\documentclass[12pt]{article}
\usepackage{mflogo}
\usepackage[greek,english]{babel}
\usepackage[or]{teubner}
\usepackage{mflogo}
\usepackage{afterpage}
\title{\texttt{teubner.sty}
\thanks{This paper documents \texttt{teubner.sty} version 2.2 of 2004/09/02.}\\
An extension of the \textsf{greek} option\\ of the \textsf{\slshape babel}
package}
\author{Claudio Beccari\thanks{Dipartimento di Elettronica del Politecnico di Torino}}
\date{2004/09/03}
\def\comando#1{\texttt{\expandafter\string\noexpand#1}}
\def\ARG#1{\texttt{\char123}$\langle$\textit{#1}$\rangle$\texttt{\char125}}
\def\Arg#1{$\langle$\textit{#1}$\rangle$}
\def\brArg#1{\texttt{\char123#1\char125}}
\def\opt#1{\texttt{[}$\langle$\textit{#1}$\rangle$\texttt{]}}
\def\g#1 {\textDidot{#1}}
\def\l#1 {\textLipsias{#1}}
\renewcommand*{\textfraction}{0}
\renewcommand*{\topfraction}{1.}
\renewcommand*{\bottomfraction}{.5}
\def\acro#1{\expandafter\textsc\expandafter{\MakeLowercase{#1}}}
\begin{document}

\maketitle

\section{Introduction}
\begin{sloppypar}
This package \texttt{teubner.sty} is an extension of the \textsf{greek} option
of the \textsf{\slshape babel} package intended to typeset classical Greek with
a philological approach. This version 2.1 cannot yet typeset the critical
apparatus as the philologists are used to, but may be this work will continue
and include also that facility.
\end{sloppypar}

This project is being carried on with the help of Mr. Paolo Ciacchi, who got
a``master'' degree at the University of Trieste, when he was writing his
``master thesis'' where he has to deal with ancient Greek philology.

This package is supposed to work with my CB fonts available on the
Comprehensive \TeX\ Archive Network (\textsc{ctan}); one of the actions of this
package consists in replacing the default ``italic'' Greek shape with the one
called ``Lispiakos'' in Greece; this name derives from the high quality of the
fonts used in the printers' shops in the city of Lipsia in the past 100 years
or so; one of the printer shops that continues printing books for philologists
(since 1849) is the B.G.~Teubner Verlags\-gesell\-schaft, that publishes the
collection called ``Bibliotheca Scriptorum Graecorum et Latinorum
Teubneriana''. The name given to this extension package is in homage to that
printing company and to its high quality tradition in printing Greek texts.

The reader is supposed to know how to install a package with all its components
in his/her \TeX\ installation; here we do not spend a word on this topic, since
the various implementations of the \TeX\ systems are so idiosyncratic that the
explanations good for one implementation are not good for another; the various
operating systems also do not help in such matters. Since I  have access only
to a Windows~2k computer with \textsc{MiKTeX} and a Debian Linux one with the
\TeX-Live implementation of \texttt{teTeX}, I realize that the explanations
would be so different that they would result too confusing. Let's not speak of
other operating systems and \TeX\ distributions\dots\ Nevertheless do not
forget to read carefully the accompanying file \texttt{teubner.txt}.

Another warning: while I am upgrading this documentation, the \TeX-Live Team is
studying how to reduce the amount of material to distribute on the \TeX-Live
disk, since the contributions are growing at such a rapid rate that it becomes
urgent to chose what to include and what to leave outside, although always
downloadable form the \acro{ctan} archives. One of the candidates to reduction
is the collection of my CB Greek fonts; it is true that the whole collection of
files, that includes the \MF\ source and driver files, the metric \texttt{tfm}
files, and the PostScript \texttt{pfb} files, amounts to nearly 2000 files and
the volume exceeds 100\,MB. One of the proposals is to distribute a reduced
zipped set called \texttt{cbsmall.zip} on the \TeX-Live disk while retaining
three other collections \texttt{cbtiny.zip}, \texttt{cbmedium.zip} and
\texttt{cbhuge.zip} so that the user can proportionate the amount of downloaded
fonts to his/her real needs. For using \texttt{teubner.sty} you need the full
set of Lipsian fonts, so you should download it from \acro{ctan} should it be
missing from your customized-size set of Greek fonts. Since the operation of
the \TeX-Live Team is under way, I cannot be more precise for the moment;
should that Team decide as outlined, maybe I might modify this package so as to
conform to the specific font collection of your installation.

This short documentation will start with briefly recalling some peculiarities
of the CB fonts and their mapping to the Latin keyboard; afterwards it will
list the new commands and their syntax.

\section{The Greek CB fonts}
The CB fonts come in  all shapes, sizes and series as the extended European
fonts that conform with the T1 encoding introduced after the Cork Conference of
the \TeX\ Users Group Society in 1991\footnote{If the \TeX-Live Team takes the
decisions outlined in the previous section the smaller sets will have the fonts
scaled up or down from a subset of the whole collection.}. The CB fonts conform
to the encoding that is still being called LGR, since up to now there is no
established encoding name for the Greek alphabet among the \TeX\ users, not
yet, at least.

The regular shape has capital letters with serifs that are in the
same style as the roman capital ones, while the lower case letters
derive from the design by Didot and are very common in all texts.
This shape comes also in boldface, together with the two
corresponding oblique (or slanted) versions. The CB fonts contain
also the upright and slanted, medium and boldface small caps
alphabets.

The ``italic'' shape was designed in order to imitate the Olga font designed so
as to have a contrasting style compared with the slanted Didot shape, in order
to play  the same role as the italic letters play with the latin roman
alphabets. The Olga alphabets come in medium and boldface series, and in
oblique and upright shapes.

The CB fonts are completed with the sans serif fonts, the
monospaced typewriter fonts and the fonts for slides, besides an
outline family that shows the regular shapes and series just with
their contours.

