% magman.tex -- info about Malvern Greek. %{{{ Malvern Greek manual %{{{ preamble \errorcontextlines=1000 \input pdccmlft \input magrmac \font\notegr=ma55g9 \font\bodygr=ma55g11 \font\biggr=ma55g24 % used in sample \font\gri=ma56g11 % used in sample \toksa=\expandafter{\STYbodyT} \edef\STYbodyT{\the\toksa\noexpand\f{gr}{ma55g}} \bodyfonts \everygreek{\gr \baselineskip=14pt} \grdelimiter\* % * is already an active char +\defverbatim\_+ % | is often used in examples \majorheadline{Typesetting Greek using Malvern fonts} %{{{ font tables %% Code to typeset a font table -- lifted from my testfont.tex \newcount\tableN \newcount\hexcount \def\hexdigit#1{\ifcase#1\relax 0\or 1\or 2\or 3\or 4\or 5\or 6\or 7\or 8\or 9\or A\or B\or C\or D\or E\or F\fi} \def\ntablecr {% \cr \noalign{\nointerlineskip} \multispan2\hfill &\multispan{33}\hrulefill } \def\ntable { \medskip \begingroup \openup1\jot \def\\{\char\tableN \global\advance\tableN 1} \def\0##1{&\omit&\sevenrm##1} \halign to \hsize {% \chartstrut\hss##\tabskip=0pt plus 10pt & &\hss##\hss&##\vrule\cr \lower 6.5pt\null &\00\01\02\03\04\05\06\07\08\09\0A\0B\0C\0D\0E\0F \ntablecr \global\tableN=0 \ntablelines \crcr } \medbreak \endgroup } \def\ntablelines {% \ifnum\tableN<256 \let\next\ntablecontinuation \else \let\next\relax \fi \next } \newcount\ntabtmp \def\ntablecontinuation {% % Find out if none of this row are defined by making a horizontal % list of all of them preceeded by a penalty of 1; if any of them % are defined then \lastpenalty will be something other than 1: \setbox0=\hbox{\penalty1 \def~{\char\tableN \advance\tableN 1}% ~~~~~~~~~~~~~~~~\global\ntabtmp=\lastpenalty}% % Now set the row in the table iff ntabtmp # 1: \ifnum\ntabtmp=1 \global\advance\tableN 16 \let\next=\ntablelines \else \let\next=\ntablecontinuationcontinuation \fi \next } \def\ntablecontinuationcontinuation {% \cr \noalign{\nointerlineskip \penalty5000 } & \hexcount=\tableN \divide\hexcount16 \sevenrm\hexdigit\hexcount &&\\&&\\&&\\&&\\&&\\&&\\&&\\&&\\&&\\&&\\&&\\&&\\&&\\&&\\&&\\&&\\& \ntablecr \ntablelines } \def\chartstrut{\lower 0.25\baselineskip \vbox to \baselineskip{}} %}}} font tables %{{{ two-column quotations \def\twocolgr{ \smallskip \beginthe{twocolgr} \setbox0=\vbox\bgroup \hsize=\bodywd \advance\hsize-\colsep \divide\hsize by 2 \begingreek \strut \ignorespaces } \def\endtwocolgr{% \par\endgreek \egroup \moveleft\leftmargin\vbox{ \hrule\smallskip \hbox to \bodywd{\rigidbalance{0}{2}{\ht\strutbox}{\hfil}} \smallskip\hrule } \smallbreak \endthe{twocolgr} } %}}} two-column quotations %}}} preamble %{{{ bibliography \def\TB{{\it TUGboat}} \counta=0 \newtoks\bibliography \newcount\bibcount \def\FAQnote {% \par {\bf Note on FAQs}\quad An FAQ is an electronic document, posted regularly to a USENET newsgroup, usually in the form of a list of answers to frequently asked questions. Many FAQs are available on the archive site |pit-manager.mit.edu| (alias |rtfm.mit.edu|) [18.172.1.27] in the directory |pub/usenet/news.answers|. The reference gives the name of the compiler, the title, the last-modified date (in lieu of an edition or version number) and name under which the FAQ is archived appears in parentheses. \par } \def\bibdef#1#2% { \expcs\edef{cite#1}% {% \noexpand\docite\noexpcs{cite#1}\noexpcs{refer#1}% } \toks0={#2} \expcs\edef{refer#1}{\noexpand\bibitem{\expcs\noexpand{cite#1}} \the\toks0} } \def\docite#1#2% {% \global\advance\bibcount1 \global\bibliography=\expandafter {\the\bibliography #2}% \global\edef#1% {[\the\bibcount]}#1% } \bibdef{Allen} { W. Sidney Allen, {\it Vox Graeca: A Guide to Pronunciation of Classical Greek}, 3rd Ed.