% % ************ tb26haralambous.tex \input tugboat.sty %\input mssymb \font\cyr=mcyr10 %\input cyracc.def \input rgreekmacros \newcount\m \newcount\n \newcount\p \newdimen\dim \chardef\other=12 \def\oct#1{\hbox{\tenrm\'{}\kern-.2em\tenit#1\/\kern.05em}} % octal constant \def\hex#1{\hbox{\tenrm\H{}\tentt#1}} % hexadecimal constant \def\setdigs#1"#2{\gdef\h{#2}% \h=hex prefix; \0\1=corresponding octal \m=\n \divide\m by 64 \xdef\0{\the\m}% \multiply\m by-64 \advance\m by\n \divide\m by 8 \xdef\1{\the\m}} \def\testrow{\setbox0=\hbox{\penalty 1\def\\{\char"\h}% \\0\\1\\2\\3\\4\\5\\6\\7\\8\\9\\A\\B\\C\\D\\E\\F% \global\p=\lastpenalty}} % \p=1 if none of the characters exist \def\oddline{\cr \noalign{\nointerlineskip} \multispan{19}\hrulefill& \setbox0=\hbox{\lower 2.3pt\hbox{\hex{\h x}}}\smash{\box0}\cr \noalign{\nointerlineskip}} \newif\ifskipping \def\evenline{\loop\skippingfalse \ifnum\n<128 \m=\n \divide\m 16 \chardef\next=\m \expandafter\setdigs\meaning\next \testrow \ifnum\p=1 \skippingtrue \fi\fi \ifskipping \global\advance\n 16 \repeat \ifnum\n=128 \let\next=\endchart\else\let\next=\morechart\fi \next} \def\morechart{\cr\noalign{\hrule} \chartline \oddline \m=\1 \advance\m 1 \xdef\1{\the\m} \chartline \evenline} \def\chartline{&\oct{\0\1x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&} \def\chartstrut{\lower4.5pt\vbox to14pt{}} \def\table{$$\global\n=0 \halign to\hsize\bgroup \chartstrut##\tabskip0pt plus10pt& &\hfil##\hfil&\vrule##\cr \lower6.5pt\null &&&\oct0&&\oct1&&\oct2&&\oct3&&\oct4&&\oct5&&\oct6&&\oct7&\evenline} \def\endchart{\cr\noalign{\hrule} \raise11.5pt\null&&&\hex 8&&\hex 9&&\hex A&&\hex B& &\hex C&&\hex D&&\hex E&&\hex F&\cr\egroup$$\par} \def\:{\setbox0=\hbox{\char\n}% \ifdim\ht0>7.5pt\reposition \else\ifdim\dp0>2.5pt\reposition\fi\fi \box0\global\advance\n 1 } \def\reposition{\setbox0=\vbox{\kern2pt\box0}\dim=\dp0 \advance\dim 2pt \dp0=\dim} \def\centerlargechars{ \def\reposition{\setbox0=\hbox{$\vcenter{\kern2pt\box0\kern2pt}$}}} \greekdelims \font\ninergr=rgrrg10 scaled 900 \TBremark{Pick up fonts for Imagen. Make fonts for APS} \def\blash{\math\backslash\math} \let\bs=\blash \def\begineight{\smallskip\bgroup\eightpoint} \def\endeight{\par\egroup\smallskip} %\font\smallrg=rgrrg8 % commented out by rw \def\QED.{\math\square\mah} \def\O#1{\hbox{\rm\char'23\kern-.2em\it#1\/\kern.05em}} % octal constant \def\refersto#1{\math{}^#1\math} \def\referred#1{\par\hang\noindent#1.} % overwritten below \newdimen\thehangindent \setbox0=\hbox{0. } \thehangindent=\wd0 \def\referred#1{\par\hangindent\thehangindent\noindent \hbox to \thehangindent{\hss#1.\ }\ignorespaces} \def\infoot{\baselineskip9.4pt\eightrm} \def\@{@} %\def\.#1{{\def\\{\backslash}\tentex#1}} % commented out by rfw \font\qq=cmssqi8 \def\mottoline#1{{\rightline{\qq #1}}} \def\htb{\hskip2pt\relax} \def\frak{\fam\euffam} %\def\cyr{\cyracc\tencyr} % *********************************************************************** \title * Typesetting Modern Greek with\\ 128 Character Codes \\ version 1.1* \author * Yannis Haralambous * \address * U.F.R. de Math\'ematiques\\ Universit\'e de Lille--Flandres--Artois\\ 59655 Villeneuve d'Ascq Cedex, France * \netaddress[\network{Bitnet}] * yannis@frcitl81 * \author * Klaus Thull * \address * Freie Universit\"at Berlin * \netaddress[\network{Usenet}] * thull@fubinf.uucp * \TBremark{Check Thull's network address; gateway didn't like "unido".