6 韻文

Contents

This module is intended for use when encoding texts which areentirely or predominantly in verse, and for which the elements forencoding verse structure already provided by the core module areinadequate.

The tags described in section 3.12.1 韻文向けコア要素 include elements forthe encoding of verse lines and line groups such as stanzas: these areavailable for any TEI document, irrespective of the module ituses. Like the modules for prose and for drama, the modulefor verse additionally makes use of the module defined inchapter 4 テキスト構造モジュール to define the basic formal structure of a text,in terms of front, body and back elements andthe text-division elements into which these may be subdivided.

The module for verse extends the facilities provided by thesemodules in the following ways:

6.1 Structural Divisions of 韻文 Texts

Like other kinds of text, texts written in verse may be of widelydiffering lengths and structures. A complete poem, no matter how short,may be treated as a free-standing text, and encoded in the same way asa distinct prose text. A group of poems functioning as a single unitmay be encoded either as a group or as a text,depending on the encoder's view of the text. For further discussion,including an example encoding for a verse anthology, see chapter 4 テキスト構造モジュール.

Many poems consist only of ungrouped lines.This short poem by Emily Dickinson is a simple case:
<text>
 <front>
  <head>1755</head>
 </front>
 <body>
  <l>To make a prairie it takes a clover and one bee,</l>
  <l>One clover, and a bee,</l>
  <l>And revery.</l>
  <l>The revery alone will do,</l>
  <l>If bees are few.</l>
 </body>
</text>
Often, however, lines are grouped, formally or informally, intostanzas, verse paragraphs, etc. The lg element defined in thecore tag set (in section 3.12.1 韻文向けコア要素) may be used for all suchgroupings. It may thus serve for informal groupings of lines such asthose of the following example from Allen Ginsberg:
<text>
 <body>
  <head>My Alba</head>
  <lg>
   <l>Now that I've wasted</l>
   <l>five years in Manhattan</l>
   <l>life decaying</l>
   <l>talent a blank</l>
  </lg>
  <lg>
   <l>talking disconnected</l>
   <l>patient and mental</l>
   <l>sliderule and number</l>
   <l>machine on a desk</l>
  </lg>
 </body>
</text>
It may also be used to mark the verse paragraphs into which longerpoems are often divided, as in the following example from Samuel TaylorColeridge's Frost at Midnight:
<lg>
 <l>The Frost performs its secret ministry,</l>
 <l>Unhelped by any wind. ...</l>
 <l>Whose puny flaps and freaks the idling Spirit</l>
 <l>By its own moods interprets, every where</l>
 <l>Echo or mirror seeking of itself,</l>
 <l part="I">And makes a toy of Thought.</l>
</lg>
<lg>
 <l part="F">But O! how oft,</l>
 <l>How oft, at school, with most believing mind</l>
 <l>Presageful, have I gazed upon the bars,</l>
 <l>To watch that fluttering <hi>stranger</hi>! ... </l>
</lg>
<lg>
 <l>Dear Babe, that sleepest cradled by my side,</l>
</lg>
Note, in the above example, the use of the part attribute onthe l element, where a verse line is broken between two linegroups, as discussed in section 3.12.1 韻文向けコア要素.
Most typically, however, the lg element is used to mark thehighly regular line groups which characterize stanzaic and similar verseforms, as in the following example from Chaucer:
<lg>
 <l>Sire Thopas was a doghty swayn;</l>
 <l>White was his face as payndemayn,</l>
 <l>His lippes rede as rose;</l>
 <l>His rode is lyk scarlet in grayn,</l>
 <l>And I yow telle in good certayn,</l>
 <l>He hadde a semely nose.</l>
</lg>
<lg>
 <l>His heer, his ber was lyk saffroun,</l>
 <l>That to his girdel raughte adoun;</l>
</lg>
Like other text-division elements, lg elements may be nestedhierarchically. For example, one particularly common English stanzaicform consists of a quatrain or sestet followed by a couplet. Thelg element may be used to encode both the stanza and itscomponents, as in the following example from Byron:
<lg type="stanza">
 <lg type="sestet">
  <l>In the first year of Freedom's second dawn</l>
  <l>Died George the Third; although no tyrant, one</l>
  <l>Who shielded tyrants, till each sense withdrawn</l>
  <l>Left him nor mental nor external sun:</l>
  <l>A better farmer ne'er brushed dew from lawn,</l>
  <l>A worse king never left a realm undone!</l>
 </lg>
 <lg type="couplet">
  <l>He died — but left his subjects still behind,</l>
  <l>One half as mad — and t'other no less blind.</l>
 </lg>
</lg>

Note the use of the type attribute to name the type ofunit encoded by the lg element; this attribute is common toall members of the att.divLike class (seesection 4.1.1 非付番区分).22‘Sestet’ and ‘couplet’ might conceivably also be used as thevalues of the rhyme attribute in an analysis of rhymescheme, for which see below, section 6.3 韻分析. Thetype attribute is intended solely for conventional names ofdifferent classes of text block; the met attribute isintended for systematic metrical analysis.