\ (Cambridge University Press, 1987), pp.\thinspace177--179. } \bibdef{KD} { K.~J. Dryllerakis (|kd@doc.ic.ac.uk|), {\it Typesetting Greek Texts with Greek\TeX}, Greek\TeX~3.1 (also known as KDGreek) (CTAN |fonts/greek/kd|). } \bibdef{FAQ} { Nikolaos Fotis (ed.), {\it soc.culture.greek} FAQ -- Linguistics ({\tt greek-\penalty\exhyphenpenalty faq\slash linguistics}, 1993/03/06). } \bibdef{Yannis} { Yannis Haralambous and Klaus Thull, Typesetting Modern Greek with 128 Character Codes, \TB\/ 10 (1989), pp.\thinspace354--359 (CTAN |fonts/greek/yannis|). } \bibdef{Harts} { Horace Hart, {\it Hart's Rules for Compositors and Readers at the University Press, Oxford}, 39th Edition, revised (Oxford University Press, 1989), pp.\thinspace111--116. } \bibdef{Levy} { Silvio Levy, Using Greek Fonts with \TeX, \TB\/ 9 (1988), pp.\thinspace20--24 (CTAN |fonts/greek/levy|). } \bibdef{COD} { {\it The Concise Oxford Dictionary of Current English}, 8th Ed. (Oxford University Press, 1990), p.\thinspace1453. } \def\bibitem#1% {% \smallskip \indent \llap{#1\hskip1pc}\ignorespaces } %}}} bibliography \twosidedtrue \noheadlinetrue \majorheadline{Typesetting Greek using Malvern fonts} \leftline{\headingfonts \the\majorheadline} \bigskip \leftline{P. Damian Cugley} \leftline{Oxford University Computing Laboratory} \leftline{(|Damian.Cugley@comlab.ox.ac.uk|)} \leftline{April 1993} \bigskip \noindent Malvern is a sanserif font family, implemented in \MF. This document describes Malvern encoding~G (the Greek alphabet). \section{Using Malvern G} Because most latin-alphabet languages require additional composite letter glyphs to be properly typeset by \TeX, most Malvern fonts will be used as the raw material for composite fonts. In contrast, the Malvern Greek font can be used directly to typeset Greek, both with the old accent-and-breathing systems and the newer (post-1974) one-accent system. It follows the conventions of Silvio Levy's original |gr| family \citeLevy\ and K.~J. Dryllerakis's Greek\TeX\ (|kd| fonts) \citeKD. It is almost compatible with the reduced Greek fonts (|rgr| and |mrgr| families) described by Yannis Haralambous and Karl Thull \citeYannis. %{{{ typesetting \section{Macro file} The file |magrmac.tex| has some macros for setting texts in plain \TeX. A future production release may instead work as an option or extension of Greek\TeX, with the objective of making it possible to switch an existing document to Malvern without much editing. Greek text is set within a \dfn{Greek mode}, delimited by macros |\begingreek| and |\endgreek|. Each time Greek mode is entered, the contents of the token register |\everygreek| is scanned first. Since |magrmac| does {\it not} load a particular font by default, a manuscript using |magrmac| will want to include an assignment like \display |\everygreek={\greekfont}|\cr |\catcode`\*=\active \grdelimiter\*| \enddisplay where |\greekfont| has been bound to some Greek font or another such as |ma55g12|. The macro |\grdelimiter| takes one parameter, an active character (represented by a one-character control sequence), and makes that character into a self-matching delimiter for Greek mode (like |$|--|$| works for mathematics mode). Thus, `|*This is Greek*|' produces `*This is Greek*'. \section{The alphabet} The letters are transliterated as follows: \table \hfil#\hfil&&\enspace\hfil#\hfil\cr \gr a&\gr b&\gr g&\gr d&\gr e&\gr z&\gr h&\gr j&\gr i&\gr k&\gr l&\gr m&\gr n&\gr x&\gr o&\gr p&\gr r&\gr ss&\gr c&\gr t&\gr u&\gr f&\gr v& \gr q&\gr y&\gr w\cr \tt a&\tt b&\tt g&\tt