The ``cbleipzig'' fonts imitate the beautiful shapes used in
Lipsia; they come in medium bold and extra-bold series, without
an upright version, and they are meant to replace the
corresponding Olga shapes (the bold series is good for mixing
with PostScript fonts, whose medium series is slightly blacker
than the corresponding CM and EC fonts usually used with \LaTeX).

\section{Font installation}
In order to use the Greek CB fonts and the extensions provided with this
package, you need to install them. You can freely download those fonts from
\textsc{ctan}\footnote{At the time of writing the \textsc{ctan} archives
contain a huge compressed file that includes all the \texttt{tfm} metric files,
all the \MF\ files and all the postscript \texttt{pfb} files, inclusive of the
\texttt{cbgreek.map} file needed to instruct \textsf{dvips} and
\textsf{pdflatex} for using the scalable postscript fonts.}, where you can find
also the collection of driver files for generating them with \MF, but since you
are unlikely going to use all families, series, shapes and sizes, and since the
cbleipzig and metrics fonts are lacking the driver files, I suggest you to
follow the instructions given in the file \texttt{cbgreek.txt}; in facts the CB
fonts need only an interface between \MF\ and the \texttt{.tfm} and
\texttt{.pk} files, in order to overcome the \MF\ limitation that the output
files must have the same name of the input file (not considering the filename
extension); therefore all the driver files contain the same instruction:
\begin{quote}
\ttfamily input cbgreek;
\end{quote}
and differ only in the name; the latter is made up of four
letters and four digits; the four letters identify the Greek
fonts by family, series and shape, while the four digits identify
the size in points, multiplied by 100 and left padded with a zero
in order to complete the four digits.

The cbleipzig fonts have their shape identified with the letter \texttt{l},
therefore for a 9\,pt font you need a file named \texttt{grml0900.mf}
containing the above mentioned single instruction; for the metric symbol fonts
at 12\,pt you need a file named \texttt{gmtr1200.mf} containing the above
mentioned single instruction. So, should the cbleipzig and the metric symbol
\MF\ driver files be missing, you don't have too much work to do to create
them.

\section{Inputting Greek text with a Latin keyboard}

\begin{table}[bt]\def\g #1 {\textDidot{#1}}\tabcolsep4pt
\centering
\begin{tabular}{*{25}c}
\g a & \g b &\g g &\g d &\g e &\g z &\g h &\g j &\g i &\g k &\g l &\g m &\g n &\g x &\g o &\g p &\g r &\g c &\g sv &\g t &\g u &\g f &\g q &\g y &\g w \\
   a &    b &   g &   d &   e &   z &   h &   j &   i &   k &   l &   m &   n &   x &   o &   p &   r &   c &   s  &   t &   u &   f &   q &   y &   w
\end{tabular}
\caption{Keyboard correspondence between Latin and Greek
letters}\label{t:corrispondenza}
\end{table}

In order to input Greek text with a Latin keyboard some simple and
mostly obvious key substitutions are performed according to the
correspondence shown in table~\ref{t:corrispondenza}.

Notice that there is the possibility of inputting \texttt{c} in
order to get the final sigma \textDidot{c}, but the CB fonts are
conceived with the non-Greek typist in mind, so that it is even
possible to input \texttt{s} at the end of words, because the
whole software is smart enough to detect the word boundary and to
use the correct shape of the letter sigma within or at the word
end. This mechanism is so ``sticky'' that it becomes difficult to
type an isolated initial or middle sigma; to this purpose the CB
fonts contain an invisible character, \texttt{v}, that may be
used for several purposes, one of which is to hide the word
boundary after a sigma; therefore if you type \texttt{sv}, you get
\textDidot{sv} without any effort.

The invisible character \texttt{v} may be used also as a support
for (apparently) isolated accents, especially when macros have to
be used; if you type \verb"\={v}" you get
\,\textDidot{\=v}\enspace, while if you omit the invisible
\texttt{v} you get \,\textDidot{\={}}\enspace.

Accent, spirits and dieresis are input \emph{before} each letter
(prefix notation) without using any particular control sequence;
the correspondence between the Latin symbols and the Greek
diacritical marks is shown in table~\ref{t:accenti}; all ``upper''
diacritical marks must be prefixed (in any order), while the iota
subscript must be postfixed. Therefore if you input \verb">'a|", you
get \textDidot{>'a|}.

\begin{table}[bt]\def\g #1 {\textDidot{#1}}
\centering
\begin{tabular}{l*{7}c}
Greek   &\g >   & \g < &\g "v   &\g ' &\g ` &\g \~v     &\g |  \\
Latin   &$>$    &  $<$ &  "     &   ' &   ` &   \~{}    & $|$
\end{tabular}
\caption{Correspondence between the Latin keyboard symbols and
Greek diacritical marks}\label{t:accenti}
\end{table}

Macrons and breves are just single glyphs and do not appear in combination with
any letter, due to the limitation of 256 glyphs per font; but they may be input
by means of the standard \LaTeX\ commands \verb|\=| and \verb|\u| respectively
in order to use them as accents. Together with the macros for inserting such
symbols, a complete set is available for inserting any combination of
diacritical marks over or under any letter, not only vowels: see
table~\ref{t:accentmacros}. Of course the results may not be comparable with
the ones one can obtain with the regular ligature mechanism; the advantage of
the accent macros is twofold: (a) it is connected only to the possibility of
inserting macrons and breves and/or to set the various combinations over or
under any letter, even if it is a consonant; (b) for all accent vowel
combinations that have a specific glyph in the font, the actual accented symbol
is used so that kernings and ligatures are maintained; as shown elsewhere there
is a noticeable difference between \textLipsias{a>ut'os} and
\textLipsias{a\s{u}t\'os}. In this example the first word is typed in as
\verb+a>ut'os+, while the second may be typed as \verb+a\s{u}t\'os+, or
\verb*+a\us t\oa s+, or even in mixed form \verb*+a\us t'os+ thanks to the fact
that there is no kerning between `tau' and `omicron with or without acute'