As a further example, consider the Shakespeareansonnet. This may be divided into two parts: a concluding couplet, anda body of twelve lines, itself subdivided into three quatrains:
<text>
 <body>
  <lg>
   <lg type="quatrain">
    <l>My Mistres eyes are nothing like the Sunne,</l>
    <l>Currall is farre more red, then her lips red</l>
    <l>If snow be white, why then her brests are dun:</l>
    <l>If haires be wiers, black wiers grown on her head:</l>
   </lg>
   <lg type="quatrain">
    <l>I have seene Roses damaskt, red and white,</l>
    <l>But no such Roses see I in her cheekes,</l>
    <l>And in some perfumes is there more delight,</l>
    <l>Then in the breath that from my Mistres reekes.</l>
   </lg>
   <lg type="quatrain">
    <l>I love to heare her speake, yet well I know,</l>
    <l>That Musicke hath a farre more pleasing sound:</l>
    <l>I graunt I never saw a goddesse goe,</l>
    <l>My Mistres when shee walkes treads on the ground.</l>
   </lg>
  </lg>
  <lg type="couplet">
   <l>And yet by heaven I think my love as rare,</l>
   <l>As any she beli'd with false compare.</l>
  </lg>
 </body>
</text>

Particularly lengthy poetic texts are often subdivided into unitslarger than stanzas or paragraphs, which may themselves besubdivided. Spenser's Faery Queene, for example,consists of twelve ‘books’ each of which contains aprologue followed by twelve ‘cantos’. Each prologueand each canto consists of nine-line ‘stanzas’,each of which follows the same regular pattern. Other examples in thesame tradition are easy to find.

Large structures of this kind are most conveniently represented bydiv or div1 elements, as described in section 4.1 本文の下位区分. Thus the startof the Faerie Queene might be encoded as follows:
<body>
 <div n="I" type="book">
  <div n="1" type="canto">
   <lg n="I.1.1" type="stanza">
    <l>A Gentle Knight was pricking on the plain</l>
    <l>Y cladd in mightie armes and silver shielde,</l>
   </lg>
  </div>
 </div>
</body>
The encoder must choose at which point in the hierarchy of structuralunits to introduce lg elements rather than a yet smallerdiv element: it would (for example) also be possible to encodethe above example as follows:
<body>
 <div n="I" type="book">
  <div n="I.1" type="canto">
   <div n="I.1.1" type="stanza">
    <l>A noble knight was pricking on the plain</l>
    <l>Ycladd in mightie armes and silver shielde,</l>
   </div>
  </div>
 </div>
</body>

One reason for using div rather than lg elementsis that the former may contain non-metrical elements, such asepigraphs or dedications and other members of themodel.divTop class, whereas lg elements maycontain only headings or metrical lines.

6.2 Components of the 韻文 Line

It is often convenient for various kinds of analysis to encodesubdivisions of verse lines. The general purpose seg elementdefined in the tag set for segmentation and alignment (section 16.3 Blocks, Segments, and Anchors) is provided for this purpose:
  • seg (arbitrary segment) contains any arbitrary phrase-level unit of text (includingother seg elements).

To use this element together with the module for verse, themodule for segmentation and alignment must also be enabled as furtherdescribed in section 1.2 TEIスキーマの定義.

In Old and Middle English alliterative verse, individual verse linesare typically split into half lines. The seg element may beused to mark these explicitly, as in the following example fromLangland's Piers Plowman:
<l>
 <seg>In a somer seson,</seg>
 <seg>whan softe was the sonne,</seg>
</l>
<l>
 <seg>I shoop me into shroudes</seg>
 <seg>as I a sheep were,</seg>
</l>
<l>
 <seg>In habite as an heremite </seg>
 <seg>unholy of werkes,</seg>
</l>
<l>
 <seg>Went wide in this world </seg>
 <seg>wondres to here.</seg>
</l>
The seg element can be nested hierarchically, in the sameway as the lg element, down to whatever level of detailedstructure is required. In the following example, the line has beendivided into feet, each of which has been furthersubdivided into syllables.23
<l>
 <seg type="foot">
  <seg type="syll">Ar</seg>
  <seg type="syll">ma </seg>
  <seg type="syll">vi</seg>
 </seg>
 <seg type="foot">
  <seg type="syll">rum</seg>
  <seg type="syll">que </seg>
  <seg type="syll">ca</seg>
 </seg>
 <seg type="foot">
  <seg type="syll">no </seg>
  <seg type="syll">Tro</seg>
 </seg>
 <seg type="foot">
  <seg type="syll">iae </seg>
  <seg type="syll">qui </seg>
 </seg>
 <seg type="foot">
  <seg type="syll">pri</seg>
  <seg type="syll">mus </seg>
  <seg type="syll">ab </seg>
 </seg>
 <seg type="foot">
  <seg type="syll">or</seg>
  <seg type="syll">is </seg>
 </seg>
</l>