d&\tt e&\tt z&\tt h&\tt j&\tt i&\tt k&\tt l&\tt m&\tt n&\tt x&\tt o&\tt p&\tt r&\tt s&\tt c&\tt t&\tt u&\tt f&\tt v& \tt q&\tt y&\tt w\cr \noalign{\smallskip}% \gr A&\gr B&\gr G&\gr D&\gr E&\gr Z&\gr H&\gr J&\gr I&\gr K&\gr L&\gr M&\gr N&\gr X&\gr O&\gr P&\gr R&\gr S&\gr C&\gr T&\gr U&\gr F&\gr V& \gr Q&\gr Y&\gr W\cr \tt A&\tt B&\tt G&\tt D&\tt E&\tt Z&\tt H&\tt J&\tt I&\tt K&\tt L&\tt M&\tt N&\tt X&\tt O&\tt P&\tt R&\tt S&\tt C&\tt T&\tt U&\tt F&\tt V& \tt Q&\tt Y&\tt W\cr \endtable The letter *C c* is \dfn{lunate sigma} (see below). The letter *V v* is \dfn{digamma} (wau). I~put it next to *f* because I~don't know where it belongs in the alphabet. A lower case sigma `*s@*' at the end of a word (or followed by punctuation) is automatically changed to the final form `*s*' through \TeX's ligature mechanism.\note{Occasionally \TeX's notion of word boundaries causes the wrong glyph to appear. There are two special invisible glyphs that can be used to control this in obscure circumstances. The so-called \dfn{compound word mark} (or cwm) acts as a word-boundary in the middle of a word. It has code~32, so `|as^^`a|' produces `*as^^`a*', for example. The \dfn{null glyph} is invisible, but, because it is not a boundary character, it can be used to prevent a ligature with a following word boundary. It has code 64, so `|as@|' produces `*as@*'.} \section{Composite letters} The marks that go above the letters are obtained with the following characters, which go before the letter: \table \gr#\hfil&\quad#\hfil&\quad #\hfil& \quad *#*\hfil\cr \noalign{\hrule height 1pt \vskip1\jot}% \omit Mark\hfil&\omit\quad Char\hfil& Name&\omit\quad Name in \citeYannis\hfil\cr \noalign{\vskip\jot \hrule \vskip\jot} <@& |<|& asper (rough, = h)& dase'ia\cr >@& |>|& lenis (smooth)& yil'h\cr "@& |"| (double quote)& diaeresis& dialutik'a\cr '@& |'| (quote)& acute accent& >oxe'ia\cr `@& |`|& grave accent& bare'ia\cr \char126 @& |~|& circumflex& perispwm'enh\cr \noalign{\vskip1\jot \hrule height 1pt\smallskip}% \endtable A breathing or diaeresis can be combined with an accent, thus `|<~a|' for *<~a*, `|>'e|' for *>'e*. The vowels *a*, *h* and *w* may have an iota beneath them, called `subscript': *a|*, *h|*, *w|*. These are produced with a vertical bar `_|_' after the letter in Greek mode: `_a|_' makes *a|*, `_en >arq~h| >~hn en >arq~h| >~hn u*. Double *rr* % used to be written *>r|' or `|d'|' (*d>* or *d'*). \section{Punctuation} Here's a table of correspondences for punctuation: \table \hfil#\hfil&&\enspace\hfil#\hfil\cr *.*&*,*&*;*&*:*&*!*&*?*&*''*&*((*&*))*\cr |.|&|,|&|;|&|:|&|!|&|?|&|''|&|((|&|))|\cr \endtable The apostrophe is also generated by a single single-quote at the end of a word: `*d'*' can be generated by `|d'|'. There are also digits, parentheses, brackets, hyphen, dashes, slash, per cent sign, asterisk, plus and equals signs. \section{One-accent Greek} The easiest way to write modern Greek is simply to use |'| for the accent and otherwise to use |\begingreek|--|\endgreek| as before: `*en arq'h hn o l'ogos*' is generated with `|en arq'h hn o l'ogos|'. Malvern also has glyphs for a symmetrical accent (*\char3*) and composite letters (such as *\char3 a*, *"\char3u*). The macro |\monotoniko|\note{This macro is so named for compatibility with the |rgr|/|mrgr| macros \citeYannis. It might usefully go in |\everygreek|.} in Greek mode makes |'| an active character, expanding to the symmetrical accent. Then `|En'w|' produces `*En\char3w*'. In fact, the other accent characters |`| and |~| are also made to substitute `*\char3*', and |<|, |>| and _|_ expand to the null glyph, so that a text with all the breathings and accents and be hacked into almost-correct one-accent Greek.