} \TBremark{this one generally works--kt} \article {\baselineskip11.3pt \mottoline{``Ved dette v\ae ret,} \mottoline{n\aa r det regner} \mottoline{s\aa\ sn\o r det''} \smallskip \mottoline{--- Fr\o ydis Frosk} } \vskip8pt\noindent In european scripts where diacritical marks are common, there are (at least) two reasons to avoid \TeX's accent mechanism in favor of many accented characters. One is the possible misplacement of accents by |dvitype|'s rounding algorithm;\TBremark{dvitype or a driver?} \TBremark{really dvitype--kt} the second is lack or invalidity of hyphenation. For example, large portions of german text may be unhyphenatable, and, given the german inclination to long words, may not be in shape to be typeset at all. Thus, in Europe, the obvious thing to do is: let $\MF$\ put the accents onto the letters, then access these characters via \TeX's ligature mechanism. Accordingly, the greek fonts created by Silvio Levy\refersto1 have 256 characters each, and are a fine tool to typeset greek texts, ancient as well as modern, except those containing the most recent unique accent ``$\monotoniko '{}$'' (see below). But alas, there is the commercial world, whose device drivers just cannot do 256-code fonts (even |.pxl|-fonts were seen on the ``Big-Tech'' sales exhibition in West Berlin last winter). The free drivers are in better shape generally, but often the commercial ones cannot be disposed of in a hurry. So we decided to reduce these fonts to 128 characters. We kept only the ones strictly necessary for writing modern greek without misusing the |\accent| primitive. At the same time, we constructed some new fonts, which we describe below. \head * The Reduced Greek Fonts * In modern post-war greek, the use of the grave accent ``$\grave{}$'' ($bare'ia$) progressively faded, so that only two accents and the breathings were left (this was the kind of greek the first author learned at school). So the first reduction we did on Levy's fonts was to omit all grave accents. Secondly, we made $s$ a free character again, so that in the transliteration one has to type |s| for $s$, and |c| for $c$. Thirdly, we omitted the iota subscribed letters. All these, however, can still be accessed by macros if so wished. Let's recall now the procedure, most of which is due to Levy: to typeset greek, you get into ``Greek mode'' by typing |\begingreek|. Similarly, you get out by typing |\endgreek|, but if you have to do this often, it is better to type |\greekdelims| at the beginning of your file. In that case |$| is used to enter and leave greekmode, and |\math| takes the former meaning of |$| (do not forget to type ``{\tt\bs\SP}''). The transliteration code is the following: \display \tabskip1.1pt \hbox{\valign {\hbox to 8pt{\null\hfil\strut$#$\hfil}&\hbox to 8pt{\null\hfil\strut\tt#\hfil}\cr a&a\cr b&b\cr g&g\cr d&d\cr e&e\cr z&z\cr h&h\cr j&j\cr i&i\cr k&k\cr l&l\cr m&m\cr n&n\cr x&x\cr o&o\cr p&p\cr r&r\cr s&s\cr c&c\cr t&t\cr u&u\cr f&f\cr q&q\cr y&y\cr w&w\cr}} \enddisplay To get an acute ($>oxe'ia$), or circumflex ($perispwm'enh$) accent you type |'|~(single quote), or |~|~(tilde) resp.