The seg element may be used to identify any subcomponent ofa line which has content; its type attribute may characterize such unitsin any way appropriate to the needs of the encoder. For the specificcase of labeling each foot with its formal type (‘dactyl’,‘spondee’, etc.), and each syllable with its metrical or prosodicstatus (syllables bearing primary or secondary stress, long syllables,short syllables), however, the specialized attributes met andreal are defined, which provide a more systematic frameworkthan the type attribute; see section 6.3 韻分析below.

In classical verse, a hexameter like that above may also be formallydivided into two cola or ‘hemistiches’. This exampleprovides a typical case, in that the boundary of the firstcolon falls in the middle of one of the feet (between the syllables‘no’ and ‘Tro’). If both kinds of segmentation are required,the part attribute might be used to mark the overlappingstructure as follows. 24
<l>
 <seg type="hemistich">
  <seg type="foot">
   <seg type="syll">Ar</seg>
   <seg type="syll">ma </seg>
   <seg type="syll">vi</seg>
  </seg>
  <seg type="foot">
   <seg type="syll">rum</seg>
   <seg type="syll">que </seg>
   <seg type="syll">ca</seg>
  </seg>
  <seg type="foot" part="I">
   <seg type="syll">no </seg>
  </seg>
 </seg>
 <seg type="hemistich">
  <seg type="foot" part="F">
   <seg type="syll">Tro</seg>
  </seg>
  <seg type="foot">
   <seg type="syll">iae </seg>
   <seg type="syll">qui </seg>
  </seg>
 </seg>
</l>
Instead of using the part attribute on the segelement, it might be simpler just to mark the point at which the caesuraoccurs. An additional element is provided for analyses of this kind, inwhich what is to be marked are points ‘between the words’, whichhave some significance within a verse line:
  • caesura/ marks the point at which a metrical line may be divided.
In classical prosody, the caesura, which occurs within afoot, is distinguished from a diaeresis, which occurs on afoot boundary (not to be confused with the division of a diphthong intotwo syllables, or the diacritic symbol used to indicate such division,each of which is also termed diaeresis). This distinctionis rarely made nowadays, the term caesura being used forany division irrespective of foot boundaries. No special-purpose diaeresis element is therefore provided.
As an example of the caesura element, we refer again to theexample from Langland. An encoder might choose simply to record thelocation of the caesura within each line, rather than encoding eachhalf-line as a segment in its own right, as follows:
<l>In a somer seson, <caesura/> whan softe was the sonne, </l>
<l>I shoop me into shroudes <caesura/> as I a sheep were, </l>
<l>In habite as an heremite <caesura/> unholy of werkes, </l>
<l>Went wide in this world <caesura/> wondres to here. </l>
Logically, the opposite of caesura might be considered to beenjambement. When the versemodule is included in a schema, an additional class called att.enjamb is defined as follows:
  • att.enjamb (enjambement) groups elements bearing the enjamb attribute.
    enjamb(enjambement) indicates that the end of a verse line is marked by enjambement.
The following lines demonstratethe use of the enjamb attribute to mark places where there isa discrepancy between the boundaries of the l elements and thesyntactic structure of the verse (a discrepancy of some significance insome schools of verse):
<l enjamb="y">Un astrologue, un jour, se laissa choir</l>
<l>Au fond d'un puits.</l>

6.3 韻分析

When the module for verse is in use, the following additionalattributes are available to record information about rhyme and metricalform:
  • att.metrical defines a set of attributes which certain elements may use torepresent metrical information.
    met(metrical structure, conventional) contains a user-specified encoding for the conventionalmetrical structure of the element.
    real(metrical structure, realized) contains a user-specified encoding for the actual realizationof the conventional metrical structure applicable to the element.
    rhyme(rhyme scheme) specifies the rhyme scheme applicable to a group of verse lines.

These attributes may be attached to the lg element, or to thehigher-level text-division elements div, div1, etc.In general, the attributes should be specified at the highestlevel possible; they may not however be specifiable at the highest levelif some of the subdivisions of a text are in prose and others in verse.All these attributes may also be attached to the l andseg elements, but the default notation for the rhymeattribute has no defined meaning when specified on l orseg. The value for these attributes may take any form desiredby the encoder; the nature of the notation used will determine how wellthe attribute values can be processed by automatic means.

