected Poems' section ought to include F1 together with Q1 of the Sonnets, Venus and Adonis and Lucrece.
The other quite seriously bad feature of the disposition of material into volumes is that, while you can open several texts from different volumes at the same time, you can't open different texts from the same volume at the same time. This is a real problem with the baggy monster volume 'Quartos and First Printings', which contains both Q1 and Q2 of Hamlet, for example. You can compare Rowe's Hamlet with Pope's by viewing both at the same time. You can view the Hamlets of F1 and Q1 together with an eighteenth century adaptation, because they occupy different volumes, but you can't view Q1 and Q2 of Hamlet (unless I've missed something). This is deeply perverse. The volume of 'Quartos and First Printings' ought to be divided into separate volumes for each play, or at the very least into 'First Quartos' and 'Second Quartos'.
The search engine also has its perversities. To select poems or plays you use a browse feature. This does not differentiate between different Quartos of the same play. So you ask it to search through Hamlet in the 'Quartos and first printings' volume and it will search Q1 and Q2 without giving you the option of selecting which one you want. This could be a real bore if you want to follow up a hunch about the spelling preferences of a particular print shop or compositor. The front end allows you to limit searches by character, by 'genre' (i.e. comedies, histories, tragedies, late plays, which I'm not sure anyone really believes are very useful ways of dividing the canon any more), by volume (i.e. a particular edition or one of the software's groupings, such as Adaptations). But you cannot search exclusively within the sonnets, since each sonnet (yes, each sonnet) is given a separate entry in the Browse menu from which you select your titles to search. Try selecting all 154 Sonnets and the software (what a darling! After all it only costs rather over two thousand quid) will tell you that you have selected too many items for it to search. The browse menu in the search window badly needs to be redesigned so that you can select individual Quartos. There should be a single entry for the Sonnets as well as the entries for individual ones, and a genre of 'non-dramatic verse' should be added to the 'genre' browse menu. Maybe one day.
The treatment of footnotes is also painful. The program does not have a View Footnotes command of the kind that most Word-processors have, which would allow you to see all the footnotes on a particular scene in, say, the Malone-Boswell Variorum edition; instead you have to double-click on the book-shaped hypertext links which are embedded at the relevant point in the text to see each note individually. This opens a footnote window for the particular footnote only, which is by default maximised: zap (or rather chug chug wheeze) no visible text, just a huge footnote plastered over the whole screen. Reduce the size of the note and you also reduce the size of the text window, so you still can't see the text unless you then maximise the text window, which then overlays the note window, until you reactivate and move the note window. Bloody irritating, and the simple result of bad software design. And you have to go through this whole rigmarole every time you consult a note, since the note window defaults back to maximised size. This way of presenting notes is just about OK with the Bible in English Translation, where it's likely one would want to find only one marginal gloss on a particular passage, but it is very annoying with this type of material, where you might want to get a run at how Malone reads a particular speech, say. And since a lot of the notes to the editions are lists of variants you need to be able to see them easily at the same time as the text, without shifting endless windowlets around the screen. There really should be an Options menu which would enable you to set a position for footnote windows, choose fonts, choose default window sizes and so on. But there isn't. Ho hum.
The worst problem, though, is saving. The obvious way round some of the limitations of the software is to save what you need onto disk, so that you can view text and footnotes together, say, or do word searches on the text of Q1 of the Sonnets. The otherwise helpful UL guide will not tell you so, but the program will only allow you to save a limited proportion of any text. If you try to save a whole volume the program will say 'This is not allowed'. Thanks. If you try to save more than 40% of a particular volume (but not the whole thing) the program will not make a murmur and will just go ahead with the save routine. But it will actually save only 40% of what you want (the Chadwyck-Healey handbook, which you can sign for in the Reading Room of the UL, warns you about this a bit cryptically). So if you select a large chunk of text to save - say a whole play plus notes, but minus the prefatory matter, from the Johnson edition - and save it to disk you will sit there and sit there and sit there (I found it took 30 mins per item). You will then take your disk home and find that the saved version breaks off, mid-sentence, after 40% of whatever it is you wanted. Nothing tells you 'Ha ha you thought you could download this stuff, but you can't' while you are wasting your time in this way. And trying to copy large sections of texts with the mouse will also get you nowhere slowly: copy more than 8192 characters (why 8192? - no, I don't want to know) and Dynatext (whose SGML software Chadwyck- Healey use) will flash up a message saying that you have tried to copy more text than it will allow you to and that it will copy only 8192 characters of it.
It is of course quite reasonable for Chadwyck-Healey to protect themselves against large-scale piracy, even by academics, those notorious thieves of valuable data, from the sale of which, we all know, they fund their cocaine habits. But the program should warn you of what it won't let you do. And given that its software in several crucial respects limits what can be done with its very useful data it should give its users a chance to use what they need - and what the UL has paid a lot for - in the way they need to use it by saving it to disk. I can't believe that enabling proper downloads would effect the sales of a CD so expensive that it can only be afforded by libraries. None of the material is in copyright, which is why the CD does not include a benchmark contemporary edition: why are we not permitted to use as much of it as we like for the purposes of research? Tell us, Chadwyck-Healey, in a sentence which does not contain the word 'money'.