\ in front of the vowel. To get a rough ($dase'ia$) or smooth ($yil'h$) breathing you type |<| or |>|, resp., in front of the vowel or the accent, if there is one. A diaeresis ($dialutik'a$) is represented by |"|~(double quote), and for a diaeresis with acute accent, just type |"'|~(double quote, single quote). To get a vowel with a iota subscript ($ak'eraio \math n\math, akera'iwn \math(x,y,z)\math, t'etoia <~wste\math\math x^n+y^n=z^n.\math\math \noindent{\smc Apodeixh tou 1.1.4.} Gi'a \math n=2\math, ft'anei n'a p'aroume \math x=3,y=4,z=5\math. Gi'a \math n\gt 2\math, >af'hnoume t'hn >ap'odeixh st'on >anagn'wsth s'an >'askhsh. {\bf <'o.>'e.d.} $ \proclaim \smc {1.1.4.} Theorem. For each positive integer \math n\math, there exists a triple of non-zero integers \math (x,y,z)\math\ such that \math\math x^n+y^n=z^n.\math\math \noindent{\smc Proof of 1.1.4.} For \math n=2\math, we find \math x=3,y=4,z=5\math. For \math n\gt 2\math, the proof left to the reader as an exercise. {\bf q.e.d.} \head * Fonts for one-accent greek * Some years after the re-establishment of democracy in Greece in 1974, a new system of accentuation has been introduced, omitting completely breathings and subscript iota, and simplifying the two remaining accents into one ``universal accent,'' $\monotoniko ' \polutoniko (tonik'o shme~io).$ This system is currently taught at school and it seems that any official document (including written examinations in some high schools) written in the old fashion multi-accent system is considered invalid (!). So we thought that perhaps people would like to write in the old system and have a font to print the same text in fully official one-accent greek. We created fonts analogous to the reduced regular, boldface, and slanted which we have denoted by the prefix ``|m|'' (for $monotonik'o$): |mrgrrg|, |mrgrbf|, |mrgrsl|. Note that the small capitals font |rgrsc| doesn't have any accents at all, and so may be used in any accent system. These new fonts are designed to work with the same input as the old accent system. The printed text will follow the current grammar\refersto2 (at least concerning the accent), with one exception: monosyllables (like articles, prepositions and other auxiliary words) don't take any accent at all. To solve this problem we are working at a Pascal word processor program, based on Fred M.~Liang's packed trie device, which will, once given the list of the accented monosyllables, recognize them, and replace them by non-accented words. According to the dictionary of H.~Mihiotis\refersto3, there are 284 such words, to which we ust add many new and foreign words. Of course, you can write your text in one-accent greek right away (unfortunately there is no ``magic'' macro to transform it back into multi-accent greek~\dots). With these new fonts you will get a nice symmetric ``universal'' accent instead of an acute or a circumflex. To write in one-accent greek you get into ``Greek one-accent mode'', by typing |\beginmgreek|. If you are in greek multi-accent mode already, you must use the macro |\monotoniko|. There is also the converse macro |\polutoniko|. So if you want to obtain \display\vbox{$ \centerline{\monotoniko O Hr'akleitoc 'elege \polutoniko ((t\grave{a} p'anta \rhorough e~i))} \centerline{\monotoniko kai e'iqe d'ikio! \dots} $}\enddisplay you type \verbatim \beginmgreek O Hr'akleitoc 'elege \polutoniko ((t\grave{a} p'anta \rhorough e~i)) \monotoniko kai e'iqe d'ikio!...