The primary function of the metrical attributes is to encode theconventional metrical or rhyming structure within which the poet isworking, rather than the actual prosodic realization of each line; thelatter can be recorded using the real attribute, as furtherdiscussed below. A simple mechanism is also provided for recordingthe actual realization of a rhyme pattern; see 6.4 押韻.

6.3.1 韻分析の例

As a simple example of the use of these attributes, consider thefollowing lines from Pope's Essay on Criticism:
<div
  type="book"
  n="1"
  met="-+|-+|-+|-+|-+/"
  rhyme="aa">
 <lg n="1" type="paragraph">
  <l>'Tis hard to say, if greater Want of Skill</l>
  <l>Appear in <hi>Writing</hi> or in <hi>Judging</hi> ill;</l>
  <l>But, of the two, less dang'rous is th'Offence,</l>
  <l>To tire our <hi>Patience</hi>, than mis-lead our <hi>Sense</hi>:</l>
 </lg>
</div>

This text is written entirely in heroiccouplets; each line is an iambic pentameter (which, using a commonnotation, can be described with the formula-+|-+|-+|-+|-+/, each - denoting ametrically unstressed syllable, each + a metricallystressed one, each | a foot boundary, and the/ a line-end), and the couplets rhyme (which can berepresented with the conventional formula aa).

Because both rhyme pattern and metrical form are consistentthroughout the poem, they may be conveniently specified on thediv element; the values given for the attributes will beinherited by any metrical unit contained within the divelements of this poem, and must be interpreted in the appropriate way.

Since the notation used in the met, real, and rhymeattributes is user-defined, no binding description can be given of itsdetails or of how its interpretation must proceed. (A default notationis provided for the rhyme attribute, which however theencoder can replace with another; see section 6.4 押韻.) Itis expected, however, that software should be able to support theseattributes in useful ways; the more intelligent the software is, and themore knowledge of metrics is built into it, the better it will be ableto support these attributes. In the extract given above, for example,the met and rhyme attribute values specified onthe div element are inherited directly by the lgelements nested within it. Since the met valuespecifies the metrical form of a single verse line, the structure of thelg as a whole is understood to involve as many repetitions ofthe pattern as there are lines in the verse paragraph. The sameattribute value, when inherited in turn by the l element, mustbe understood not to repeat. With sufficientlysophisticated software, segments within the line might even beunderstood as inheriting precisely that portion of the formula whichapplies to the segment in question; this will, however, be easier toaccomplish for some languages than for others.

The rhyme attribute in this example uses the defaultnotation to specify a rhyme scheme applicable only to pairs of lines.As elsewhere, the default notation for the rhyme attributehas no meaning for metrical units at the line level or below. In verseforms where line-internal rhyme is structurally significant, e.g. insome skaldic poetry, the default notation is incapable of expressing therequired information, since the rhyme pattern may need to be specifiedfor units smaller than the line. In such cases, a user-specified rhymenotation must be substituted for the default notation, or else the rhymepattern must be described using some alternative method (e.g. by usingthe link mechanism described below).

The precise semantics of the met attribute and theinferences which software is expected or able to draw from it, areimplementation-dependent; so are the semantics and processing of therhyme attribute, when user-specified notations are used.

A formal definition of the significance of each component of thepattern given as the value of the met attribute may beprovided in the metDecl element within theencodingDecl element in the TEI header (see section 6.5 韻律記法宣言). The encoder is free to invent any notationappropriate to his or her analytic needs, provided that it isadequately documented in this element. The notation may definemetrical components using invented or traditional names (such as‘iamb’ or ‘hexameter’) or in terms of basic units such ascodes for stressed or unstressed syllables, or a combination of thetwo.

The real (for ‘realization’) attribute may optionallybe specified to indicate any deviation from the pattern defined by themet attribute which the encoder wishes to record. Bydefault, the real attribute has the same value as themet attribute on the same element; it is only necessary toprovide an explicit value when the realization differs in some way fromthe abstract metrical pattern. The tension between conventionalmetrical pattern and its realization may thus be recorded explicitly.For example, many readers of the above passage would stress the word‘But’ at the beginning of the third line rather than the word‘of’ following it, as the metrical pattern would normally require.This variation might be encoded as follows:
<l real="+-|-+|-+|-+|-+">But, of the two, ...</l>

Where the real attribute is used to over-ride the defaultor conventional metrical pattern, it applies only to the element onwhich it is specified. The default pattern for any subsequent lines isunaffected.