\begin{table}[tb]\makebox[\textwidth]{%
\begin{tabular}{cl|cl}
Example     & \multicolumn1c{Syntax}            & Example    & \multicolumn1c{Syntax}        \\
\hline
\g \`{a}      & \comando\`\ARG{letter}           & \g\ut{aw}   & \comando\ut\ARG{letters}  \\
\g \'a      & \comando\'\ARG{letter}           & \g\Ab{a}    & \comando\Ab\ARG{letter}  \\
\g \~a      & \comando\~\ARG{letter}\ap{1}     & \g\Gb{a}    & \comando\Gb\ARG{letter}  \\
\g \"i      & \comando\"\ARG{letter}           & \g\Arb{a}   & \comando\Arb\ARG{letter} \\
\g \u{a}    & \comando\u\ARG{letter}           & \g\Grb{a}   & \comando\Grb\ARG{letter} \\
\g \U{ai}   & \comando\U\ARG{diphthong}        & \g\Asb{a}   & \comando\Asb\ARG{letter} \\
\g \=a      & \comando\=\ARG{letter}           & \g\Gsb{a}   & \comando\Gsb\ARG{letter} \\
\g \r{a}    & \comando\r\ARG{letter}           & \g\Am{a}    & \comando\Am\ARG{letter}  \\
\g \s{a}    & \comando\s\ARG{letter}           & \g\Gm{a}    & \comando\Gm\ARG{letter}  \\
\g\Ad{i}    & \comando\Ad\ARG{letter}          & \g\Cm{a}    & \comando\Cm\ARG{letter}  \\
\g\Gd{i}    & \comando\Gd\ARG{letter}          & \g\Arm{a}   & \comando\Arm\ARG{letter} \\
\g\Cd{i}    & \comando\Cd\ARG{letter}          & \g\Grm{a}   & \comando\Grm\ARG{letter} \\
\g\Ar{a}    & \comando\Ar\ARG{letter}          & \g\Crm{a}   & \comando\Crm\ARG{letter} \\
\g\Gr{a}    & \comando\Gr\ARG{letter}          & \g\Asm{a}   & \comando\Asm\ARG{letter} \\
\g\Cr{a}    & \comando\Cr\ARG{letter}          & \g\Gsm{a}   & \comando\Gsm\ARG{letter} \\
\g\As{a}    & \comando\As\ARG{letter}          & \g\Csm{a}   & \comando\Csm\ARG{letter} \\
\g\Gs{a}    & \comando\Gs\ARG{letter}          & \g\Sm{a}    & \comando\Sm\ARG{letter}  \\
\g\Cs{a}    & \comando\Cs\ARG{letter}          & \g\Rm{a}    & \comando\Rm\ARG{letter}  \\
\g\c{i}     & \comando\c\ARG{letter}           & \g\iS{a}    & \comando\iS\ARG{letter}  \\
\semiv{u}   & \comando\semiv\ARG{letter}\ap{2} & \g\d{p}     & \comando\d\ARG{letter}   \\
\ring{a}    & \comando\ring\ARG{letter}\ap{2}  & \g\bd{i}    & \comando\bd\ARG{letter}  \\
\hline
\end{tabular}}
\caption{Accent macros}\label{t:accentmacros}
\vskip\baselineskip
REMARKS\\[3pt]\footnotesize
\ap{1}\quad The circumflex accent may be obtained with \comando\~\ only if
attribute \textsf{polutoniko} was specified for the
Greek language with \textsf{\slshape babel} v.3.7.\\
\ap{2}\quad Most commands may be used also with latin letters.
\end{table}

\section{Ligatures}
It should be clear from the previous section that the ligature mechanism is the
one that offers the best results with most accented vowels; in any case it
speeds up the keying in of the text to be typeset; nevertheless there are
situations where you might be unsatisfied.

Fore example compare \l a>ut'on \ with \textLipsias{a\us t\oa n}.
The small spacing difference between tau and the accented omicron
is hardly noticeable, but the spacing difference between alpha
and the marked upsilon is remarkable. Where does that difference
come from? It comes from the fact that the smooth spirit marker
inhibits kerning between the previous alpha and the resulting
ligature from the spirit marker and the upsilon. In other words,
by inputting \verb"a>ut'on", as it is suggested in the previous
section, the spirit marker and the acute accent inhibit the
kerning mechanism with the previous letter. In most instances the
lack of such kerning is hardly noticeable, but in others it
strikes your attention.

For this reason a set of macros has been defined such that it is
possible to input the accented characters directly, without
resorting to the ligature mechanism. Such macros have a common
structure; they are formed with the letters that make up the
complex glyph in a certain order, precisely every macro is made
up as such:
\begin{quote}\obeylines
the first character, obviously, is the backslash character \texttt{\char92};
the next character is the name of the vowel, one of  a, e, h, i, o, u, w;
the next optional character is the code for dieresis, smooth or rough spirit, with one of the letters d, s, r;
the next character is the code for the circumflex, acute, or grave accent with one of the letters c, a, or g;
the last optional character indicates iota subscript with the presence of an i.
\end{quote}

That means that, for instance, \comando\asai\ stands for \textDidot{\asai}. For
your convenience such macros are collected in table~\ref{t:compoundvowels}.
Such set may introduce incompatibilities with other packages or even with the
primitive \TeX\ commands. Of course one can always resort to the accent--vowel
combination as exemplified at the end of the previous section; the above
example \textDidot{\asai} may be obtained also with
\verb+\As{a}|+.\footnote{Postfixed markings do not pose any problem with
kernings and ligatures; this is why the postfixed ligature for the iota
subscript may still be used also when the accent--vowel combinations are used.}

