My current project, the Latin text of the “Life of St Botolph”, composed around 1100, has reached us in a number of manuscripts, together with abbreviated forms, also in manuscripts, and a couple of early editions. These are the “witnesses” to the text.
I have now compared the lot, and I have a word document with all the variations. There are indeed differences in words, mostly accidental. Only one of these affects the sense, where some idiot copyist in a single late manuscript decided that the people living nearby were Scottish, and introduced the word into the text. It’s usually fairly obvious what the correct reading is. It’s fairly straightforward to produce a stemma, a tree-diagram showing what is copied from what, based on those errors and omissions. This I have done.
But what to put in the notes? There are about a dozen witnesses. This means that it is possible to put the whole list of variants into the notes. That’s not going to be very readable, tho. The jargon for this is a “positive apparatus.”
Or I could just ignore every manuscript except where it differs from what I have decided the text is. That will be much shorter. But it will also be a lot less usable. The jargon for this is a “negative apparatus.” One manuscript came to hand late, and I can tell you that it helped a *lot* that I knew what every manuscript said, rather just what was different.
Indeed a critical apparatus is not a very readable thing anyway. So how best to do it?
There are papers on these kinds of questions. Addressed these issues very well indeed was Sebastien Moureau, “The apparatus criticus” (2015), looking at how to do the apparatus for an Ethiopian text. The article is online and recommended. This assesses the advantages and disadvantages of various approaches.
In particular Moureau points out that the long-established format of classical editions – numbering the lines of the page, with variants by line number at the page foot – is completely impossible to reproduce with any widely-used software. Here’s a random page from a recent edition of the letters of Isidore of Pelusium, vol. 3:

How on earth do we do that in Word?
Now there is an online course with textbook, M Burghart, Digital Editing of Medieval Texts: A Textbook, online here. Chapter 4 discusses how to encode the variants in something called TEI. This is a computer file format. It’s horrible.
TEI is no doubt possible to learn, but working with tagged text files is horrible. It imposes a huge initial cost on anyone wishing to adopt this approach. It’s very error-prone.
However this does introduce an interesting general issue.
Basically in order to do a critical edition, you must need to go through two stages.
- Compile a database, in a structured format. which includes the text and all its variants and any notes upon it, from all the witnesses.
- Present a subset of this information in some other format in your publication. Possibly even in more than one format for different purposes.
Anyone familiar with modern methods of computer program design will immediately recognise a common computing pattern – pull the presentation layer out of the code, and do it as a separate layer. Don’t mix it in with the main logic. Let the logic get the data in whatever way is useful and reasonable; and then pass that to the front end to display in whatever way is useful. The two sections of the program can be developed separately. and if you need to change the output format, or the on-screen appearance, you don’t have to change every part of the program.
The Burghart paper does indicate that TEI (the database, essentially) can be used in this way, to generate different outputs.
But creating a file/database encoded in TEI means doing things in text files. That’s very error-prone at the best of times. TEI is just a format. What is needed is some “casual casual easy thing,” some bit of software that stores what you put in in TEI, and redisplays it in an easy way. I know people have attempted this, but the results that I have seen look awful.
Is there a tech billionaire in the house?
TEI is a very tech-heavy approach, that imposes a lot of pain upfront for no gain. It gets in the way. I can’t face doing it, and I’m a former programmer! In Word on the other hand I can just start, and get on with what I want to do. But I’m then stuck. There’s no easy way to transform the output into some other format, say from positive to negative or back again.
I’ve no idea what the answer is. In the meantime we’re stuck with Word.
For the New Testament, where there are thousands of witnesses, and stemmatics does not work, the apparatus is always presented negatively. Indeed in the Nestle-Aland edition, special symbols are introduced, known as “critical sigla”, indicating insertion and omission etc. These are supported by special Greek fonts, such as Gentium. I found an article online by Brent Nongbri here, describing them:

Um… yuk. I’ve not seen any classical text use these, however. This again is a presentation-layer thing, designed to reduce the amount of gunk at the bottom of the page, at the expense of intelligibility. Here’s a page of Jude, using these techniques.

That’s pretty awful, and only gives a tiny amount of data.
So there’s a world of pain here, for something that ought to be simple and an activity that is carried out in universities around the world.
In the meantime, I will stick with Word, and, since it is possible for me to give a positive apparatus, I will!