As it happens, this particular kind of variation is very common inthe English iambic pentameter — it even has a name:trochaic substitution — an encoder might thereforechoose to regard this not as an instance of a variant realization, butas an instance of a variant metrical form:
<l met="+-|-+|-+|-+|-+">But, of the two, ...</l>
Alternatively, a different metrical notation might be defined, in whichthis kind of variation was permitted throughout the text.
In choosing whether to over-ride a metrical specification in thisway or by using the real attribute, the encoder is requiredto determine whether the change is a systematic or conventional one (asin this example) or an occasional variation, perhaps for local effect.In the following example, from Goethe's Auf dem See,the variation is a matter of local realization:
<lg
  type="chevy-chase-stanza"
  met="-+-+-+-+/-+-+-+"
  rhyme="ababcdcd">
 <l n="1"> Und frische Nahrung, neues Blut</l>
 <l n="2" real="+--+-+"> Saug' ich aus freier Welt;</l>
 <l n="3" real="+--+-+-+"> Wie ist Natur so hold und gut,</l>
 <l n="4" real="---+-+"> Die mich am Busen hält!</l>
 <l n="5"> Die Welle wieget unsern Kahn</l>
 <l n="6"> Im Rudertakt hinauf,</l>
 <l n="7"> Und Berge, wolkig himmelan,</l>
 <l n="8"> Begegnen unserm Lauf.</l>
</lg>
On the other hand, the famous inserted alexandrine in Pope's ‘Essay onCriticism’, might be encoded as follows:
<l n="356"> A needless alexandrine ends the song, </l>
<l n="357" met="-+|-+|-+|-+|-+|-+" real="++|-+|-+|+-|++|-+"> That, like a wounded snake, drags its slow length along.
</l>
Here the met attributes indicates that a different metricalconvention (the alexandrine) is in force, while the realattribute indicates that there is a variation from thatconvention. As with many other aspects of metrical analysis, however,this is of necessity an entirely interpretive judgment.

6.3.2 区分レベルと行レベルのタグ付け

The examples given so far have encoded information about therealization of metrical conventions at the level of the wholeverse-line. This has obvious advantages of simplicity, but thedisadvantage that any deviation from metrical convention is notmarked at its precise point of occurrence in the text. Greaterprecision may be achieved, but only at the cost of marking deviantmetrical units explicitly. This may be donewith the seg element, giving thevariant realization as the value of the real attribute onthat element. Using this method, the example given immediately abovemight be encoded as follows:
<l n="356"> A need<seg type="foot" n="2" real="--">less
   a</seg>lexandrine ends the song,</l>
<l n="357" met="-+|-+|-+|-+|-+|-+">
 <seg n="1" real="++"> That, like </seg> a wounded snake,
<seg n="4" real="+-"> drags its </seg>
 <seg n="5" real="++"> slow length </seg>
along.

</l>
The marking of the foot boundaries with the symbol | in themet attribute value of the l element allows thehuman reader, or a sufficiently intelligent software program, to isolatethe correct portion of that attribute value as the default value for thesame attribute on the seg elements for feet, namely -+.It is of course up to the encoder to decide whether or not to includethe n attribute of seg here, and whether or not alsoto tag the feet in the line in which there is no deviation from themetrical convention. The ability of software to infer which foot isbeing marked, if not all are tagged, will depend heavily on the languageof the text and the knowledge of prosody built into the software; thefuller and more explicit the markup, the easier it will be for softwareto handle it. It may prove useful, however, to mark metrical deviationsin the manner shown, even if the available software is not sufficientlyintelligent to scan lines without aid from the markup. Human readerswho are interested in prosody may well be able to exploit the markup inuseful ways even with less sophisticated software.
There are circumstances where it may also be useful to use themet attribute of seg. If we wish to identify theexact location of the different types of foot in the first line ofVirgil's Aeneid, the text could be encoded as follows(for simplicity's sake the caesura has been omitted):
<l>
 <seg type="foot" met="+--">Arma vi</seg>
 <seg met="+--">rumque ca</seg>
 <seg met="++">no Tro</seg>
 <seg met="++">iae qui </seg>
 <seg met="+--">primus ab</seg>
 <seg met="++"> oris</seg>
</l>
An appropriate value of the met attribute might also besupplied on the enclosing div element, toindicate that each foot may be made up of a dactyl or a spondee, so thatthe values given here for met at the level of the foot may beconsidered a series of local variations on this fundamental pattern; incases like this, of course, the local variations may also be consideredaspects of realization rather than of convention, in which case thereal attribute may be used instead of met, ifdesired.

6.3.3 Metrical Analysis of Stanzaic 韻文

The method described above may be used to encode quite complex verseforms, for instance various kinds of fixed-form stanzas. Let us takeone of Dante's canzoni, in which each stanza except the last has thesame combination of eleven-syllable and seven-syllable lines, and thesame rhyme scheme:
<div
  type="canzone"
  met="E/E/S/E/S/E/E/S/E/S/E/S/S/E/S/E/E/S/S/E/E"
  rhyme="abbcdaccbdceeffghhhgg">
 <lg n="1" type="stanza">
  <l n="1">Doglia mi reca nello core ardire</l>
 </lg>
</div>

Here the met attribute specifies a metrical pattern foreach of the twenty-one lines making up a stanza of thecanzone. Each stanza inherits this definition from theparent div element. The rhyme attribute specifiesa rhyme scheme for each stanza, in the same way.

In the metrical notation used here, the letter Erepresents a line containing nine syllables which may or may not bemetrically prominent, a tenth which is prominent and an optionalnon-prominent eleventh syllable. The letter ‘S’ is used torepresent a line containing five syllables which may or may not bemetrically prominent, a sixth which is prominent and an optionalnon-prominent seventh syllable. A suitable definition for thisnotation might be given by a metDecl element like thefollowing:
<metDecl type="met" pattern="((E|S)/)+)">
 <metSym value="E" terminal="false">xxxxxxxxx+o</metSym>
 <metSym value="S" terminal="false">xxxxx+o</metSym>
 <metSym value="x">metrically prominent or non-prominent</metSym>
 <metSym value="+">metrically prominent</metSym>
 <metSym value="o">optional non prominent</metSym>
 <metSym value="/">line division</metSym>
</metDecl>
As noted above, the metrical pattern specified on the divapplies to each lg (stanza) element contained within thediv. In fact however, after seven stanzas of this type, thereis a final stanza, known as a commiato or envoi, whichfollows a different metrical and rhyming scheme. The solution to thisproblem is simply to specify a new met attribute on theeighth stanza itself, which will override the default value inheritedfrom parent div, as follows:
<div met=".....">
 <lg>
  <l> ... </l>
 </lg>
 <lg type="commiato" met="E/S/S/E/S/E/E/S/S/E/E" rhyme="abbccdeeedd">
  <l n="1">Canzone, presso di qui è une donna</l>
 </lg>
</div>

Note that, in the same way as for the real attribute,over-riding of this kind does not affect subsequent elements at the samehierarchic level. Any lg element following thecommiato above would be assumed to use the same metricaland rhyming scheme as the one preceding the commiato.Moreover, although it is quite regular (in the sense that the laststanza of each canzone is a commiato), theover-riding must be specified for each case.

6.4 押韻

The rhyme attribute is used to specify the rhyme patternof a verse form. It should not be confused with the rhymeelement, which is used to mark the actual rhyming word or words:
  • rhyme marks the rhyming part of a metrical line.

Like the met attribute, the rhyme attribute can be used witha user-specified notation documented by the metDecl elementin the TEI header. Unlike met, however, the rhymeattribute has a default notation; if this default notation is used, nometDecl element need be given.

The default notation for rhyme offers the ability to recordpatterns of rhyming lines, using the traditional notation in whichdistinct letters stand for rhyming lines. For a work in rhymingcouplets, like the Pope example above, the rhyme attributesimply specifies aa, indicating that pairs of adjacentlines rhyme with each other. For a slightly more complex scheme,applicable to groups of four lines, in which lines 1 and 3 rhyme, asdo lines 2 and 4, this attribute would have the valueabab. The traditional Spenserian stanza has the patternababbcbcc, indicating that within each nine line stanza,lines 1 and 3 rhyme with each other, as do lines 2, 4, 5 and 7, andlines 6, 8 and 9.

Non-rhyming lines within such a group may be represented using ahyphen or an x, as in the following example:

<!-- example needed -->
The rhyme element may be used to mark the words (or parts of words) which rhyme according to a predefined pattern:
<lg type="couplet" rhyme="aa">
 <l>Outside in the distance a wildcat did <rhyme>growl</rhyme>
 </l>
 <l>Two riders were approaching and the wind began to <rhyme>howl</rhyme>
 </l>
</lg>
The label attribute is used to specify which parts of arhyme scheme a given set of rhyming words represent:
<lg type="quatrain" rhyme="abab">
 <l>I wander thro' each charter'd <rhyme label="a">street</rhyme>,</l>
 <l>Near where the charter'd Thames does <rhyme label="b">flow</rhyme>,</l>
 <l>And mark in every face I <rhyme label="a">meet</rhyme>
 </l>
 <l>Marks of weakness, marks of <rhyme label="b">woe</rhyme>.</l>
</lg>
<lg rhyme="abab">
 <l>In every cry of every <rhyme label="a">Man</rhyme>
 </l>
 <l>In every Infant's cry of <rhyme label="b">fear</rhyme>,</l>
 <l>In every voice, in every <rhyme label="a">ban</rhyme>,</l>
 <l>The mind-forg'd manacles I <rhyme label="b">hear</rhyme>.</l>
</lg>

Within a given scope, all rhyme elements with the same value fortheir label attribute are assumed to rhyme with each other: thus, in the above example, the two rhymes labelled a in the first stanza rhyme with each other, but not necessarily with those labelled a in the second stanza. The scope is defined by the nearest ancestor element for which the rhyme attribute has been supplied.

The rhyme element can appear anywhere within a verse line,and not necessarily around a single word. Itcan thus be used to mark quite complex internal rhyming schemes, as in thefollowing example:
<lg rhyme="ABCCBBA">
 <l>The sunlight on the <rhyme label="A">garden</rhyme>
 </l>
 <l>
  <rhyme label="A">Harden</rhyme>s and grows <rhyme label="B">cold</rhyme>,</l>
 <l>We cannot cage the <rhyme label="C">minute</rhyme>
 </l>
 <l>Wi<rhyme label="C">thin it</rhyme>s nets of <rhyme label="B">gold</rhyme>
 </l>
 <l>When all is <rhyme label="B">told</rhyme>
 </l>
 <l>We cannot beg for <rhyme label="A">pardon</rhyme>.</l>
</lg>

This mechanism, although reasonably simple for simple cases,may not be appropriate for more complex applications. In general, rhyme may be consideredas a special form of ‘correspondence’, and henceencoded using the mechanisms defined for that purpose in section 16.4 Correspondence and Alignment. Similar considerations apply to other metricalfeatures such as alliteration or assonance.

To use the correspondence mechanisms to represent the complex rhymingpattern of the above example, each rhyme element must begiven a unique identifier, as follows:
<lg rhyme="AB-BBA">
 <l>The sunlight on the <rhyme xml:id="V-A1">garden</rhyme>
 </l>
 <l>
  <rhyme xml:id="V-A2">Harden</rhyme>s and grows <rhyme xml:id="V-B1">cold,</rhyme>
 </l>
 <l>We cannot cage the <rhyme xml:id="V-C1">minute</rhyme>
 </l>
 <l>Wi<rhyme xml:id="V-C2">thin it</rhyme>s nets of <rhyme xml:id="V-B2">gold</rhyme>
 </l>
 <l>When all is <rhyme xml:id="V-B3">told</rhyme>
 </l>
 <l>We cannot beg for <rhyme xml:id="V-A3">pardon</rhyme>.</l>
</lg>
Now that each rhyming word, or part-word, has been tagged and allocatedan arbitrary identifier, the general purpose link element maybe used to indicate which of the rhyme elements share the samerhyme, as follows:
<linkGrp type="rhyme">
 <link targets="#V-A1 #V-A2 #V-A3"/>
 <link targets="#V-B1 #V-B2 #V-B3"/>
 <link targets="#V-C1 #V-C2"/>
</linkGrp>

For further discussion of the link and linkGrpelement, see section 16.4 Correspondence and Alignment.

The rhyme and caesura phrase level elements aremade available by the model.lPart class when the moduledefined by this chapter is included in a schema.

6.5 韻律記法宣言

When the module defined in this chapter is included in a schema,a specialised element is optionally available in theencodingDesc element of the TEI Header to document themetrical notation used in marking up a text.
  • metDecl (metrical notation declaration) documents the notation employed to represent a metrical pattern when this is specified as the value of a met, real, or rhyme attribute on any structural element of a metrical text (e.g. lg, l, or seg).
    pattern(regular expression pattern) specifies a regular expression defining any value that is legal for this notation.
  • metSym (metrical notation symbol) documents the intended significance of a particular character orcharacter sequence within a metrical notation, either explicitly or interms of other symbol elements in the same metDecl.
    valuespecifies the character or character sequence being documented.
    terminalspecifies whether the symbol is defined in terms of othersymbols (terminal is set to false) or in prose(terminal is set to true).
As with other components of the header, metrical notation may bespecified either formally or informally. In a formal specification,every symbol used in the metrical notation must be documented by acorresponding metSym element; in an informal one, only a briefprose description of the way in which the notation is used need begiven. In either case, the optional pattern attribute may beused to supply a regular expression which a processor can use tovalidate expressions in the intended notation. The followingconstraints apply:
  • if pattern is supplied, any notation used which does not conform to it should be regarded as invalid
  • if any metSym is defined, then any notation using undefined symbols should be regarded as invalid
  • if both pattern and symbol are defined, then every symbol appearing explicitly within pattern must be defined
  • symbols which are not matched by pattern may be defined within a metDecl element
As a simple example, consider the case of the notation in whichmetrical prominence, metrical feet, and line boundaries are all to be encoded.Legal specifications in this notation may be written for any sequence ofmetrically prominent or non-prominent features, optionally separated byfoot or metrical line boundaries at arbitrary points. Assuming that thesymbol 1 is used for metrical prominence,0 for non-prominence, | for foot boundaryand / for line boundary, then the following declarationachieves this object:
<metDecl pattern="((1|0)+\|?/?)*">
 <metSym value="1">metrical promimence</metSym>
 <metSym value="0">metrical non-prominence</metSym>
 <metSym value="|">foot boundary</metSym>
 <metSym value="/">metrical line boundary</metSym>
</metDecl>
The same notation might also be specified less formally, as follows:
<metDecl>
 <p>Metrically prominent syllables are marked '1' and other
   syllables '0'. Foot divisions are marked by a vertical bar,
   and line divisions with a solidus.</p>
 <p>This notation may be applied to any metrical unit, of any
   size (including, for example, individual feet as well as
   groups of lines).</p>
</metDecl>
Note that in this case, because the pattern attribute has notbeen supplied, no processor can validate met attribute valueswithin the text which use this metrical notation.
For more complex cases, it will often be more convenient to definea notation incrementally. The terminal attribute shouldbe used to indicate for a given symbol whether or not it may bere-defined in terms of other symbols used within the same notation.For example, here is a notation for encoding classical metres, inwhich symbols are provided for the most common types of foot. These symbols are themselves documentedwithin the same notation, in terms of more primitive long and shortsyllables:
<metDecl pattern="[DTIS3A]+">
 <metSym n="dactyl" value="D" terminal="false">-oo</metSym>
 <metSym n="trochee" value="T" terminal="false">-o</metSym>
 <metSym n="iamb" value="I" terminal="false">o-</metSym>
 <metSym n="spondee" value="S" terminal="false">--</metSym>
 <metSym n="tribrach" value="3" terminal="false">ooo</metSym>
 <metSym n="anapaest" value="A" terminal="false">oo-</metSym>
 <metSym value="o">short syllable</metSym>
 <metSym value="-">long syllable</metSym>
</metDecl>
Note here the use of the global n attribute to supply anadditional name for the symbols being documented.