\endgreek \endverbatim \head * The Greek Numeral Symbols * The so-called Ionian\refersto4 system of numeration (\math{\sim}\math fifth century {\smc bc}) consisted of the following numerals: \display \hbox{\valign {\hbox to 15pt{\hfil\strut$#$\hfil}&\hbox to 15pt{\hfil\strut\rm#\hfil}\cr A&1\cr B&2\cr G&3\cr D&4\cr E&5\cr {\Digamma}&6\cr Z&7\cr H&8\cr J&9\cr}} \enddisplay \display \hbox{\valign {\hbox to 15pt{\hfil\strut$#$\hfil}&\hbox to 15pt{\hfil\strut\rm#\hfil}\cr I&{10}\cr K&{20}\cr L&{30}\cr M&{40}\cr N&{50}\cr X&{60}\cr O&{70}\cr P&{80}\cr {\Qoppa}&{90}\cr}} \enddisplay \display \hbox{\valign {\hbox to 20pt{\hfil\strut$#$\hfil}&\hbox to 20pt{\hfil\strut\rm#\hfil}\cr R&{100}\cr S&{200}\cr T&{300}\cr U&{400}\cr F&{500}\cr Q&{600}\cr Y&{700}\cr W&{800}\cr {\Sanpi}&{900}\cr}} \enddisplay The letters $\Digamma, \Qoppa, \Sanpi$ are called digamma, qoppa, sanpi. They belong to an older alphabet. Later on, as lowercase letters were introduced and as the need for higher numbers grew, the numerals became: \display \hbox{\tabskip1pt \valign {\hbox to 15pt{\hfil\strut$#\overstroke$\hfil}& \hbox to 15pt{\hfil\strut\rm#\hfil}\cr a&1\cr b&2\cr g&3\cr d&4\cr e&5\cr {\digamma}&6\cr z&7\cr h&8\cr j&9\cr}} \enddisplay \display \hbox{\tabskip1pt \valign {\hbox to 15pt{\hfil\strut$#\overstroke$\hfil}& \hbox to 15pt{\hfil\strut\rm#\hfil}\cr i&{10}\cr k&{20}\cr l&{30}\cr m&{40}\cr n&{50}\cr x&{60}\cr o&{70}\cr p&{80}\cr {\qoppa}&{90}\cr}} \enddisplay \display \hbox{\tabskip1pt \valign {\hbox to 20pt{\hfil\strut$#\overstroke$\hfil}& \hbox to 20pt{\hfil\strut\rm#\hfil}\cr r&{100}\cr s&{200}\cr t&{300}\cr u&{400}\cr f&{500}\cr q&{600}\cr y&{700}\cr w&{800}\cr {\sanpi}&{900}\cr}} \enddisplay \display \hbox{\tabskip2.5pt\valign {\hbox to 30pt{\hfil\strut$\understroke#$\hfil}& \hbox to 30pt{\hfil\strut\rm#000\hfil}\cr a&1\cr b&2\cr g&3\cr d&4\cr e&5\cr {\digamma}&6\cr z&7\cr}} \enddisplay \display \hbox{\valign {\hbox to 30pt{\hfil\strut$#$\hfil}& \hbox to 30pt{\hfil\strut\rm#000\hfil}\cr h&8\cr j&9\cr M&{10}\cr}} \enddisplay So, for example, the date {\sl February 16th, 1989} would be written $i\digamma\overstroke\ Febrouar'iou \understroke a\sanpi pj$ and the following equality holds: $ \display\vbox{ \centerline{sz\overstroke\math{} + {}\math ypj\overstroke\ = \sanpi\qoppa\digamma\hskip1pt\overstroke.} } \enddisplay $ Notice that there is no zero. Zero is, and has always been, the cardinal of the empty set which in Ancient Greece was not considered an entity in its own right. To express numbers greater than 10,000 there were many ways. One of them was to use 10,000 as a base: thus, for example, 67,536,753 (\math {}= 6753 \mathbin\cdot 10,000 + 6753\math) was written $M\understroke\digamma yng\math\cdot\math \understroke\digamma yng$. \medskip \noindent{\smc Exercise}: {\sl If $-gwno$ means ``-gon'', which of the following polygons can by constructed by rule and compasses?