\begin{table}[tb]\let\c\comando\let\l\textLipsias
\makebox[\textwidth]{%
\begin{tabular}{lclclclclclc}
\c\aa   &\l\aa  &\c\ag  &\l\ag  &\c\ac  &\l\ac  &\c\ai  &\l\ai  &\c\ar  &\l\ar  &\c\as  &\l\as  \\
\c\asa  &\l\asa &\c\asg &\l\asg &\c\asc &\l\asc &\c\asi &\l\asi &\c\aai &\l\aai \\
\c\ara  &\l\ara &\c\arg &\l\arg &\c\arc &\l\arc &\c\ari &\l\ari &\c\agi &\l\agi &\c\aci &\l\aci \\
\c\arai &\l\arai&\c\argi&\l\argi&\c\arci&\l\arci&\c\asai&\l\asai&\c\asgi&\l\asgi&\c\asci&\l\asci\\
\hline
\c\ha   &\l\ha  &\c\hg  &\l\hg  &\c\hc  &\l\hc  &\c\hi  &\l\hi  &\c\hr  &\l\hr  &\c\hs  &\l\hs  \\
\c\hsa  &\l\hsa &\c\hsg &\l\hsg &\c\hsc &\l\hsc &\c\hsi &\l\hsi &\c\hai &\l\hai \\
\c\hra  &\l\hra &\c\hrg &\l\hrg &\c\hrc &\l\hrc &\c\hri &\l\hri &\c\hgi &\l\hgi &\c\hci &\l\hci \\
\c\hrai &\l\hrai&\c\hrgi&\l\hrgi&\c\hrci&\l\hrci&\c\hsai&\l\hsai&\c\hsgi&\l\hsgi&\c\hsci&\l\hsci\\
\hline
\c\wa   &\l\wa  &\c\wg  &\l\wg  &\c\wc  &\l\wc  &\c\wi  &\l\wi  &\c\wr  &\l\wr  &\c\ws  &\l\ws  \\
\c\wsa  &\l\wsa &\c\wsg &\l\wsg &\c\wsc &\l\wsc &\c\wsi &\l\wsi &\c\wai &\l\wai \\
\c\wra  &\l\wra &\c\wrg &\l\wrg &\c\wrc &\l\wrc &\c\wri &\l\wri &\c\wgi &\l\wgi &\c\wci &\l\wci \\
\c\wrai &\l\wrai&\c\wrgi&\l\wrgi&\c\wrci&\l\wrci&\c\wsai&\l\wsai&\c\wsgi&\l\wsgi&\c\wsci&\l\wsci\\
\hline
\c\ia   &\l\ia  &\c\ig  &\l\ig  &\c\ic  &\l\ic  &\c\ir  &\l\ir  &\c\is  &\l\is  \\
\c\isa  &\l\isa &\c\isg &\l\isg &\c\isc &\l\isc &\c\ida &\l\ida &\c\idg &\l\idg \\
\c\ira  &\l\ira &\c\irg &\l\irg &\c\irc &\l\irc &\c\idc &\l\idc &\c\id  &\l\id  \\
\hline
\c\ua   &\l\ua  &\c\ug  &\l\ug  &\c\uc  &\l\uc  &\c\ur  &\l\ur  &\c\us  &\l\us  \\
\c\usa  &\l\usa &\c\usg &\l\usg &\c\usc &\l\usc &\c\uda &\l\uda &\c\udg &\l\udg \\
\c\ura  &\l\ura &\c\urg &\l\urg &\c\urc &\l\urc &\c\udc &\l\udc &\c\ud  &\l\ud \\
\hline
\c\ea   &\l\ea  &\c\eg  &\l\eg  &\c\er  &\l\er  &\c\es  &\l\es  \\
\c\esa  &\l\esa &\c\esg &\l\esg &\c\era &\l\era &\c\erg &\l\erg \\
\hline
\c\oa   &\l\oa  &\c\og  &\l\og  &\c\oR\ap{1}&\l\oR  &\c\os  &\l\os  \\
\c\osa  &\l\osa &\c\osg &\l\osg &\c\ora &\l\ora &\c\org &\l\org \\
\hline
\end{tabular}%
}
\caption{Accented vowel macros}\label{t:compoundvowels}
\bigskip
REMARKS\\[3pt]\footnotesize
\ap{1}\quad As mentioned in the body of this text the  command
{\let\or\relax\comando\or} may produce incompatibilities with the
primitive command with the same name.
\end{table}

What I suggest is to typeset your paper with the regular accent
vowel ligatures and to substitute them  in the final revision with
the accented vowel macros only in those instances where the lack
of kerning is disturbing.

\section{Other Greek symbols}
Other Greek symbols may be obtained with ligatures or explicit
commands; table~\ref{t:gsymbols} contains such ligatures and
symbols; notice that some of these are specific additions
introduced with this extension package.

\begin{table}[tb]\let\c\comando\let\l\textDidot
\makebox[\textwidth]{%
\begin{tabular}{lclclc}
\c{''}      &\l{''}     &\c{((}     &\l{((}     &\c{))}     &\l{))} \\
\c\GEodq    &\l\GEodq   &\c\GEcdq   &\l\GEcdq   &\c:        &\l:    \\
\c\GEoq     &\l\GEoq    &\c\GEcq    &\l\GEcq    &\c?        &\l?    \\
\c\ENodq    &\l\ENodq   &\c\ENcdq   &\l\ENcdq   &\c;        &\l;    \\
\c\stigma   &\l\stigma  &\c\varstigma&\l\varstigma&\c\Stigma&\l\Stigma\\
\c\coppa    &\l\coppa   &\c\koppa &\l\koppa     &\c\Coppa   &\l\Coppa\\
\c\sampi    &\l\sampi   &\c\Sampi   &\l\Sampi   &\c\permill &\l\permill\\
\c\digamma  &\l\digamma &\c\Digamma &\l\Digamma &\c\euro    &\l\euro\\
\c\f        &\l\f       &\c\F       &\l\F       &\c\shwa    &\l\shwa\\
\end{tabular}%
}
\caption{Greek symbols}\label{t:gsymbols}
\end{table}

I draw your attention on the necessity of using the ligature
\comando{''} for producing the simple apostrophe, which, by the
way, in Greek typography  must always be followed by a space. The
single tick mark \comando'\ produces an acute accent, not an
apostrophe, this is why it is necessary to use the double tick
mark ligature.

The Milesian numerals should not worry anybody, because they are seldom used as
isolated symbols; the \textsf{greek} or \textsf{polutonikogreek} option or the
\textsf{polutoniko} attribute of the Greek language with the \textsf{\slshape
babel} package offer the commands \comando\greeknumeral\ and
\comando\Greeknumeral, that convert common arabic positive numbers in the
Milesian counterparts within a Greek section of your document; the
corresponding commands followed by an asterisk change the digamma glyph with
the stigma one\footnote{The stigma version is the standard one with the
\textsf{\slshape babel} language support for Greek; with this package we
adopted the digamma as the ``regular'' sign with the value of~6, and attributed
stigma to the ``variant'' representation of Milesian numbers.}:
\begin{quote}\obeylines
if you type \verb"\greeknumeral{1996}" you get \textLipsias{\greeknumeral{1996}}
if you type \verb"\Greeknumeral{1996}" you get \textLipsias{\Greeknumeral{1996}}
if you type \verb"\greeknumeral*{1996}" you get \textLipsias{\greeknumeral*{1996}}
if you type \verb"\Greeknumeral*{1996}" you get \textLipsias{\Greeknumeral*{1996}}
\end{quote}

\section{New commands}
This extension package introduces many new commands for
typesetting Greek in a philological way. Most of such commands are
collected in table~\ref{t:extcomandi}.

A short remark on the command \comando\ap: this useful command inserts
\emph{anything} as a superscript of anything else; it works both in text mode
and in math mode\footnote{Numerical superscripts or apices do not require math
mode; numerical footnote labels are automatically inserted by \LaTeX's
\comando\footnote\ command; non numerical footnote labels are easily inserted
with \LaTeX's \comando\footnotemark\ and \comando\footnotetext\ commands with
their optional arguments.}. In particular while typesetting a philological text
in different languages and with different alphabets, \comando\ap\ typesets the
superscript with the current language and alphabet; if any change is required
the \comando\ap's argument can contain any language or alphabet specific
declaration. You can typeset things such as
\textLipsias{Baq\'ulides\,\ap{\textlatin{a}}} by switching language and
alphabet as required; the specific declarations and the commands contained in
table~\ref{t:extcomandi} come handy also in these cases.

\afterpage{\clearpage}

\begin{table}[p]\let\c\comando\let\l\textLipsias\let\g\textDidot
\makebox[\textwidth]{\footnotesize
\begin{tabular}{cl|cl}
Example                 & Syntax                        &Example                & Syntax                        \\[3pt]
\l{Baq\'ulides}         & (declaration)                 &abcde                  & (declaration)                 \\
\l{Baq\'ulides}         & \c\textLipsias\ARG{text}      &\l{\lesp{abg}}         &\c\lesp\ARG{text}              \\
\g{Baq\'ulides}         &\c\textDidot\ARG{text}         &\LitNil                &\c\LitNil                      \\
text                    & \c\textlatin\ARG{text}        &\cap{g}                &\c\cap\ARG{letter}             \\
\l{\frapar{Baq\'ulides}}& \c\frapar\ARG{text}           &\Coronis               &\c\Coronis                     \\
(                       & \c\lpar                       &\lmqi                  &\c\lmqi                        \\
)                       &\c\rpar                        &\rmqi                  &\c\rmqi                        \\
\qmark                  &\c\qmark                       &\l{\mqi{abg}}          &\c\mqi\ARG{text}               \\
\l{\Dots[3]}            &\c\Dots\opt{number}            &\lmqs                  &\c\lmqs                        \\
\l{\DOTS[3]}            &\c\DOTS\opt{number}            &\rmqs                  &\c\rmqs                        \\
\l{\Dashes[3]}          &\c\Dashes\opt{number}          &\l{\mqs{abg}}          &\c\mqs\ARG{text}               \\
\l{\DASHES[3]}          &\c\DASHES\opt{number}          &\l{\zeugma{abg}}       &\c\zeugma\ARG{text}            \\
\ap{foo}                &\c\ap\ARG{text}                &\l{\siniz{abg}}        &\c\siniz\ARG{text}             \\
\sinafia                &\c\sinafia                     &\paragr                &\c\paragr                      \\
\l{\:}                  &\c\:                           &\dparagr               &\c\dparagr                     \\
\l\;                    &\c\;                           &\FinisCarmen           &\c\FinisCarmen                 \\
\l\?                    &\c\?                           &\crux                  &\c\crux                        \\
\l\mutpers              &\c\antilabe                    &\l{\apici{abg}}        &\c\apici\ARG{text}             \\
\|                      &\c\|                           &\apex                  &\c\apex                        \\
\dBar                   &\c\dBar                        &\responsio             &\c\responsio                   \\
\tBar                   &\c\tBar                        &\Int                   &\c\Int                         \\
\lbrk                   &\c\lbrk                        &\l{\star a}            &\c\star                        \\
\rbrk                   &\c\rbrk                        &\l{\dstar a}           &\c\dstar                       \\
\l{\ladd{abg}}          &\c\ladd\ARG{text}              &\l{\tstar a}           &\c\tstar                       \\
\l{\lladd{abg}}         &\c\lladd\ARG{text}             &\l{\|\|\quad\|\,\|}    &\c\,                           \\
\l{\Ladd{abg}}          &\c\Ladd\ARG{text}              &\l{\|\|\quad\|\!\|}    &\c\!                           \\
\l{\LLadd{abg}}         &\c\LLadd\ARG{text}             &\OSN{0123456789}       &\c\OSN\ARG{digits}             \\
\l{\nexus{abg}}         &\c\nexus\ARG{text}             &\l{\nesso{abg}}        &\c\nesso\ARG{text}             \\
\Utie{AB}               &\c\Utie\ARG{2 letters}         &\l{a\h b}              &\c\h                           \\
\l{a\yod b}             &\c\yod                         &\l{a\shwa b}           &\c\shwa                        \\
\l{a\q b}               &\c\q                           &\l{A\F B}              &\c\F                           \\
\l{a\f b}               &\c\f                           &\semiv{i}              &\c\semiv\ARG{letter}           \\
\hv                    &\c\skewstack\ARG{base}\ARG{apex}&\md{e}                 &\c\md\ARG{letter}              \\
\Ud{e}                  &\c\Ud\ARG{letter}              &\mO{e}                 &\c\mO\ARG{letter}              \\
\UO{e}                  &\c\UO\ARG{letter}              &\Open{e}               &\c\Open\ARG{letter}            \\
\nasal{e}               &\c\nasal\ARG{letter}           &\cut{d}                &\c\cut\ARG{b\|d\|g}            \\
\dracma                 &\c\dracma                      &\denarius              &\c\denarius                    \\
\stater                 &\c\stater                      &\etos                  &\c\etos                        \\
\hemiobelion            &\c\hemiobelion                 &\tetartemorion         &\c\tetartemorion               \\
\splus                  &\c\splus                       &\stimes                &\c\stimes                      \\
\kclick                 &\c\kclick                      &                       &                               \\
\end{tabular}%
}
\caption{Extended commands}\label{t:extcomandi}
\end{table}

