The Phoenix and Turtle William Shakespeare Barbara A. Mowat Paul Werstine Edited for XML and encoded by Michael Poston Rebecca Niles Text released without textual notes Folger Shakespeare Library PhT
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Distributed under a Creative Commons Attribution-NonCommercial 3.0 Unported License July, 2016 Folger Digital Texts William Shakespeare Shakespeare's Sonnets and Poems Barbara A. Mowat Paul Werstine New York Washington Square Press 2006 Adobe Digital Edition The current version of the base text

The Folger Digital Texts project makes the texts of the Folger Shakespeare Library editions freely available for noncommercial use. The primary goal is to represent the source text faithfully, as simply as possible within the TEI P5 schema. Lineation and other typographic features from the print edition are reproduced, with the interpretations previously implicit in the print layout now made explicit in the encoding.

In addition, most elements are assigned a unique identifier. This facilitates our use of stand-off markup and provides the means for future works to point very specifically to words, lines, speeches, and arbitrary sections of the text.

Please note this project offers only the encoded text and textual notes (textual notes are forthcoming). For the explanatory notes, glosses, and illustrations, refer to the print edition and/or Adobe Digital Edition published by Simon & Schuster.

This XML document may include corrections and revisions made by the original Folger Edition editors. Where the text deviates from prior publications, the earlier readings are noted within critical apparatus entry tags.

Quotation marks (single and double quotes) are replaced with the q element, except when the quoted text refers to a name or title, in which case the name or title element is used. Apostrophes, as distinct from single quotes, are not tagged and are retained as-is within the text.

Hyphenation is generally retained. Hyphenated words are considered to be a single word, enclosed within a single word tag (w).

For all end-of-line hyphenation, the word fragments are rejoined into a single w tag. Often, the word is placed on the line where the word begins. When this would affect lineation (e.g., when the second word fragment is the only element on its line), the word is moved to the next line.

Soft end-of-line hyphens (i.e., those added only because of the line break) are silently removed. Editors Barbara A. Mowat and Paul Werstine determine whether the hyphen should be retained.

Poems and collections of sonnets are enclosed in div1 tags. Individual sonnets are enclosed in div2 tags. Primary source front matter such as dedications and arguments are in div1 tags.

Foreign words and phrases are enclosed in foreign tags.

Words, spaces, and punctuation marks are enclosed in w, c, and pc tags respectively.

Lines are not segmented within l or lg elements. They are noted through milestone elements.

Lineation is the poems is more regular than in the plays. Still, in order to remain consistent with the rest of the Folger Digital Texts corpus, we use milestone tags to denote line and stanza breaks. Not insignificantly, this also helps to avoid overlapping hierarchies in the XML.

Line breaks in the print edition are not preserved if they do not affect the line numbering or the structure of the poem.

 When the unit = "stanza", it describes a line group, with the corresp attribute pointing to the corresponding verse lines that comprise the stanza. When the unit = "line", it describes a verse line. The corresp element notes the corresponding w, c, pc and anchor elements. The n attribute gives the line number. Marks a line break in the print edition. Marks primary source front matter (dedication or argument) and large poems. Also used to group collections of sonnets. The type attribute gives the division type. Marks an individual sonnet. The n attribute gives the sonnet number. Provides the poem header, as given in the print edition. Contains the text of the poem. Marks a word in the text. The n attribute gives the line number, where appropriate. Marks a space character in the text. The n attribute gives the line number, where appropriate. Marks a punctuation character in the text. The n attribute gives the line number, where appropriate. Creates a pointer for one or more w, c, pc, and anchor elements, used to link them to analytical interpretations such as textual notes or emendations. Marks a label given in the text. Contains quoted sections of text. Marks non-English words. The xml:lang attribute identifies the foreign language, where appropriate. Marks a proper name that may be quoted or italicized in the text. Marks a title that may be quoted or italicized in the text. Marks sections of text that are otherwise highlighted (generally italicized). Marks areas where content in a prior source text is not present in the current reading. Critical apparatus containing variant readings from prior publications.

Words, spaces, and punctuation characters are numbered sequentially, incremented by 10.

Most other elements begin with an element-specific prefix, followed by a reference to the Folger Through Line Number, a sequential numbering of the numbered lines in the text.

 English Latin Version 0.9.0.2 released. Minor correction to #FromTheDirector. Version 0.9.0.1 released Version 0.9.0 released

It is hard to imagine a world without Shakespeare. Since their composition more than four hundred years ago, Shakespeare’s plays and poems have traveled the globe, inviting those who see and read his works to make them their own.

Readers of the New Folger Editions are part of this ongoing process of “taking up Shakespeare,” finding our own thoughts and feelings in language that strikes us as old or unusual and, for that very reason, new. We still struggle to keep up with a writer who could think a mile a minute, whose words paint pictures that shift like clouds. These expertly edited texts are presented to the public as a resource for study, artistic adaptation, and enjoyment. By making the classic texts of the New Folger Editions available in electronic form as Folger Digital Texts, we place a trusted resource in the hands of anyone who wants them.