\note{Again, for compatibility with the |rgr|/|mrgr| macros. Because monosyllables should not have accents at all in one-accent Greek, a complete conversion from old-style to new-style requires changes to the manuscript anyway, so the usefulness of this feature is debatable!} For example, `_>En~w|_' becomes `*\monotoniko >En~w|*'. \section{Variant glyphs} Sigma has a variant called lunate sigma, written *Cc*. These letters can be obtained directly (produced by the character `|c|' in the manuscript). So that a given text can be switched between the two styles, there is also a macro |\grlunatesigma|, which redefines `|s|' is as active character equivalent to `|c|'. Obviously this is only useful when Greek mode is only used for plain texts, since it prevents `|s|' from being used in control sequence names. Similarly, there are two ways to write lower case phi: *f* and *\char92 * (`|f|' and glyph~92). There is no difference in meaning between *f* and *\char92 *; the choice of one or the other is only made on aesthetic grounds. The macro |\grvarphi| redefines `|f|' as an active character equivalent to `*\char92 *', in effect replacing *f* with *\char92 *. Normally these macros, if used, will go in |\everygreek|. %}}} typesetting \iffalse %{{{ background \section{Background} This section is optional reading. \subsection{Development of the Levy-derived font families} Silvio Levy's |gr| fonts \citeLevy\ used the \TeX~2 ligature system to make *s* become *s@* when followed by a letter, and had glyphs for almost all the composite letters. Yannis Haralambous and Klaus Thull created a set of reduced (128-glyph) fonts, for \TeX\ systems still unable to manage 256-glyph fonts \citeYannis. These fonts (the |rgr| and |mrgr| families) still used Levy's character programs. Because they could not include glyphs for all the composite letters, many composite letters had to be obtained with macros rather than ligatures. The |mrgr| family is for new-style (one-accent) Greek. Finally K.~J. Dryllerakis's Greek\TeX\ package (also called KDGreek) \citeKD\ uses the Levy character programs again, but takes advantage of the new ligature features of \TeX~3 to make *s@* become *s* (without needing compound glyphs for every combination of *s@* with a letter). The fonts are given names starting with |kd|. Greek\TeX\ also includes format files for plain \TeX\ and \LaTeX, transliteration programs and other useful things. \subsection{Designing Greek letters for Malvern} My Malvern-G encoding is intended to be `ligature-compatible' with Levy's and Dryllerakis's, meaning that `|<'a|||' will produce `*<'a|*' in each of them, even though this is glyph~141 in |grreg10|, 201 in |kdgr10| and some random number in |ma55g10|. The punctuation characters have the same encoding. Designing a sanserif Greek lower case alphabet (*alfabet*?) is tricky because the lower case letters have a very cursive style, as if hand-drawn with a brush by a scribe in a hurry -- which is pretty much the opposite of most sanserif styles. I~made sketches (on paper) of Greek letters forced into the same sorts of shapes as other Malvern letters, and the results were uniformly horrid. The original idea of Malvern was to make a humanist/geometric hybrid, so I tried approaching it from the from the humanist end this time. %}}} background \fi %{{{ references \section{References} Since I don't speak a word of Greek -- the only word I know is *barbaroi* and I don't know how