\section{Metrics}
Philological writings often require the description of metrics;
for this purpose a new font has been developed that contains most
of the frequent metric signs; the corresponding macros have been
defined so as to set the metric glyphs as if they were text; but,
most important, a new definition command has been introduced so
as to enable to declare new control sequences to represent
complete metric feet or even complete verse metrics.

The metric glyph names are collected in table~\ref{t:metrics},
while the declaration command is described hereafter.

The syntax for that definition command is similar to that of
{\comando\newcommand};
\[
\hbox{\comando\newmetrics\ARG{name}\ARG{definition}}
\]
where \Arg{name} is a control sequence name made up of letters
(as usual with \LaTeX) with the exception that it may start with
one of the digits 2, or 3, or 4. Of course the \Arg{definition}
must reflect the replication by 2, or 3, or 4; moreover if the
\Arg{name} starts with a digit, when it is used by the typesetter,
\emph{it must be followed by a space}. Some examples follow:
\begin{quote}\let\c\comando\obeylines%
\c\newmetrics\brArg{\c\iam}\brArg{\c\barbrevis\c\longa\c\brevis\c\longa}
\c\newmetrics\brArg{\c{\2iam}}\brArg{\c\iam\c\iam}
\c\newmetrics\brArg{\c{\4MACRO}}\brArg{\c\longa\c\longa\c\longa\c\longa}
\end{quote}
The above definitions produce the following results (notice the space
before the colon):
\begin{quote}\let\c\comando\obeylines%
\c\iam: \iam
\c{\2iam} : \iam\iam
\c{\4MACRO} : \4MACRO \
\end{quote}
The definitions may contain also some symbols collected in
table~\ref{t:extcomandi}, such as \dBar, for example, and other
symbols from the other tables.


\begin{table}[tb]\let\c\comando
\makebox[\textwidth]{%
\begin{tabular}{llll}
Command         & Metric symbol     & Command       & Metric symbol     \\[3pt]
\c\longa        & \longa            &\c\brevis      & \brevis           \\
\c\bbrevis      & \bbrevis          &\c\barbrevis   & \barbrevis        \\
\c\ubarbrevis   & \ubarbrevis       &\c\ubarbbrevis & \ubarbbrevis      \\
\c\ubarsbrevis  & \ubarsbrevis      &\c\coronainv   & \coronainv        \\
\c\corona       & \corona           & \c\ElemInd    & \ElemInd          \\
\c\catal        & \catal            &\c\ipercatal   & \ipercatal        \\
\c\anceps       & \anceps           &\c\banceps     & \banceps          \\
\c\ancepsdbrevis& \ancepsdbrevis    &\c\hiatus\ap{1}& \hiatus           \\
\c\iam\ap{2}    & \iam              &\c\chor        & \chor             \\
\c\enopl        & \enopl            &\c{\4MACRO}    & \4MACRO \         \\
\c\aeolchorsor  & \aeolchorsor      &\c\hexam       & \hexam            \\
\c{\2tr}        & \2tr \            &\c\pentam      & \pentam           \\
\c\ubrevislonga & \ubrevislonga     &\c\aeolicbii   & \aeolicbii        \\
\c\aeolicbiii   & \aeolicbiii       &\c\aeolicbiv   & \aeolicbiv\ap{3}  \\
\end{tabular}%
}
\caption{Metric symbols}\label{t:metrics}
\bigskip
REMARKS\\[3pt]\footnotesize
\ap{1}\quad A similar command \c\Hiatus\ produces the same
visible result as \c\hiatus, except for the fact that it does not
occupy horizontal space; it is useful in the definitions of full
verse metrics where a hiatus needs to be inserted between two
consecutive metric symbols; for example: \longa\Hiatus\longa.\\
\ap{2}\quad This extension package predefines some examples
of metric feet and complete verses.\\
\ap{3}\quad Sometimes it might be convenient to use a shortcut
for inserting the Aeolic bases
by inputting \texttt{\char123\comando\metricsfont\ I\char125} or
\texttt{\char123\comando\metricsfont\ II\char125} or
\texttt{\char123\comando\metricsfont\ III\char125} in order to get
\aeolicbii\ or \aeolicbiii\ or \aeolicbiv.
\end{table}

Another important metric command is the following:
\[
\hbox{\comando\metricstack\ARG{base}\ARG{superscript}}
\]
which is meant for superimposing some superscript (generally a
number) over some metric symbol, which may be a single symbol or a
metric foot; since the superscript gets printed in math mode, the
superscript hiatus \hiatus\ may be obtained with \comando\Hiatus\
when it falls between two metric symbols, but must be well
described as a math roman element when it is superscripted over
something else; similarly any other superscript which is not a
math symbol must be suitably set as a math roman object. In any
case this command makes it easy to get something such
as~\metricstack{\longa\brevis\brevis}{48}.

The environment for setting metric sequences grouped with braces
is described in the next section, since it is generally used within
the composition of verses.

\section{Poetry environments}
In order to set poetry it is always possible to use the
standard \LaTeX\ \texttt{verse} environment; nevertheless such
simple environment is not suited for philological purposes, except
perhaps for very short citations. This extension package contains
three new environments with various levels of complexity. Due to
their relative complexity an example will be given for each one
with both the input code and the corresponding result. All three
environments require that any language change be declared before
their opening statement, otherwise the language change lasts only
to the end of the verse.

\begin{description}
\item[\texttt{versi}] This environment does not actually set each
verse on a separate line; it rather resembles an in-line list; it
resorts to a command \comando\verso\ that inserts a small vertical
separator with a progressive number over it. Both the environment
opening and the command \comando\verso\ accept arguments
according to the following syntax:
    \begin{quote}\let\c\comando\obeylines
    \c\begin\brArg{versi}\ARG{label}
    \Arg{verses}
    \c\end\brArg{versi}
    \null\
    \c\verso\opt{number}
    \end{quote}
where \Arg{label} is a short text (let's say not more than 15
characters) indicating for example the poem title and the stanza
number; the whole set of verses will be typeset with a left margin
wide enough to contain \Arg{label}; the optional argument
\Arg{number} indicates the starting value for the verse
enumeration; the default value is~1, but if it is specified, it is
required only with the first occurrence of \comando\verso\ or when
the enumeration is restarted. In this environment the standard
\LaTeX\ command \comando{\\} behaves normally as in regular text.
\begin{verbatim}
\begin{versi}{Meropis fr. 3}
\item[\textlatin{Meropis fr. 4}]
>'enj'' <o m`en e\ladd{>isplh} \verso[68] j`un
Mer'opwn k'ien. <h \ladd{d`e dia} \verso pr`o\\
a>iqem\hc i sj~htos \ladd{>'elassen.}
\verso <`o d'' >ex'equt''; o>u
g`ar \ladd{<omo~iai}\\
\ladd{>a} \verso j'anatai jnhta~isi bol\ladd{a`i kat`a}
\verso ga~ian >'asin.\\
prh\lladd{m}n\ladd{~hs d\dots} \verso thse. m'elas d`e
perie.\ladd{\dots}\verso
rw
\end{versi}
\end{verbatim}

\Lipsiakostext
\begin{versi}{Meropis fr. 3}
\item[\textlatin{Meropis fr. 4}]
>'enj'' <o m`en e\ladd{>isplh} \verso[68] j`un
Mer'opwn k'ien. <h \ladd{d`e dia} \verso pr`o\\
a>iqem\hc i sj~htos \ladd{>'elassen.} \verso <`o d'' >ex'equt'';
o>u
g`ar \ladd{<omo~iai}\\
\ladd{>a} \verso j'anatai jnhta~isi bol\ladd{a`i kat`a}
\verso ga~ian >'asin.\\
prh\lladd{m}n\ladd{~hs d\dots} \verso thse. m'elas d`e perie.\ladd{\dots}\verso
rw
\end{versi}
\NoLipsiakostext

\item[\texttt{Versi}] This environment is very similar to the
standard \LaTeX\ environment \texttt{verse}; the difference is
that \texttt{Versi} automatically enumerates the verses
(displaying only verse numbers that are multiples of 5) with a
number in the left margin. The syntax is as follows:
    \begin{quote}\let\c\comando\obeylines
    \c\begin\brArg{Versi}\opt{number}
    \Arg{verses}
    \c\end\brArg{Versi}
    \end{quote}
where \Arg{number} is the starting value of the verse enumeration;
of course each verse is separated from the next one with the usual
command \comando{\\}, which has been redefined so that it just
divides the verses and provides to the possible display of the
verse number; it accepts the optional information that the
standard \LaTeX\ command usually accepts, both the asterisk and
the vertical space amount.


\NoLipsiakostext

\begin{verbatim}
\begin{Versi}[45]
ta; pr'osje qeir~wn b'ian\\
\paragr de\ladd{'i}xomen;
t`a d" >epi'onta da\ladd{'imo}n srine~i.---\\
t'os" e>'ipen >ar'etaikmos <'hrws;\\
t{\rbrk}'afon d`e naub'atai\\
f{\rbrk}wt`os <uper'afanon\\[1ex]
j{\rbrk}'arsos; <Al'iou te gambr~wi q'olwsen >~htor
\end{Versi}
\end{verbatim}

\Lipsiakostext
\begin{Versi}[45]
ta; pr'osje qeir~wn b'ian\\
\paragr de\ladd{'i}xomen;
t`a d" >epi'onta da\ladd{'imo}n srine~i.---\\
t'os" e>'ipen >ar'etaikmos <'hrws;\\
t{\rbrk}'afon d`e naub'atai\\
f{\rbrk}wt`os <uper'afanon\\[1ex]
j{\rbrk}'arsos; <Al'iou te gambr~wi q'olwsen >~htor
\end{Versi}
\NoLipsiakostext

\item[\texttt{VERSI}] This third poetry environment behaves
similarly to \texttt{Versi} but it displays a double verse
enumeration in the left margin. The principal verse enumeration
is displayed when the value is a multiple of 5; the second
enumeration, just to the left of the verses, may be turned on and
off; when the secondary enumeration is on, the verses are flush
left, while when it is off the verses are suitably indented. The
turning on and off of the secondary enumeration is achieved by
means of the commands \comando\SubVerso\ and \comando\NoSubVerso;
the syntax is as follows:
    \begin{quote}\let\c\comando\obeylines
    \c\begin\brArg{VERSI}\opt{outer number}
    \Arg{verses}
    \c\end\brArg{VERSI}
    \null{}
    \c\SubVerso\opt{inner number}
    \c\NoSubVerso{}
    \end{quote}
where \Arg{outer number} is the starting value of the primary
verse enumeration, while \Arg{inner number} is the starting value
of the secondary enumeration. The commands \comando\SubVerso\ and
\comando\NoSubVerso\ must be input at the very beginning of the
verse they should be applicable to. The command \comando{\\} behaves
as in \LaTeX, and accepts the usual optional arguments.

With the environments \texttt{Versi} and \texttt{VERSI} when typesetting in two
column format, you have the possibility of specifying \comando\BreakVersitrue\
(and of course \comando\BreakVersifalse) for allowing (or disallowing) line
breaks of verses; broken verses are continued in the next line with a
generous indentation so as to recognize them as belonging to the same verse;
the verse counter is not incremented when breaking verses across lines.

