Fix linking to specific comments

We might need a fallback for citable_urn values

commentaries/tlg0011.tlg003.ajmc-meta.md

@@ -1,8 +1,8 @@
 ---
-creators: 
+creators:
     - { creator_type: author, first_name: Matteo, last_name: Romanello }
     - { creator_type: author, first_name: Charles, last_name: Pletcher}
-languages: 
+languages:
     - eng
 pid: ajmc-meta
 place: ""
@@ -12,6 +12,8 @@ urn: "urn:cts:greekLit:tlg0011.tlg003.ajmc-meta"
 ---
 
 @urn:cts:greekLit:tlg0011.tlg003.ajmc-lj:17@κώδωνος
+:citable_urn: urn:cts:greekLit:tlg0011.tlg003.ajmc-meta:17@κώδωνος
+
 
 All commentators except Campbell gloss on this line (see [AjMC *ad loc.*](https://ajmc.unil.ch/versions/urn%3Acts%3AgreekLit%3Atlg0011.tlg003.ajmc-lj%3A1-133)).
 
@@ -27,12 +29,13 @@ The primary meaning of κώδων is *bell*, but it means also *bell of the trum
 As observed by [Stanford *ad loc.*](https://ajmc.unil.ch/iiif/Stanford1963/Stanford1963_0128/full/max/0/default.png), the assonance caused by the repetition of the *ο* and *ω* sounds makes for a "fine, loftily phrased, resonant line suggesting the grandiose style of Sophocles' Aeschylean period".
 When constructing the sentence, φώνημα should be supplied, to which the genitive refers: Εὐμαθὲς ὡς (φώνημα) κώδωνος ([Tournier](https://ajmc.unil.ch/versions/urn%3Acts%3AgreekLit%3Atlg0011.tlg003.ajmc-lj%3A1-133?gloss=tlg0011.tlg003.ajmc-tou%3A17%400-17%4035)), and ὡς (φώνημα) κώδωνος ([Wecklein](https://ajmc.unil.ch/versions/urn%3Acts%3AgreekLit%3Atlg0011.tlg003.ajmc-lj%3A1-133?gloss=tlg0011.tlg003.ajmc-tou%3A17%400-17%4035)).
 
-The simile echoed here is the one at [Hom. *Il.* 18.219-222](https://scaife.perseus.org/reader/urn:cts:greekLit:tlg0012.tlg001:18.219-18.222) where the cry of war of Achilles – whose crying is joined by Athena – is likened to the ἀριζήλη φωνή of the σάλπιγξ. This assonance is, perhaps, the reason why Sophocles chose κώδων over σάλπιγξ. While cited cursorily already by Schneidewin and Wecklein, the first to give this Homeric parallel the importance it deserves was [Jebb](https://ajmc.unil.ch/versions/urn%3Acts%3AgreekLit%3Atlg0011.tlg003.ajmc-lj%3A1-133?gloss=tlg0011.tlg003.ajmc-jeb%3A17%4012-17%4035).  
+The simile echoed here is the one at [Hom. *Il.* 18.219-222](https://scaife.perseus.org/reader/urn:cts:greekLit:tlg0012.tlg001:18.219-18.222) where the cry of war of Achilles – whose crying is joined by Athena – is likened to the ἀριζήλη φωνή of the σάλπιγξ. This assonance is, perhaps, the reason why Sophocles chose κώδων over σάλπιγξ. While cited cursorily already by Schneidewin and Wecklein, the first to give this Homeric parallel the importance it deserves was [Jebb](https://ajmc.unil.ch/versions/urn%3Acts%3AgreekLit%3Atlg0011.tlg003.ajmc-lj%3A1-133?gloss=tlg0011.tlg003.ajmc-jeb%3A17%4012-17%4035).
 
-By comparing Athena's voice to the sound of a "bronze-mouthed Etruscan trumpet", Sophocles probably intended to emphasise its loudness: "Die erschütternde und das Herz erbeben machende Stimme der Göttin", as Wecklein aptly noted. The *salpinx*, whose sound could be heard at remarkable distances, was used in the Classical period not only in the context of war but also to signal the beginning/end of assemblies or theatre performances (Spineto 2005), as well as in the cult (on this specific aspect, see [Nordquist 1996](https://journal.fi/scripta/article/view/67232)).   
+By comparing Athena's voice to the sound of a "bronze-mouthed Etruscan trumpet", Sophocles probably intended to emphasise its loudness: "Die erschütternde und das Herz erbeben machende Stimme der Göttin", as Wecklein aptly noted. The *salpinx*, whose sound could be heard at remarkable distances, was used in the Classical period not only in the context of war but also to signal the beginning/end of assemblies or theatre performances (Spineto 2005), as well as in the cult (on this specific aspect, see [Nordquist 1996](https://journal.fi/scripta/article/view/67232)).
 
 ---
 
 @urn:cts:greekLit:tlg0011.tlg003.ajmc-lj:15@ἄποπτος
+:citable_urn: urn:cts:greekLit:tlg0011.tlg003.ajmc-meta:15@ἄποπτος
 
-Many commentators have puzzled over the extent of ἄποπτος --- that is, they have wondered whether Athena is visible to the audience or if she instead makes her comment from off-stage. In this sample comment, I will...
+Many commentators have puzzled over the extent of ἄποπτος --- that is, they have wondered whether Athena is visible to the audience or if she instead makes her comment from off-stage. In this sample comment, I will...