So it's great for collating plays, provided you don't want to collate two quartos. It's really valuable if you are working on the growing area of the history of Shakespeare's theatrical reception, provided you don't want more than 40% of an e-text of a scarce adaptation to play with on your own. The selection of material to include seems to me to have been made with real judiciousness (though why they use Q2 of Venus and Adonis escapes me); it's the way the software divides it up that's the main problem. The CD is also probably the easiest way to do searches on F1 and the early Quartos currently available, since getting these from the Oxford Text Archive will involve giving up a lot of disk space and spending a lot of time downloading and searching. The texts are, so far as my tests have gone, quite accurate (though like many e-text transcribers its compositors sometimes have a hard time accurately reproducing compositorial errors and typographical oddities). The front end has some seriously annoying features which will limit its usefulness. Chadwyck-Healey need to try out their versions of Dynatext on more users before they release it: to have good data which is presented in a way that limits what you can do with it defeats the purpose of hypertext editions, of which the chief advantage is near-infinite flexibility. The good news, though, is that Dynatext boasts that it is more or less infinitely configurable by the companies who use it to organise their SGML databases: so I hope Chadwyck-Healey will get reconfiguring, and produce an update of this software which fits their users. The CUP World Shakespeare Bibliography uses Dynatext and is great: fast, readily grasped by intuition, and set out in a way that shows an intelligent awareness of how academics want to work.
Note, May 1998
Since I wrote the above Chadwyck-Healey has modified the structure of the database in the online version so that the Folio volume includes not Benson but the early quartos of the poetical works. A small victory for CERES. Since I wrote it too the UL has upgraded the hardware used for accessing the CD ROM version of the database: it is no longer painfully slow to use. A small victory for progress, as we whigs call it.
The on-line ESTC (English Short-Title Catalogue) combines the Eighteenth Century STC, Pollard and Redgrave, and Wing. It is produced by RLG (Research Libraries Group) which sells subscriptions to individuals and institutions. The review which follows is of the telnet interface. For a review of the Web version see Harvest III.iii.
NATURE
The ESTC does not claim comprehensiveness, but rather states that
it lists 75,000 works printed before 1700 as well as the entire
18th century STC. Having said this, I have not often been
disappointed when looking for a particular English work, although I
confess that I haven't been guddling around in newsbooks. By its
nature, I think that it probably includes at least every work that
is in the - reasonably extensive - microfilm runs of STC and Wing
put out by University Microfilms International.
In fact, ESTC is something of a misnomer, since it is really not a Short Title but rather a Full Title database, as may be seen from the appended sample record. The value of this over the printed STC and Wing may easily be imagined: no longer does one find a suggestive title cut off in its bibliographic prime. This comprehensiveness of detail is probably the best feature of the on-line as opposed to the printed catalogues.
The on-line ESTC also gives publication details as these are listed on the title page: i.e., Printed by X for Y and are sold at Z. Furthermore, in the case of anonymous publication, it gives the name of the author when this is known. Unfortunately, this is done without distinguishing in the author field that the publication was anonymous, although this is remarked upon in the notes. Publication details are likewise expanded when they are known, and marked thus (Wing H609): '[Oxford] : Printed [by Henry Hall] for R. Royston at the Angel in Ivy-lane [London], and R. Davis in Oxford, 1646.'
Each record also includes useful notes giving details about relations between different impressions and editions, which it seems to record reasonably faithfully. This can, in my experience, save an awful lot of time. These notes also record details of translations and of works included within the main one. Finally, formats are also given.
USE
The simplest way to use the catalogue is by browsing index lists,
either by name of author, or title, or subject. This has the
advantage that one can (as it were) see the records on either side
of the one that one is seeking, thus easily tracking down variably
catalogued names or titles (which are in fact surprisingly rare).
It has the drawback that a search on 'Milton, John' will throw up
609 entries. These can, however, be limited by, in particular,
date (i.e. 'limit date before 1650') which removes various
eighteenth-century mutilations of *Paradise Lost* (not to mention
the original editions) at a stroke. For most authors, though, it
is a simple and sometimes instructive matter just to skim through
their entire printed oeuvre in search of the work one is seeking,
as one would with the printed versions.
One can also search very easily on keywords--such as a particular word or words within a title. Furthermore, there is useful little command ('like') that will extract various indexed details from the record that one is looking at and allows further searching on any one of them. This is most useful with respect to subject-headings: many of the pre-1700 books have subject details according to the Library of Congress system. In general, I find these headings to be distinctly blunt tools, but there is something to be said for being able to track down at a stroke books on, say, 'Learning and scholarship -- Early works to 1800' or even 'Episcopacy -- Early works to 1800'.
The Eureka ESTC has a further useful little feature. If you use a bibliographic programme, such as the excellent Endnote from Niles Associates [CERES Ed. note: information at website http://www.niles.com/home/default.html which can lead you to a free demo], you can instruct the catalogue to send you an email message containing anything from one to fifty or so bibliographic records in a format that will import simply and unproblematically into your own citation database; a feature, to my mind, that is alone worth the price of admission.