to spell it -- I have relied on reading between the lines of the documentation for other systems for typesetting Greek, including Hart's Rules \citeHarts. CTAN is the Comprehensive \TeX\ Archive Network, a collection of FTP sites (such as |ftp.tex.ac.uk|, under directory |tex-archive|). \beginthe{bib} \parskip=0pt \parindent=0pt \the\bibliography \par \endthe{bib} %}}} postamble %{{{ samples \section{Examples of text in Malvern 55 and 56} \iffalse This quotation is used by Haralambous and Thull \citeYannis\ as an example of the old-style accent-and-breathing system: %{{{ Popess Johanna \begin twocolgr >En~w| exantl'hsas t`a murol'ogi'a tou >ekoim~ato ep`i t~hs >'ammou t~hs paral'ias, katab`as >ex o>uran~wn ap'ostolos >eke~inos t~wn Sax'onwn >'hnoixe di`a maqa'iras t`a st'hjh to~u koimwm'enou, e>is'hgage to`us is t`hn >op`hn kai >exag`wn t`hn kard`ian >eb'ujisen a>ut'hn e>is l'akkon pl'hrh <'udatos, <'oper eke'inh kard'ia >'efrizen e>is t`o <'udwr ent`os to~u thgan'iou, >afo~u d`e >ekr'uwsen, >'ejese p'alin a>ut`hn ep'estreyen e>is t`on >idik'on tou. >'Etuq'e pote, >anagn~wst'a mou, n`a >apokoimhj~h|s m`e >anup'oforon b~hqa, koim'wmenos n`a exupn'hsas n`a eiatreum'enos? >Agn~wn <'oti e>~isai kal`a >ano'igeis mhqanik~ws t`o st'oma, <'ina plhr'wsh|s e>is t`on >epikat'araton b~hqa t`on sun'hjh f'oron. >All`a p'oshn a>isj'anesai qar'an, m`h eis t`on l'arugga t`o >oqlhp`on jhr'ion! O<'utw <'ama >'hnoixe ka`i ofjalmo'us, is t`hn >aq'ariston >Iw'annan t`hn sun'hjh dakr'uwn spond'hn, >all`a par`a p~asan prosdok'ian oofjalmo'i tou e`h n`a kla'ush| >h|sj'aneto >'orexin met`a polu'hmeron nhste'ian All' >ako'usontai, >enper e>~u dok~h|s l'egein. t'ode d'e sou >ene'ohsa <'ama l'egontos, ka`i pr`os >emaut`on skop~w; e>i <'oti m'alist'a me E>uj'ufrwn did'axeien, 'adikon e>~inai, t'i m~allon >eg`w mem'ajhka par' E>uj'ufronos, t'i pot' >est`in t`o <'osi'on te ka`i t`o >an'osion? jeomis`es m`en g`ar to~uto t`o >'epgon, 'eoiken, e>'in >'an; >all`a g`ar o>u to'utw| >ef'anh >'arti `on ka`i jeofil`es >ef'anh. af'ihm'i se, >~w E>uj'ufron; e>i bo'ulei, p'antes a>ut`o 'adikon ka`i p'antes miso'untwn. >all' >~ara to~uto n~un >epanorj'wmeja >en t~w| l'ogw|, an'osi'on >estin, <`o d' >`an fil~wsin, <`osion; <`o d' >`an oud'etera >`h amf'otera? >~ar' o<'utw bo'ulei anos'iou? \endtwocolgr \rightline{Plato, `Euthyphro'} \vskip 1\medskipamount plus \baselineskip This quotation (similarly stolen) is in Malvern~56 and has |\grvarphi| and |\grlunatesigma| in effect: \twocolgr \gri \grvarphi \grlunatesigma T`h stigm`h to'uth ni'wjw p'oso bar'u ''nai t`o must'hrio t~hs xomol'oghshs. 'Oros. O`h >ap`o mustikop'ajeia n`a z'hsw mi`a perasm'enh >epoq'h. Ka`i t'wra, n'a, ntr'epomai n`a mil'hsw. P~ws n`a t`o p~w? Jumo~umai <'ena >anoixi'atiko deilin'o, po`u kat'ebaina t`on Ta"'ugeto, mi`a xafnik`h j'uella m`e k'uklwse kont`a sto'us Pentaulo'us. T'oso fober`os >anemos'ifounas, po`u >'epesa katag~hs gi`a n`a m`hn gkremist~w. Oastrap`es m' >'exwsan 'ekleisa t`a m'atia m`hn tuflwj~w, ka`i kat'aqama, p'istoma, per'imena. <'Olo t`o pan'uyhlo boun`o >'etreme, ka`i du`o >'elata d'ipla mou tsak'isthkan >ap' t`h m'esh ka`i br'onthxan q'amou. >'Eniwja t`o jei'afi to~u kerauno~u st`on >a'era, ka`i xafnik`a x'espase 'epesen 'anemos, ka`i qontr'es, jerm'es st'ales broq`h qt'uphsan t`a dentr`a ka`i t`o q~wma. T`o jum'ari, ap' t`o ner'o, t'inaxan t`is murwdi'es tous ki <'olh @ >'@ >`@ >~@ "@ "'@ "`@ "~@ "\char3 @} \endgreek \medskip\hrule height 1pt } %}}} 24-pt sample \bye %}}} Malvern Greek manual % Local variables: % fill-prefix: "\t" % fill-column: 76 % fold-folded-p: t % End: