September
Shakespeare Electronic Conference, Vol. 2, No.220. Tuesday, 17 Sep 1991. (1) Date: Mon, 16 Sep 91 09:15:56 EDT From: David Alan Grier <This email address is being protected from spambots. You need JavaScript enabled to view it. > Subj: Re: SHK 2.0216 Public Domain Texts: A Proposal (2) Date: Mon, 16 Sep 1991 14:17:14 -0400 From: Mike Post <This email address is being protected from spambots. You need JavaScript enabled to view it. > Subj: Text Encoding (3) From: Michael Warren <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Mon, 16 Sep 91 15:36:47 -0700 Subj: [Public Domain Shakespeare Texts] (4) Date: Mon, 16 Sep 1991 20:17:02 EDT From:This email address is being protected from spambots. You need JavaScript enabled to view it. (Hardy M. Cook) Subj: RE: SHK 2.0216 Public Domain Texts: A Proposal (5) Date: Tue, 17 Sep 1991 8:17:55 CDT From: Lars Engle <This email address is being protected from spambots. You need JavaScript enabled to view it. > Subj: RE: SHK 2.0216 Public Domain Texts: A Proposal (6) From: Ken Steele <This email address is being protected from spambots. You need JavaScript enabled to view it. > Subj: Public Domain Shakespeare Texts Date: Tue, 17 Sep 91 9:36:02 EDT (1)-------------------------------------------------------------------------- Date: Mon, 16 Sep 91 09:15:56 EDT From: David Alan Grier <This email address is being protected from spambots. You need JavaScript enabled to view it. > Subject: 2.0216 Public Domain Texts: A Proposal Comment: Re: SHK 2.0216 Public Domain Texts: A Proposal The idea of producing public domain Shakespeare texts is superb. Other fields (my own of computer science is a good example) have produced extensive libraries of public domain programs and documents to good effect. The challenge in doing so, and it is far from insurmountable, is quality control. You need to prepare a careful style sheet and have an editing and proof reading staff. Once that is done, the project can be done with volunteer input. One other thing. I would recommend preparing the text so that it might be used with a standard shareware viewer, such as "list" (available from simtel20 or the wstl (washington university) archives. D. Grier (2)---------------------------------------------------------------------------- Date: Mon, 16 Sep 1991 14:17:14 -0400 From: Mike Post <This email address is being protected from spambots. You need JavaScript enabled to view it. > Subject: Text Encoding Ken et. al., For what it's worth, I'll run out and start typing now if you'd like. Being a computer geek from way back, having such an electronic resource would quite possibly cause me to wet my pants. Our production manager, another computer enthusiast, likes to use electronic texts to lay out his prompt book when he stage manages. He finds it invaluable, though does not always have the time to do the typing. I am not a very good typist, so it will take me a short while to type the Folio 8-). In terms of organizing this, I have a couple of questions/suggestions. First of all, which source is to be used? I suspect there will be a vast difference of opinion as to which is better, Q or F. Further, while any published copy of one source should be the same as any other, is this necessarily the case, or are there 'minute typing differences' between them? As an actor, I have learned that such typos can change the meaning of a line. Would doing copies of different sources be too much work? It would be interesting for electronic text analysis. Secondly, I'd like to suggest it would be easier to keep track of things if it were done in scenes, rather than, 'OK, You take lines 20 through 117.' While individual scenes vary in length, I don't know of any which would be so long as to prohibit entry of each with proper proofreading. What about having each scene proofread by 1 or 2 others on the project? I'd feel happier if I had a watchdog over me, considering my typing skills. Lastly, which text to begin with? So far, you suggest *Lear* and someone else likes *Hamlet*. Personally, I have no immediate concern, though *12N* would have been nice last year. We have no planned productions of Shakespeare this year, and I have no projects involving such, yet (our school year starts next week, who knows what I'll be assigned...) I suggest a poll of the subscribers who are interested in this project. Someone may have an immediate need for a text and could be accommodated this way. In closing, I feel this project is IMPORTANT. Most of us in academia know of the meaning of 'lack of funding' and often cannot afford to purchase such a resource. One of the most fascinating things about networking is this huge potential for collaboration, making such a monumental project as encoding Shakespeare manageable by bring more fingers into the fray. I sense a possibility here for creating a resource which will prove invaluable to the academic world at large. Let me know if I can help in the organization/management of it all, I'll do my best. Mike Post Graduate Student, MFA Directing/Acting The University of MontanaThis email address is being protected from spambots. You need JavaScript enabled to view it. (3)------------------------------------------------------------------------- From: Michael Warren <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Mon, 16 Sep 91 15:36:47 -0700 Subject: [Public Domain Shakespeare Texts] [Personal correspondence slightly edited. -- k.s.] I am indeed still here reading everything that comes through, but find that whenever there is something I might respond to, somebody else has usually been quicker off the mark. However, I am very interested in all the correspondence about getting Qq and Ff on line. If there is a desire to install texts of LEAR, may I point out that there is a better text to use than the Huntington quartos, which is prepared from a copy that mixes formes in corrected and uncorrected states, and which has a number of flaws in the reproduction (not many, as I recall, but even two or three are more than you need). There is a version from U. of California Press with which I'm all too well acquainted that might prove useful as a source for both Q and F. Only the Oxford facsimile fits neatly on a stand beside a keyboard. I plan to follow this correspondence with curiosity--and perhaps even participation. It has been one of my dreams to get a parallel text of LEAR onto a computer, but I've never given it the priority I should. Best wishes Michael WarrenThis email address is being protected from spambots. You need JavaScript enabled to view it. (4)------------------------------------------------------------------------- Date: Mon, 16 Sep 1991 20:17:02 EDT From:This email address is being protected from spambots. You need JavaScript enabled to view it. (Hardy M. Cook) Subject: 2.0216 Public Domain Texts: A Proposal Comment: RE: SHK 2.0216 Public Domain Texts: A Proposal I have the HP ScanJet Plus, an IBM PS/2 model 70, and OmniPage Professional and I would be glad to scan any public domain text submitted to me. I also have been transcribing the text of the 1609 quarto of the sonnets and would also make that available to SHAKSPEReans. All I need is a little encouragement. Hardy M. Cook Bowie State University (5)--------------------------------------------------------------------- Date: Tue, 17 Sep 1991 8:17:55 CDT From: Lars Engle <This email address is being protected from spambots. You need JavaScript enabled to view it. > Subject: 2.0216 Public Domain Texts: A Proposal Comment: RE: SHK 2.0216 Public Domain Texts: A Proposal Dear Ken, I would be happy to encode my ten lines (or whatever it turns out to be, within limits). I own both Hinman and Allen&Muir. Lars Engle U. of Tulsa (6)------------------------------------------------------------------------ From: Ken Steele <This email address is being protected from spambots. You need JavaScript enabled to view it. > Subject: Public Domain Shakespeare Texts Date: Tue, 17 Sep 91 9:36:02 EDT I'm elated to find so much interest in public domain electronic texts, and so many willing volunteers! I suspect there are others out there who simply haven't spoken up; please do, as I'm compiling a list... With all electronic texts, as David Grier and Mike Post emphasize, accuracy is crucial, and proofreading indispensable. I think there are two key factors which will make this project feasible: 1) The Network: we are a large group of computer-literate people interested in Shakespeare, we have a ready means to exchange electronic texts easily and quickly, and working cooperatively we may be able to complete this project faster than a single editor ever could. We can also share the burden of proof-reading, to some extent, reporting errors as they are observed and taking them into account in a central, read-only file. 2) A number of us have access to the Howard-Hill texts from the Oxford Text Archive. Although we cannot under any circumstances distribute these files, using software like COLLATE or URICA it should be possible to test the accuracy of the new, public-domain texts quickly and easily. A listing of variants can then be used to correct errors, or to focus attention on the facsimiles for proofreading. Mike Post is also quite right, that volunteer stints the length of scenes make more sense than ten-line segments. (I intended to emphasize the power of cooperation, not make more work for ourselves...). I suggested *King Lear* because it is the centre of textual attention at the moment, and because electronic texts of the quarto and folio texts would be useful and in demand, but any other revised play would also be appropriate, if controversial: *Hamlet*, *Othello*, and *Richard III* occur to me. A full-fledged poll may not be necessary; suggestions are invited. Certainly I believe that two texts of *Lear* or three of *Hamlet* would be a more valuable resource than a single text of three different plays, as a starting point. (Ultimately, we'd like to have all the plays in all their authoritative forms, of course.) Michael Warren raises another important issue: the choice of copytext. No-one wants to do keyboard entry in a library, so obviously we're talking about facsimiles and hence modern editors. The Norton Facsimile of the First Folio is obviously the only choice, right? For the Quartos, the Allen & Muir volume is most convenient for many of us (I'm still saving my pennies for *The Complete King Lear*, which offers a parallel-text facsimile as well as individual facsimiles, if I'm not mistaken), and I think convenience will be important if we are to recruit volunteers. I also suspect that we should try to encode stop-press corrections and variants within an edition, if this is at all possible. Are there texts for which complete reference lists exist? I would like to urge others to add their voices to mine to encourage Hardy Cook to post his texts of the Sonnets when complete. This would be a valuable text, and one which is not available elsewhere, I believe. The offer of scanning faycilities is also most generous, and I hope we can find a way to orchestrate their use to best advantage. I presume that modern scanning technology and software is still inadequate to the challenge posed by Elizabethan printing, but Steve Urkowitz's suggestion of scanning modern type-facsimiles might be a good starting point. Editing a scanned text should be faster than keyboarding it from scratch, and collation with the Howard-Hill texts would guard against errors of oversight. As for the encoding scheme: a simple scheme would probably be best, so long as the essential information is included (Act, Scene, Speaker, Speech Prefix, Page/Signature, Italic/Roman type, Stage Directions, Printer's Matter, Language, Turned-over and -under lines, and perhaps classical scenes). More than this might just make the task more difficult, and most other details (such as line numbering, filled lines, justified text, compositor stints, etc.) could more easily be added later, in some cases automatically. Rather than a complex scheme like SGML, I would also recommend something simple, like Oxford's COCOA brackets, or WordCruncher's "bar"| codes, which could always be made more complex later with macros or search-and-replace. We don't want to make the task insurmountable, but we also don't want to leave out something so pervasive that a complete proofing of the text would be necessary to add it. Any more suggestions, comments, or offers? Ken Steele University of Toronto
Shakespeare Electronic Conference, Vol. 2, No. 219. Monday, 16 Sep 1991. (1) Date: Sat, 14 Sep 1991 14:43:44 -0400 From: Roy Flannagan <This email address is being protected from spambots. You need JavaScript enabled to view it. > Subj: [RE: SHK 2.0216 Public Domain Texts: A Proposal] (2) Date: Sat, 14 Sep 91 19:50 EST From: Skip Shand <This email address is being protected from spambots. You need JavaScript enabled to view it. > Subj: RE: SHK 2.0216 Public Domain Texts: A Proposal (1)----------------------------------------------------------------------- Date: Sat, 14 Sep 1991 14:43:44 -0400 From: Roy Flannagan <This email address is being protected from spambots. You need JavaScript enabled to view it. > Subject: 2.0216 Public Domain Texts: A Proposal] Comment: [RE: SHK 2.0216 Public Domain Texts: A Proposal] Ken: Count me in for entering and encoding a quarto between now and Christmas. I just got a copy of the Allen-Muir and could work from that. The TEI people would probably help and those like Lavagnino at Brandeis might have helpful encoding instructions (I have some that have evolved for Milton, but they don't necessarily work well with drama). I might be able to railroad some graduate students onto email and into transcribing and encoding. How about *Hamlet* Q1, for starters? Roy Flannagan (2)------------------------------------------------------------------------- Date: Sat, 14 Sep 91 19:50 EST From: Skip Shand <This email address is being protected from spambots. You need JavaScript enabled to view it. > Subject: 2.0216 Public Domain Texts: A Proposal Comment: RE: SHK 2.0216 Public Domain Texts: A Proposal Re Steve's initial query: One person who has been producing electronic texts of some Folio plays is my former colleague, Neil Freeman, who is now in the Drama Dept. at the University of British Columbia. Freeman's texts are in Microsoft Word, for the Mac, and are especially designed for use by actors. I haven't collated one of his texts with F, so can't comment yet on their accuracy, but Ellen O'Brien used his *Measure* as a production text at Guilford College last spring, and was very positive about it, and I am planning to use it in workshops with my students this winter. (For a fee, Freeman provides you with a diskette and the right to reproduce it for classes or productions.) Sorry, I don't have a current e-mail address for him, but the Canadian posties, when not out walking the picket lines, would surely help you reach him in the good old-fashioned way at: Drama Department University of British Columbia Vancouver, B.C. V6T 1W5
Shakespeare Electronic Conference, Vol. 2, No. 218. Saturday, 14 Sep 1991. From: Ken Steele <This email address is being protected from spambots. You need JavaScript enabled to view it. > Subject: SHAKSPER Membership Listing Update Date: Sat, 14 Sep 91 10:51:22 EDT SHAKSPER has been growing rapidly in recent weeks, and I regret that I recently realized that I have not kept the SHAKSPER MEMBERS file on the Fileserver up-to-date for several months. The result is that new members have been receiving a curiously out-of-date listing in their New Member Package. I am distributing the current list, below, to rectify this oversight. (My apologies to those who have recently requested a REVIEW SHAKSPER, as ListServ has, of course, supplied an accurate list in response to that command.) Since the last generally-distributed membership list, we have been joined by SHAKSPEReans in Scotland, Ireland, Germany, Switzerland, and Fiji. (Biography files are available from the SHAKSPER Fileserver). We're now 192 in 12 countries! * * Following is a listing of current members of the Shakespeare * Electronic Conference. The list is automatically generated by * Listserv, alphabetically by email Node. Any member of SHAKSPER * can obtain an updated membership listing at any time by issuing * the interactive command, "TELL LISTSERV@UTORONTO REVIEW SHAKSPER", * or sending the mail command, "REVIEW SHAKSPER" to LISTSERV@ * UTORONTO. Note that this file is not equivalent to the * Biography files, also maintained on the SHAKSPER Fileserver. * * All members agree that this membership list is private, and is * not to be distributed, in whole or in part, outside the membership * of SHAKSPER. (c) 1991 SHAKSPER. * * SHAKSPER Electronic Conference - created 16 July 90 * * Total number of "concealed" subscribers: 9 * Total number of users subscribed to the list: 192 (non-"concealed" only) * Total number of countries represented: 12 (non-"concealed" only) * Total number of nodes represented: 153 (non-"concealed" only) * * Country Subscribers * ------- ----------- * Brazil 1 * Canada 17 * England 6 * Fiji 1 * France 1 * Germany 1 * Ireland 2 * Japan 1 * Korea 1 * Scotland 2 * Switzerland 1 * USA 158 *This email address is being protected from spambots. You need JavaScript enabled to view it. Heidi PalmerThis email address is being protected from spambots. You need JavaScript enabled to view it. Kenneth J. PeacockThis email address is being protected from spambots. You need JavaScript enabled to view it. Ludemo RatunilThis email address is being protected from spambots. You need JavaScript enabled to view it. 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Whitney Bolton *
Shakespeare Electronic Conference, Vol. 2, No. 217. Saturday, 14 Sep 1991. (1) Date: Fri, 13 Sep 91 15:39 EST From: Skip Shand <This email address is being protected from spambots. You need JavaScript enabled to view it. > Subj: Hamlet in Pittsburgh/Boston? (2) Date: Thu, 12 Sep 1991 23:02:32 -0400 From: Steve Urkowitz <This email address is being protected from spambots. You need JavaScript enabled to view it. > Subj: Re: SHK 2.0210 Notes & Queries: 12N (3) Date: Fri, 13 Sep 1991 16:20:00 -0400 From: William Proctor Williams <This email address is being protected from spambots. You need JavaScript enabled to view it. > Subj: British Library (1)------------------------------------------------------------------------ Date: Fri, 13 Sep 91 15:39 EST From: Skip Shand <This email address is being protected from spambots. You need JavaScript enabled to view it. > Subject: Hamlet in Pittsburgh/Boston? A recent note from Mark Rylance tells me that he will be "playing Hamlet in Pittsburgh and Boston this Autumn." As he is a very slow correspondent, this is a request for direct info from folks in Pittsburgh and/or Boston (Pittsburgh being my preferred destination): can someone give me details on these two runs, and addresses or phone numbers for more info? I'd love to see how he has rethought the role since his RSC version. Thanks, Skip ShandThis email address is being protected from spambots. You need JavaScript enabled to view it. (2)------------------------------------------------------------------------ Date: Thu, 12 Sep 1991 23:02:32 -0400 From: Steve Urkowitz <This email address is being protected from spambots. You need JavaScript enabled to view it. > Subject: 2.0210 Notes & Queries: 12N Comment: Re: SHK 2.0210 Notes & Queries: 12N About 12th Night: I fear I've swallowed and forgotten much of the criticism that doubtless shaped my understanding of the play. The experience that fused it to my happy soul, though, was directing it . . . Ahhhh. For something recent, you might want to look at David Richman's _Laughter, Pain, and Wonder: Shakespeare's Comedies and the Audience in the Theatre_ (1990), for a director and sensitive reader's take. Good luck in your searches. (3)--------------------------------------------------------------------------- Date: Fri, 13 Sep 1991 16:20:00 -0400 From: William Proctor Williams <This email address is being protected from spambots. You need JavaScript enabled to view it. > Subject: British Library [The message which prompted this reply was not received by SHAKSPER. It was either a private message, or one posted to another discussion. -- k.s.] I am sorry for the delay in responding to W. Moffett's message of 9 September. Perhaps I did not make myself clear about maintaining the card catalogue or, in the case of the disputes between the BL and RRG, the printed catalogue (I refuse to use the United States and Library of Congress barbarism "catalog"). I should have said "retain" or "preserve" the existing hardcopy catalogue. Events on this campus this week provide an illustration. For most of Monday, Tuesday, and Wednesday the newly installed online system here, ILLINET, was down and students in my Bibliography and Methods of Research class told me on Wed. night that they could not have completed their assignments had it not been the case that this university library has retained its card catalogue though no cards have been added for about 10 years. Computer systems fail; certainly any user of BITNET could not be unaware of this. Computers are wonderful tools--when they work--and I would not advocate a return to contemporary printed catalogues and I do not think the RRG would so advocate for the new BL. But there has to be a backup when the online catalogues fail. They are much more fragile than their printed parents and need their help. Any library administration with a view toward the needs of their readers should preserve their existing printed (in whatever form) catalogues. The last sentence leads us to another point Mr Moffett addressed to Forster, Cox, and me: what libraries should know about their readers ("users," Mr Moffett's term, falls into the same category as "catalog"). I would assume that it is the purpose of libraries to know everything they can about their readers. For what other reason do they exist but for their readers? Perhaps Mr Moffett would care to explain the reason for the existence of a vast library of books and journals which are not read? More "mischief" will be done by such remarks as those of Mr Moffett toward readers than could ever be done by remarks from readers who use libraries and want to see them get better and better, more useful and more responsive to the real needs of their readers. The LC has done this by retaining its card catalogue and its staff does refer readers to this catalogue when the online catalogue fails or fails to deliver sufficient results (i.e., whether or not a book is in the general collection or the rare books room). On the matter of my credentials as the director of a university library which Mr Moffet queries in a rather odd ad hominem attack; I am either telling the truth or telling a lie. If it matters to him, as it appears to do (why else raise the point at all?), then he might wish to call the President of this university and ask whether it is true or not. The President is John La Tourette and his number is (815)753 9500--I don't think he has a BITNET address. William Proctor Williams, Department of English, Northern Illinois University, DeKalb, IL 60115This email address is being protected from spambots. You need JavaScript enabled to view it. PS: Forster and Cox may or may not wish to associate themselves with this response. Since it is, in part, a response to a personal accusation, they may wish to answer on their own. COULD THIS BE CROSS-POSTED TO ANY APPROPRIATE BULLETIN BOARD. THANKS.
Shakespeare Electronic Conference, Vol. 2, No. 216. Saturday, 14 Sep 1991. (1) Date: Thu, 12 Sep 1991 23:33:13 -0400 From: Steve Urkowitz <This email address is being protected from spambots. You need JavaScript enabled to view it. > Subj: Re: SHK 2.0208 Text Encoding Initiative, SGML (2) From: Ken Steele <This email address is being protected from spambots. You need JavaScript enabled to view it. > Subj: Public Domain Shakespeare Texts: A Proposal Date: Sat, 14 Sep 91 9:01:40 EDT (1)-------------------------------------------------------------------------- Date: Thu, 12 Sep 1991 23:33:13 -0400 From: Steve Urkowitz <This email address is being protected from spambots. You need JavaScript enabled to view it. > Subject: 2.0208 Text Encoding Initiative, SGML Comment: Re: SHK 2.0208 Text Encoding Initiative, SGML Thanks for the survey of the Text-encoding world, daunting though it may be. A question: Are there any happy souls encoding quarto and Folio texts of Shakespeare's plays? I know that the Oxford Text Archive perches dragonlike over the treasures coded by those earlier Oxford concorders, but, as they say down East, we can't get there from here. I bought this sooper dooper compooter with an absurdly large hard disk so that I might do interesting and rollicking searches through Qs and Fs. Silly me. I've learned that I can only buy "Wordcruncher and the Riverside" (not a lot of binocularity there). And I can ask Ken Steele (and I have) to run searches on the beautiful Qs and Fs that he has access to. But that's at E-arms length. Question: Would it be possible for a happy graduate seminar somewhere to dedicate itself to scanning or coding one or several of the neatly typeset type-facsimiles of Shakespearean quartos and First Folio texts? Could a dedicated Text Encoder mark up those Bardic E-texts for public access? "Tell me about the rabbits again, George . . . " Will Old Shakespeare ever find his/her/their way into my 40meg drive? Somewhere, over the rainEbow . . . E-dreaming, Steve Urkowitz SURCC@CUNYVM (2)------------------------------------------------------------------------- From: Ken Steele <This email address is being protected from spambots. You need JavaScript enabled to view it. > Subject: Public Domain Shakespeare Texts: A Proposal Date: Sat, 14 Sep 91 9:01:40 EDT Background: Although individual public domain electronic texts of Shakespeare can occasionally be found (I think I read about a text of CE recently on GUTNBERG), to my knowledge the complete works have been keyboarded very few times. As I understand it, Marvin Spevack entered the texts for his famous Concordance, and WordCruncher corporation re-issued those texts as the Riverside Shakespeare. Likewise, T.H. Howard-Hill keypunched the Quartos and Folios in the 1960s, for his series of Oxford Old-Spelling Shakespeare Concordances, and Stanley Wells and Gary Taylor used those files to prepare the Oxford Complete Works (now available on disk from Oxford University Press - Electronic Division). In the era of electronic typesetting, typesetter's tapes have become a common resource for preparing electronic editions too, and Arthur Bullen's Stratford Town Edition (available from Shakespeare on Disk), and the Stratford Ontario Festival editions (available from DisteK Publishing) doubtless came about in that way. The WordCruncher Riverside is perhaps most widely available, on both diskettes and CD-ROM, and is a traditional edition, with all the advantages and disadvantages that entails. Naturally, the electronic version has a few new errors (see RIVERSID ERRORS SHAKSPER on the SHAKSPER Fileserver for a partial listing). Unfortunately, WordCruncher has encrypted the data files to make it difficult to correct them, or to use them with any application other than WordCruncher, and the license agreement strictly forbids any such reverse-engineering. The Oxford Complete Works is much better in this regard; the files are mere ASCII with COCOA-style tags to identify significant textual features, and can be edited or used with other software. But an edition is an edition. Howard-Hill's original transcriptions of the Quartos and First Folio are by far and away more useful to textual scholars, revisionists, and theatre historians. The files are still available from the Oxford University Computing Services Text Archive, on magnetic tape, for "a modest media charge," but unless you have a mainframe in your office you will have to suffer the slings and arrows of conversion to get them onto diskette. (For some discussion of these texts and their capabilities, see TEXTBASE ANNOUNCE SHAKSPER, WCRUNCHR SHAKSPER, and DYNAMIC SHAKSPER on the Fileserver. For information about the Archive's holdings, see OXFORD ARCHIVE. For ordering information, see OXFORD BROCHURE.) And while obviously the Quartos and Folios can't be copyrighted, the OTA requires purchasers to sign a contractual license agreement forbidding redistribution of the files. A Proposal: What's past is prologue; sorry for its length. Several days before word came of the Dartmouth Shakespeare database on Internet (which we now know is only about half of the Shakespeare on Disk corpus), I was toying with a proposal which Steve's question now prompts: as an international community of almost 200 Shakespeareans, could we not cooperatively produce a few public domain texts of our own, with absolutely NO STRINGS ATTACHED, and make them available to all? The network brings a new dimension to collaboration and cooperation, and this would be a fine way to demonstrate its potential to revolutionize the pursuit of knowledge. What if each of us selflessly keyboarded, scanned, or clipped from our files of articles and essays just TEN LINES of *King Lear*? The cumulative effect would be a text of the play within a few weeks. I could electronically collate it with other electronic texts to ensure its accuracy, without violating anyone's copyright or license agreements. It could then be made available on the SHAKSPER Fileserver, and/or via FTP on the Internet, to all, and could be redistributed from there. Obviously, with the Riverside, Oxford, Stratford Town, and Stratford Festival editions available, what's really needed now are some truly public-domain Quarto and Folio texts. It would take some time to produce the entire corpus, but not as long as it will take to convince Oxford or WordCruncher to place their files in the public domain. And Steve's idea of encouraging graduate seminars (or even undergraduates) to participate is also an excellent one. Comments or suggestions? Is *King Lear*, as the heart of the revision controversy and the single most textually-studied play, a reasonable place to start? Is there any common facsimile more readily available than the Norton Folio and the Allen & Muir Quartos? Are there any volunteers to help work out an encoding scheme, or to start keyboarding? Are there any texts out there lying in wait already? Does anyone else care if there are public domain texts? Ken Steele University of Toronto