\NoLipsiakostext

\begin{verbatim}
\begin{VERSI}[40]
k'elomai pol\ua stonon\\
\SubVerso[18]
>er'uken <'ub\apex rin; o>u g`ar >`an j'eloi-\\
\NoSubVerso
m'' >'ambroton >erann`on >Ao\lbrk ~us\\
\SubVerso
>ide~in f'aos, >epe'i tin'' >h"ij\siniz{'e\lbrk w}n\\
s`u dam'aseias >a'ekon-\\
\NoSubVerso
ta; pr'osje qeir~wn b'ian\\
\SubVerso
\paragr de\ladd{'i}xomen;
t`a d'' >epi'onta da\ladd{'imw}n krine~i.\GEcdq\\
\SubVerso[1]
t'os'' e>~ipen >ar'etaiqmos <'hrws;\\
t\rbrk 'afon d`e na\ua batai\\
f\rbrk wt`os <uper'afanon\\
j\rbrk 'arsos;\Dots[4]
\end{VERSI}
\end{verbatim}

\Lipsiakostext
\begin{VERSI}[40]
k'elomai pol\ua stonon\\
\SubVerso[18]
>er'uken <'ub\apex rin; o>u g`ar >`an j'eloi-\\
\NoSubVerso
m'' >'ambroton >erann`on >Ao\lbrk ~us\\
\SubVerso
>ide~in f'aos, >epe'i tin'' >h"ij\siniz{'e\lbrk w}n\\
s`u dam'aseias >a'ekon-\\
\NoSubVerso
ta; pr'osje qeir~wn b'ian\\
\SubVerso
\coronis de\ladd{'i}xomen; t`a d'' >epi'onta da\ladd{'imw}n krine~i.\GEcdq\\
\SubVerso[1]
t'os'' e>~ipen >ar'etaiqmos <'hrws;\\
t\rbrk 'afon d`e na\ua batai\\
f\rbrk wt`os <uper'afanon\\
j\rbrk 'arsos;\Dots[4]
\end{VERSI}
\NoLipsiakostext
\item[\texttt{bracedmetrics}] This is an environment different
from the preceding ones, although it always deals with verses.
Its purpose is to set the verse metric lines grouped with a right
brace, so  as to show the variants of a certain metric scheme.

In order to align the metric variants and in order to place the
right brace in the proper place it is necessary to fix  specific
lengths in terms of a unit that is compatible with the metric
symbols; therefore the syntax of such spacing command and of the
environment itself is the following
    \begin{quote}\let\c\comando\obeylines
    \c\begin\brArg{bracedmetrics}\ARG{length}
    \Arg{metric lines}
    \c\end\brArg{bracedmetrics}
    \null
    \c\verseskip\ARG{number}
    \end{quote}
where \Arg{number} specifies the number of metric symbols the
\comando\verseskip\ should be equivalent to. Approximately the
\comando\verseskip\ will be as long as a sequence of \Arg{number}
long syllables; the \Arg{length} specified as the width of the
environment should equal the longest metric line contained in the
block, and should be specified by means of the
\comando\verseskip\ command with its argument; but since the
metric symbols are not all of the same length, it is wise to
count the symbols of the longest metric line and to add a couple
of units; after producing the first draft it is possible to review
the number specified as the argument of \comando\verseskip. Of
course the same \comando\verseskip\ command may be used to align
the various fragments of metric lines within the environment.
Examine the following example of input code:
\begin{verbatim}
\begin{verse}
    \brevis\svert\longa\brevis\brevis\longa
        \brevis\brevis\longa\svert\longa\\
    \begin{bracedmetrics}{\verseskip{13}}
        \Hfill \brevis\svert\longa\brevis\longa
            \svert\longa\\
        \longa\brevis\brevis\longa\brevis\brevis
            \zeugma{\longa\svert\longa}\\
        \Hfill\longa\brevis\longa\svert\longa
            \verseskip{2}\\
        \Hfill\longa\brevis\longa\dBar
    \end{bracedmetrics}\\
    \begin{bracedmetrics}{\longa\brevis\brevis\longa
        \brevis\brevis\longa\svert\longa}
        \longa\brevis\brevis\longa\brevis\brevis
            \longa\svert\longa\\
        \longa\brevis\brevis\longa\brevis\brevis\longa
    \end{bracedmetrics}\\
\verseskip{7}\brevis\brevis\longa\svert\ubarbrevis\tBar
\end{verse}%
\end{verbatim}
which produces:
\begin{verse}
    \brevis\svert\longa\brevis\brevis\longa
        \brevis\brevis\longa\svert\longa\\
    \begin{bracedmetrics}{\verseskip{13}}
        \Hfill \brevis\svert\longa\brevis\longa\svert\longa\\
        \longa\brevis\brevis\longa\brevis\brevis
            \zeugma{\longa\svert\longa}\\
        \Hfill\longa\brevis\longa\svert\longa\verseskip{2}\\
        \Hfill\longa\brevis\longa\dBar
    \end{bracedmetrics}\\
    \begin{bracedmetrics}{\longa\brevis\brevis\longa
        \brevis\brevis\longa\svert\longa}
        \longa\brevis\brevis\longa\brevis\brevis\longa\svert\longa\\
        \longa\brevis\brevis\longa\brevis\brevis\longa
    \end{bracedmetrics}\\
\verseskip{7}\brevis\brevis\longa\svert\ubarbrevis\tBar
\end{verse}%


\end{description}

\section*{Acknowledgements}
I warmly thank Paolo Ciacchi for his patience in driving me along the path of
philological typography, which was totally unknown to me. He patiently chose
examples from the best printed books, scanned them and sent them to me by
e-mail; he patiently pointed out the flaws of my programming and suggested
ameliorations. Recently this young man discussed his master thesis, and I am
sure that his deep love for ancient classics will drive him to a position where
he will have all the satisfactions he deserves.

%And up to date \texttt{teubner.sty} is not finished yet!
\begin{flushright}
Turin, 2004/09/03
\end{flushright}
\end{document}