}\par \smallskip $\centerline{iz\overstroke -gwno, l\digamma\overstroke -gwno, \understroke dtxj-gwno,} \centerline{\understroke akd-gwno, Me\overstroke\math\cdot\math\understroke eflz-gwno, \sanpi\qoppa\digamma\overstroke-gwno.}$ \medskip Let's return now to \TeX: you can obtain these symbols by the following macros: |\digamma| for $\digamma$, |\vardigamma| for $\vardigamma$, |\Digamma| for $\Digamma$, |\qoppa| for $\qoppa$, |\Qoppa| for $\Qoppa$, |\sanpi| for $\sanpi$, and |\Sanpi| for $\Sanpi$. To get the tick marks which distinguish units and thousands, you can use |\overstroke| after the numeral, or |\understroke| in front of the numeral. \head * Symbols for cypriotic greek * The official language of Cyprus is greek. It is also the language used in the mass-media and at school. But the language actually spoken is a dialect, derived from byzantine greek (and as it seems, far more faithful to ancient greek than the one spoken in Greece). Some literature has been written in the dialect, and since there are phonemes not available in the greek alphabet, cypriotic writers use several conventions of new symbols to express them. In the convention we followed,\refersto5 the symbols $\ssh$, $\SSH$ stand for the sound ``sh'' (like ``shower'' in english, or ``{\cyr shashka}'' in russian), $\dz$, $\DZ$ stand for ``j'' (like ``jazz'' in english or ``{\cyr dzhungli}'' in russian), $\psh$, $\PSH$ stand for a $y$ followed by a $\ssh$ (like ``{\cyr pshenitza}'' in russian) and $\ksh$, $\KSH$ stand for a $k$ followed by a $\ssh$ (like in hindi ``k\d setriya''). You can get these symbols by the macros |\ssh|, |\SSH|, |\dz|, |\DZ|, |\psh|, |\PSH|, |\ksh|, |\KSH|. Here is an example of a small text using these symbols: \smallskip $ \ninergr \frenchspacing \parindent0pt \advance\baselineskip1.0pt \tolerance=5000 \obeylines Dki'alexec to'uc xer'orotsouc, dentr'on mou, n'a riz'wseic, n'a f'aeic t'hn zwo'ullan sou, pott'e s>'on j'a sterk'wseic. T\dz i >'en kane~i p>'on''xerokagi'ac t\dz i >'en >'e\ssh ei st'axhn % q~wma n'a \ssh\ssh iepasto~un o'all''>a\-k'o\-ma. Oepki'asan se po'u t'on laim'on, sf'iggoun se n'a s'e pn'i\-xoun. T\dz i >'an pp'esei mi'a sta\ksh i'a ner'on, >enn'a t'hn p'innoun >'alloi t\dz i >enn'a skent\dz 'ereic t\dz eiaqama'i, <'enan xerodroump'a\-lin. >'Ejja xort'wseic n'a \ssh\ssh iaste~ic pott'e to~u <'hliou >amm'a\-ti, giat''>enn'a s'e qaski'azousin oeso'unh, kakor'izikon, >enn'a doule'ukeic gr'onouc t\dz a'i n'a gure'ukeic ''pospa\ssh i'an po'u to'uc kako'uc geit'o\-nouc. T\dz i oic t''>an'ajjeman. M'agkoumou m'en prok'a\-meic\dots t\dz i >eso'unh t'o qa"'irin mou, ftwq'on mou, >'enna k'ameic. $ \rightline{\sevenrm From Ilias Georgiou's ``Geloklaman"} \smallskip \head * On hyphenation * There is still no greek hyphenation list, so one has to use hyphenation from other languages. We have compared on an ordinary text, the standard english (Liang), the german (Schwarz) and portuguese (Rezende)\refersto6 hyphenation patterns. The results were surprising: on 267 possible hyphens, these three patterns missed 199 (!!), 141 and 149 resp, found 46, 115, 111 correct ones and 22, 11, 7 bad ones (the portuguese mistakes were less embarrassing than the german ones). So, for a temporary substitute, we would choose either the german or the portuguese patterns. And since you will be forced to make corrections by hand, here are the complete actual rules of greek hyphenation: {\sl Let \math c_1,c_2,\dots,c_n\math\ be consonants \math (n\geq2)\math\ and \math v_1,v_2,v_3,v_4\math\ vowels. Then we have} \list[\parindent0pt\leftskip0pt\sl][\def\tagform#1{{\smc #1\enspace}}] \item[\tag{Rule 1.}] The combination \math v_1c_1v_2\math\ is separated as \math v_1-c_1v_2\math\ {\rm(ex. $pa-ra-ka-l~w$)} \item[\tag{Rule 2.}] The combination \math v_1c_1\dots c_nv_2\math\ is separated as \math v_1-c_1\dots c_nv_2\math\ {\bf if }there is a greek word starting with \math c_1c_2\math\ $(l'a-sph, ko-fte-r'oc),$ {\bf else }\math v_1c_1-c_2\dots c_nv_2\math\ $(j'ar-roc, >eq-jr'oc)$ \item[\tag{Rule 3.}] The combinations of vowels \math v_1v_2, v_1v_2v_3\math\ or \math v_1v_2v_3v_4\math\ are not to be separated if they are pronounced as one phoneme $(>ah-d'o-ni$ but $>a-'ht-th-toc$, $pi'o$ but $p'u-o).$ \endlist S.~Levy made in his fonts separate characters of all possible accented letters, to prevent problems of hyphenation (\TeX\ doesn't yet hyphenate words with accents). The only exceptions he made, were the two combinations $ \roughgrave{}, \smoothgrave{}$ which occur only on monosyllables. In our case, to be able to reduce the fonts, we were forced to make accents also of $\char\rq134$, $\char\rq100$, $"{}$, $"'{}$, $\I{}$ (and macros of $\grave{}$, $\smoothgrave{}$, $\roughgrave{}$, $\breve{}$, $\macron{}$, $\diaeresisgrave{}$, $\diaeresiscircumflex{}$, $\rhorough$, $\rhosmooth$ as already mentioned). This of course adds problems to hyphenation. Nevertheless, $\char\rq134$, $\char\rq100$ occur on one- and 2-syllable words only, $"{}$, $"'{}$ occur rarely and $\I{}$ depends on the kind of language one is writing (to find it, you have to go back to older versions of $kajare'uousa$ as for example in the following lovely text: \medskip {\tolerance=5000 $ \advance\baselineskip1pt >En\I{~w} exantl'hsac t\grave{a} murol'ogi'a tou >ekoim~ato ep\grave{i} t~hc >'ammou t~hc paral'iac, katab\grave{a}c >ex o>uran~wn ap'ostoloc >eke~inoc t~wn Sa\-x'o\-nwn >'hnoixe di\grave{a} maqa'irac t\grave{a} st'hjh to~u koimwm'enou, e>is'hgage to\grave{u}c ic \def\hhh{\grave{h}} t\hhh n >op\hhh n ka\grave{i} >exag\grave{w}n t\hhh n kard'ian >eb'ujisen a>ut'hn e>ic l'akkon pl'hrh <'udatoc, <'oper eke'inh kard'ia >'efrixen e>ic t\grave{o} <'udwr ent\ooo c to~u thgan'iou, >afo~u d\grave{e} >ekr'uwsen, >'ejese p'alin a>ut\hhh n ic t\ooo n t'opon thc ka\iii\ kle'isac t\hhh n plhg\hhh n >ep'estreyen e>ic t\ooo n >idik'on tou. >'Etuq'e pote, >anagn~wst'a mou, n\aaa\ >apokoimhj\I{~h}c m\grave{e} >anup'oforon b~hqa, koim'wmenoc n\aaa\ exu\-pn'h\-sac n\aaa\ eiatreum'enoc? >Agno~wn <'oti e>~isai kal\aaa\ >ano'igeic mhqanik~wc t\ooo\ st'oma, <'ina plh\-r'w\-s\I{h}c e>ic t\ooo n >epikat'araton b~hqa t\ooo n sun'hjh f'oron. >All\aaa\ p'oshn a>isj'anesai qar'an, m\hhh\ eic t\ooo n l'a\-rugga t\ooo\ >oqlhr\ooo n jhr'ion! O<'utw <'ama >'hnoixe ka\iii\ ofjalmo'uc, ic t\hhh n >aq'a\-riston >Iw'annan t\hhh n sun'hjh dakr'uwn spo\-nd'hn, >all\aaa\ par\aaa\ p~asan prosdok'ian oofjalmo'i tou eh}sj'a\-ne\-to >'orexin met\aaa\ polu'hmeron