6.6 Encoding Procedures for Other 韻文 Features

A number of procedures that may be of particular concern to encodersof verse texts are dealt with elsewhere in these guidelines. Someaspects of layout and physical appearance, especially important in thecase of free verse, are dealt with in chapter 11 Representation of Primary Sources. Someinitial recommendations for the encoding of phonetic or prosodictranscripts, which may be helpful in the analysis of sound structures inpoetry, are to be found in chapter 8 Transcriptions of Speech; it may also befound convenient to use standard entity names (those proposed for theInternational Phonetic Alphabet suggest themselves) to mark positions ofsuprasegmentals such as primary and secondary stress, or other aspectsof accentual structure.

As already indicated, chapter 16 Linking, Segmentation, and Alignment contains muchwhich will be found useful for the aligning of multiple levels ofcommentary and structure within verse analysis. Encoders of verse (asof other types of literary text) will frequently wish to attachidentifying labels to portions of text that are not part of a systemof hierarchical divisions, may overlap with one another, and/or may bediscontinuous; for instance passages associated with particularcharacters, themes, images, allusions, topoi, styles, or modes ofnarration. Much of the computerized analysis of verse seems likely torequire dividing texts up into blocks in this way. The spanelement discussed in 17.3 部分と解釈 provides the means fordoing this. Finally, the procedures for the tagging of featurestructures, described in chapter 18 素性構造, provide apowerful means of encoding a wide variety of aspects of verseliterature, including not only the metrical structures discussedabove, but also such stylistic and rhetorical features as metaphor.

For other features it must for the time being be left to encoders todevise their own terminology. Elements such as metaphor tenor="..."vehicle="..." ... /metaphor might well suggestthemselves; but given the problems of definition involved, and the greatrichness of modern metaphor theory, it is clear that any such format, ifpre-defined by these Guidelines, would have seemed objectionable to someand excessively restrictive to many. Leaving the choice of taggingterminology to individual encoders carries with it one vital corollary,however: the encoder must be utterly explicit, in the TEI header, aboutthe methods of tagging used and the criteria and definitions on whichthey rest. Where no formal elements are currently proposed, suchinformation may readily be given as simple prose description within theencodingDesc element defined in section 2.3 符号化解説.

6.7 Module for 韻文

The module described in this chapter makes available the followingcomponents:
Module verse: 韻文 structures
The selection and combination of modules to form a TEI schema is described in1.2 TEIスキーマの定義.

↑ Contents « 5 標準化されていない文字と字形の表現 » 7 Performance Texts

注釈
22.
For discussion ofother attributes of this class, see 4.1.4 部分区分と複合区分.
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23.
The eccentricformatting of this example is a consequenceof the fact that whitespace within the seg element is alwaysretained: this is desirable for the lower level seg elements(those of type syll) but not for the higher levelones. Whitespace inside a start-tag, as here in the foottype seg elements, is always discarded and does not affectthe result.
↵
24.
For clarity of presentation,we have in this example adopted theconvention that white space outside the syllable tags is to beignored; as noted above, this is not generally enforceable in XML and this convention is nottherefore recommended for normal use.
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