The New Folger Editions of Shakespeare’s plays, which are the basis for the texts realized here in digital form, are special because of their origin. The Folger Shakespeare Library in Washington, DC, is the single greatest documentary source of Shakespeare’s works. An unparalleled collection of early modern books, manuscripts, and artwork connected to Shakespeare, the Folger’s holdings have been consulted extensively in the preparation of these texts. The Editions also reflect the expertise gained through the regular performance of Shakespeare’s works in the Folger’s Elizabethan Theater.

I want to express my deep thanks to editors Barbara Mowat and Paul Werstine for creating these indispensable editions of Shakespeare’s works, which incorporate the best of textual scholarship with a richness of commentary that is both inspired and engaging. Readers who want to know more about Shakespeare and his plays can follow the paths these distinguished scholars have tread by visiting the Folger either in-person or online, where a range of physical and digital resources exists to supplement the material in these texts. I commend to you these words, and hope that they inspire.

Michael WitmoreDirector, Folger Shakespeare Library

Until now, with the release of the Folger Digital Texts, readers in search of a free online text of Shakespeare’s plays and poems had to be content primarily with using the Moby™ Text, which reproduces a late-nineteenth century version of the plays and poems. What is the difference? Many ordinary readers assume that there is a single text of all these works: what Shakespeare wrote. But Shakespeare’s plays were not published the way modern novels or plays are published today: as a single, authoritative text. In some cases, the plays have come down to us in multiple published versions, represented by various Quartos (Qq) and by the great collection put together by his colleagues in 1623, called the First Folio (F). There are, for example, three very different versions of Hamlet, two of King Lear, Henry V, Romeo and Juliet, and others. Editors choose which version to use as their base text, and then amend that text with words, lines or speech prefixes from the other versions that, in their judgment, make for a better or more accurate text.

Other editorial decisions involve choices about whether an unfamiliar word could be understood in light of other writings of the period or whether it should be changed; decisions about words that made it into Shakespeare’s text by accident through four hundred years of printings and misprinting; and even decisions based on cultural preference and taste. When the Moby™ Text was created, for example, it was deemed “improper” and “indecent” for Miranda to chastise Caliban for having attempted to rape her. (See The Tempest, 1.2: “Abhorred slave,/Which any print of goodness wilt not take,/Being capable of all ill! I pitied thee…”). All Shakespeare editors at the time took the speech away from her and gave it to her father, Prospero.

The editors of the Moby™ Shakespeare produced their text long before scholars fully understood the proper grounds on which to make the thousands of decisions that Shakespeare editors face. The Folger Library Shakespeare Editions, on which the Folger Digital Texts depend, make this editorial process as nearly transparent as is possible, in contrast to older texts, like the Moby™, which hide editorial interventions. The reader of the Folger Shakespeare knows where the text has been altered because editorial interventions are signaled by square brackets (for example, from Othello: “ square bracket If she in chains of magic were not bound, square bracket ”), half-square brackets (for example, from Henry V: “With half-square bracket blood half-square bracket and sword and fire to win your right,”), or angle brackets (for example, from Hamlet: “O farewell, honest angle bracket soldier. angle bracket Who hath relieved/you?”). At any point in the text, you can hover your cursor over a bracket for more information.

Because the Folger Digital Texts are edited in accord with twenty-first century knowledge about Shakespeare’s texts, the Folger here provides them to readers, scholars, teachers, actors, directors, and students, free of charge, confident of their quality as texts of the plays and pleased to be able to make this contribution to the study and enjoyment of Shakespeare.

 The Phoenix and Turtle Let the bird of loudest lay On the sole Arabian tree Herald sad and trumpet be , To whose sound chaste wings obey . But thou shrieking harbinger , Foul precurrer of the fiend , Augur of the fever’s end , To this troop come thou not near . From this session interdict Every fowl of tyrant wing , Save the eagle , feathered king ; Keep the obsequy so strict . Let the priest in surplice white , That defunctive music can , Be the death-divining swan , Lest the requiem lack his right . And thou treble-dated crow , That thy sable gender mak’st With the breath thou giv’st and tak’st , ’Mongst our mourners shalt thou go . Here the anthem doth commence : Love and constancy is dead , Phoenix and the turtle fled In a mutual flame from hence . So they loved , as love in twain Had the essence but in one , Two distincts , division none ; Number there in love was slain . Hearts remote yet not asunder , Distance and no space was seen ’Twixt this turtle and his queen ; But in them it were a wonder . So between them love did shine That the turtle saw his right Flaming in the phoenix’ sight ; Either was the other’s mine . Property was thus appalled That the self was not the same ; Single nature’s double name Neither two nor one was called . Reason , in itself confounded , Saw division grow together , To themselves yet either neither , Simple were so well compounded That it cried , How true a twain Seemeth this concordant one ! Love hath reason , Reason none , If what parts can so remain , Whereupon it made this threne To the phoenix and the dove , Co-supremes and stars of love , As chorus to their tragic scene . Beauty , truth , and rarity , Grace in all simplicity , Here enclosed , in cinders lie . Death is now the phoenix’ nest , And the turtle’s loyal breast To eternity doth rest , Leaving no posterity ; ’Twas not their infirmity , It was married chastity . Truth may seem , but cannot be ; Beauty brag , but ’tis not she ; Truth and beauty buried be . To this urn let those repair That are either true or fair ; For these dead birds sigh a prayer . William Shakespeare