SHORTCOMINGS
Like its printed counter-parts, the on-line ESTC does not record
continental printed books unless they are written in English.
However, the Eureka organisation also maintains a separate and
rather remarkable consolidated catalogue of over 100 research
libraries that contains rather more than 22 million bibliographic
entries. Not quite so swift of access, this catalogue - as well as
acting, in effect, as an almost complete list of modern printed
books - also has details of a large number of early-modern printed
books. Although it is very far from being comprehensive for this
earlier period, I have nonetheless found that it can be helpful in
giving some idea of continental publications that I have tried to
track down. It makes a passable stop-gap before we get round to
the on-line World STC of books printed before 1700. Of course,
this same catalogue is also valuable for easily garnering
information about books published in later periods, too: who would
have thought that there were at least thirty-three editions (two of
which appear to have been pirates) of W.E.H. Lecky's _History of
the Rise and Influence of the Spirit of Rationalism in Europe_
(first publ. 1865) to 1955 in London and New York? It seems
possible that subscription to the on-line ESTC would be accompanied
by access to this other catalogue.
Returning to the ESTC, it should be said that I haven't found a way of searching by publisher or printer, although that is not to say that there is not one that has escaped me. Nor, interestingly enough, does there seem to be a way of searching by Wing or STC number. This may seem strange to those used to the format of the printed versions, but I would venture to suggest that even for those accustomed to work using these, the on-line version will offer ways round or even above this limitation. It does, of course, record Wing and STC numbers in the notes.
In one particular and obvious respect the on-line version is less effective than the printed versions: one cannot scan whole pages at a glance.
CONCLUSIONS
In a large number of respects, then, I have found this on-line STC
to be not just a good alternative to, but actually more useful than
its printed equivalents. To members of subscribing institutions it
is free and freely available, at least in those parts of the
learned world that regard a hard-wired internet connection as the
indispensable scholarly accoutrement of every undergraduate,
graduate and faculty member. One does not have to lay out
personally the hundreds of pounds required for the printed
versions, and hence one does not one have to do one's preliminary
bibliographic work tied to a library's reference room.
Furthermore, the on-line version even lists subscribing libraries
that hold copies of each work and their corresponding shelfmarks.
(Oxford college libraries seem to be better represented in this
than Cambridge ones.) Perhaps even more usefully for those works
not to be found in the flesh at one's own institution, each record
lists the appropriate University Microfilm reference number, thus
removing the need to cross-refer to the STC, Wing, or Thomason
Tract indexes for this resource. And there is, finally, rather
more information available about each book than may be found in the
printed versions.
SAMPLE RECORD
AUTHOR: Milton, John, 1608-1674.
TITLE: Poems of Mr. John Milton, both English and Latin, compos'd
at several times. Printed by his true copies. The songs were
set in musick by Mr. Henry Lawes Gentleman of the Kings
Chappel, and one of His Maiesties private musick. Printed
and publish'd according to order.
PUBLISHED: London : printed by Ruth Raworth for Humphrey Moseley,
and are to be sold at the signe of the Princes Arms in S. Pauls
Church-yard, 1645 [i.e. 1646]
PHYSICAL DETAILS: [6], 120, 87, [1] p., [1] leaf of plates ; 80.
RECORD ID: ESTCR202162
LOCATION: University of Texas, Austin
SHELFMARK: Pforz 722
LOCATION: British Library
SHELFMARK: Thomason E.1126[1]
LOCATION: Oxford University Jesus College
SHELFMARK: M4.21.Gall.
LOCATION: Oxford University Worcester College Library
SHELFMARK: [Shelfmark not available]
LOCATION: Henry E. Huntington Library
SHELFMARK: [Unverified]
LOCATION: University of Texas, Austin
SHELFMARK: PR3550.C23 2cop
NOTE: both copies: variant
LOCATION: Alexander Turnbull Library, Wellington, N.Z.
SHELFMARK: REng.Mil.1645.Poems
NOTES: Includes: Joannes Miltoni Londinensis Poemata (separately
listed in Wing as M2159), which has a separate dated title
page, pagination and register. Includes a separate dated
title page for A mask of the same author presented at
Ludlow-Castle, 1634; pagination and register are continuous.
Variant: 'In the last line of the imprint in some copies 'S.
Pauls' occurs without the 'S.''--Pforzheimer catalogue
(Shawcross 70).
The publication year is given according to Lady Day dating.
NOTES: Annotation on Thomason copy: 'Jan: 2d'.
Dummy Reproduction of the original in the British Library.
Wing (2nd ed.) M2160.Shawcross, J.Milton, 70, 71.
Pforzheimer 722.
Thomason E.1126[1].
Microfilm.Ann Arbor, Mich. University Microfilms, 1978. 1
microfilm reel ; 35 mm. (Thomason Tracts; 164:E.1126[1]).
L.
OTHER AUTHORS: Milton, John, 1608-1674.
Lawes, Henry, 1596-1662.
OTHER TITLES: Poemata.
For more information on the online ESTC, please see recent coverage in Harvest III.iii here.
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