nhste'i\-an ap'eranth e>uqar'isthsh n'a t'hn bl'epei >'etsi mprost'a tou ka'i <'ena >ap'eranto >ani\-ka\-no\-po'i\-h\-to po'u d'en mpo\-ro~u\-se n'a t'hn tra\-b'h\-xei st'hn >agka\-li'a tou ka'i n'a t'hn fi\-l'h\-sei >eke~i st'on laim'o po'u t'hn e>~iqe fi\-l'h\-sei t'hn m'ia ka'i mo\-na\-di\-k'h for'a ka'i e>~iqe noi'w\-sei m'esa tou t'hn pi'o >'omor\-fh stig\-m'h to~u ka\-lo\-kai\-rio~u ki <'oti t'o ka\-lo\-ka'i\-ri a>u\-t'o, ft'a\-no\-ntac st'o >apo\-ko\-r'u\-fw\-m'a tou, e>~iqe ki'o\-lac pe\-r'a\-sei. >All'a d'en e>~iqe >ak'oma pe\-r'a\-sei tele'iwc, giat'i >eke'inh bris\-k'o\-tan t'wra mpro\-st'a tou. Ka'i d'en mpo\-ro~u\-se n'a k'anei t'i\-po\-ta. } $ \head * Samples, Tables, and Remarks * \head * The font {\tt rgrrg10} * $\tttt$ \head * The font {\tt rgrbf10} * $\bf\tttt$ \head * The font {\tt rgrsl10} * $\sl\tttt$ \figure[\top] \raggedcenter Layout for fonts |rgrrg|, |rgrbf|, |rgrsl| $\table$ \endfigure $\monotoniko \gdef\ttttt { Kaj'otan mprost'a thc kai thn k'uttaze. Noi'w\-jo\-ntac mia >ap'eranth e>uqar'isthsh na thn bl'epei >'etsi mprost'a tou kai <'ena >ap'eranto >ani\-ka\-no\-po'i\-h\-to pou den mpo\-ro~u\-se na thn tra\-b'h\-xei sthn >agka\-li'a tou kai na thn fi\-l'h\-sei >eke~i ston laim'o pou thn e>~iqe fi\-l'h\-sei thn m'ia kai mo\-na\-di\-k'h for'a kai e>~iqe noi'w\-sei m'esa tou thn pio >'omor\-fh stig\-m'h tou ka\-lo\-kai\-rio~u ki <'oti to ka\-lo\-ka'i\-ri a>u\-t'o, ft'a\-no\-ntac sto >apo\-ko\-r'u\-fw\-m'a tou, e>~iqe ki'o\-lac pe\-r'a\-sei. >All'a den e>~iqe >ak'oma pe\-r'a\-sei tele'iwc, giat'i >eke'inh bris\-k'o\-tan t'wra mpro\-st'a tou. Kai den mpo\-ro~u\-se na k'anei t'i\-po\-ta. } $ \figure[\bot] \raggedcenter Layout for fonts |mrgrrg|, |mrgrbf|, |mrgrsl| $\monotoniko\table$ \endfigure \head * The font {\tt mrgrrg10} * $\monotoniko\ttttt$ \head * The font {\tt mrgrbf10} * $\monotoniko\bf\ttttt$ \head * The font {\tt mrgrsl10} * $\monotoniko\sl\ttttt$ \figure[\top] \raggedcenter Layout for font |rgrsc| $\smc\table$ \endfigure We conclude with the following remark: people writing french, czech, turkish or other languages with many diacritical marks complain that there is no space left in Computer Modern to incorporate already-accented letters. The solution (in the case of French) that D\'esarm\'enien\refersto7 proposed, was to replace greek uppercase letters by the french \'e, \`e, \^ e, \^ o, \^\i, \^ a, \^ u, \`a, \`u. But then the question is: where to put the greek uppercase letters, which are necessary for mathematical formulas. We answer: if you have the greek |rgr| family of fonts, you already have all kinds of greek uppercase letters. Just take them from there! Of course, math families must be restructured in that case since math family~7 cannot be used for those letters anymore. As Gariepy\refersto8 pointed out already, the inconvenience with this solution is that for every language with accents you will need another |cm| family of fonts. That's why we still believe that the best once and for all solution would be to be able to work with fonts of 256 characters. \head * Improvements and changes -- version 1.1 (as of March 4, 1990) * (by the first author)\medskip \noindent An hyphenation list has been added. Greek grammar has changed very often in the last 20 years, mainly because greek is a very manifold language (some people find it {\it chaotic}, I find it {\it beautiful\/}). I followed the hyphenation rules of \refersto2\ as presented in section ``On hyphenation'' of this paper. These rules are very simple and hold as well for the multi-accent as for the one-accent system. I found exactly 1168 patterns; many of them came simply from the following fact: since |'|,|~|,|>|,|<| are of category 11 during hyphenation, |<'o-so| could occur. This leaves $<'o$ alone, which is rather ugly. Italics fonts (|rgrti| and |mrgrti|) have been added. Since in the |cm| family, |cmti| has almost the same lowercase letters as |cmmi| and the same uppercase ones as |cmsl|, I tried to do the same. Some changes were necessary: 1) the handwritten modern greek alpha looks more like {\it a} and 2) tau's stem has a hook. There is still some kerning to do. I call this version {\it ``experimental''}. Maybe in some later (1.2?) version there will be an entirely new italics font. In the |rgrsc| font (as you can see in the table) the symbols $\rhorough, \rhosmooth, \Digamma$ and $\vardigamma$ exist now in all styles: regular, slanted, italic and boldface. \TeX\ will know which one to choose, depending on the font you are using (inside |greekmode|). If you add some new style (for example typewriter or sans-serif) 1) please let me know, 2) add these four letters in |rgrsc|, 3) add the information in |greekmacros.tex|. There is |\smallDigamma| for the small capital digamma $\smallDigamma$. Some people still persist in calling it {\it ``ef''}. Also there are two new symbols: 1) following an advice of my father, I added a variation $\varqoppa$ of lowercase qoppa. This symbol is used in our days for the numeral 90 (the current year is $\understroke a\sanpi\varqoppa$). The macro for $\varqoppa$ is |\varqoppa|. 2) a funny ``upside-down'' iota with circumflex $\inviota$ (the macro is |\inviota|). This symbol was used in the last century for the sound of $i$ in $gi'a$ (cf. ``$pi'o$'' in hyphenation {\smc rule 3}). Here is an example of such a text, taken from a 1907 edition\refersto9: \let\w=\grave $ {\ninergr \frenchspacing \parindent0pt \advance\baselineskip1.0pt \tolerance=5000 \obeylines Kair\w oc f'ernei t\w a l'aqana, kair\w oc t\w a parapo'ul\inviota a, M\w e t\w on kair\w o ka\w i t\w o dendr\w i k'anei karp\w o ka\w i f'ulla. >'A"inte, >or'e, m\inviota\w a kopan\inviota\w a s>'an n>~atan qulop'hta, N\w a ''p\inviota\I{~h}c t\w hn Gk'olfw j'arreuec? D\w en e>~in'' mall\inviota\w a t\w a g'ene\inviota a. J'el''ag'ap'' >apomon\w h ki''>ahto~u grhgorws'unh. J'elei lago~u pat'hmata, >allo\inviota ~wc af'inei. X'ereic t'i magar'oplash po~u e>~inai \I{Ek\-d'o\-seic Kastal'ia}, >Aj~hnai 1972$ \referred4 {\smc C.B.Boyer}: A History of Mathematics, {J.\ Wiley \& Sons,} New~York 1968 \referred5 ${\smc H.Gewrgiou:} Gel'oklam'an, {\sl Seir'a Kupriak~hc La"ik~hc Po'ihshc idulliak\w on e>ic pr'axeic p'ente, {\sl >Ekdotik\w oc O>~ikoc Gewrg'iou F'exh,} >Aj~hnai 1907$ \makesignature \endarticle % version 19.6.1989 \hbox{Yannis Haralambous} \hbox{Universit\'e de Lille--Flandres--Artois} \smallskip \hbox{Klaus Thull} \hbox{Freie Universit\"at Berlin} -------