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authorNorbert Preining <norbert@preining.info>2019-09-02 13:46:59 +0900
committerNorbert Preining <norbert@preining.info>2019-09-02 13:46:59 +0900
commite0c6872cf40896c7be36b11dcc744620f10adf1d (patch)
tree60335e10d2f4354b0674ec22d7b53f0f8abee672 /fonts/poetica
Initial commit
Diffstat (limited to 'fonts/poetica')
-rw-r--r--fonts/poetica/doc/beauty.tex35
-rw-r--r--fonts/poetica/doc/install81
-rw-r--r--fonts/poetica/doc/poetica.map21
-rw-r--r--fonts/poetica/doc/poetica.tex809
-rw-r--r--fonts/poetica/doc/sonnet.tex37
-rw-r--r--fonts/poetica/inputs/OT1poet.fd97
-rw-r--r--fonts/poetica/inputs/fontpoet.tex72
-rw-r--r--fonts/poetica/inputs/poetica.sty59
-rw-r--r--fonts/poetica/tfm/poamp.tfmbin0 -> 752 bytes
-rw-r--r--fonts/poetica/tfm/poce0.tfmbin0 -> 1216 bytes
-rw-r--r--fonts/poetica/tfm/poch.tfmbin0 -> 1412 bytes
-rw-r--r--fonts/poetica/tfm/poch1.tfmbin0 -> 1508 bytes
-rw-r--r--fonts/poetica/tfm/poch2.tfmbin0 -> 1536 bytes
-rw-r--r--fonts/poetica/tfm/poch3.tfmbin0 -> 1564 bytes
-rw-r--r--fonts/poetica/tfm/poch4.tfmbin0 -> 1568 bytes
-rw-r--r--fonts/poetica/tfm/poci0.tfmbin0 -> 1636 bytes
-rw-r--r--fonts/poetica/tfm/pocii0.tfmbin0 -> 1672 bytes
-rw-r--r--fonts/poetica/tfm/pociii0.tfmbin0 -> 1684 bytes
-rw-r--r--fonts/poetica/tfm/pociv0.tfmbin0 -> 1668 bytes
-rw-r--r--fonts/poetica/tfm/pof.tfmbin0 -> 1740 bytes
-rw-r--r--fonts/poetica/tfm/pof1.tfmbin0 -> 1792 bytes
-rw-r--r--fonts/poetica/tfm/pof2.tfmbin0 -> 1776 bytes
-rw-r--r--fonts/poetica/tfm/pof3.tfmbin0 -> 1836 bytes
-rw-r--r--fonts/poetica/tfm/pof4.tfmbin0 -> 1812 bytes
-rw-r--r--fonts/poetica/tfm/pog.tfmbin0 -> 1960 bytes
-rw-r--r--fonts/poetica/tfm/pog1.tfmbin0 -> 2004 bytes
-rw-r--r--fonts/poetica/tfm/pog2.tfmbin0 -> 1992 bytes
-rw-r--r--fonts/poetica/tfm/pog3.tfmbin0 -> 2052 bytes
-rw-r--r--fonts/poetica/tfm/pog4.tfmbin0 -> 2032 bytes
-rw-r--r--fonts/poetica/tfm/poorn.tfmbin0 -> 648 bytes
-rw-r--r--fonts/poetica/tfm/porsc0.tfmbin0 -> 1448 bytes
-rw-r--r--fonts/poetica/tfm/porsca0.tfmbin0 -> 996 bytes
-rw-r--r--fonts/poetica/tfm/posa0.tfmbin0 -> 1288 bytes
-rw-r--r--fonts/poetica/tfm/posc.tfmbin0 -> 1460 bytes
-rw-r--r--fonts/poetica/tfm/posc1.tfmbin0 -> 1448 bytes
-rw-r--r--fonts/poetica/tfm/posisc0.tfmbin0 -> 676 bytes
-rw-r--r--fonts/poetica/tfm/posl0.tfmbin0 -> 1272 bytes
-rw-r--r--fonts/poetica/tfm/poslai0.tfmbin0 -> 800 bytes
-rw-r--r--fonts/poetica/tfm/poslaii0.tfmbin0 -> 712 bytes
-rw-r--r--fonts/poetica/tfm/poslbi0.tfmbin0 -> 760 bytes
-rw-r--r--fonts/poetica/tfm/poslbii0.tfmbin0 -> 748 bytes
-rw-r--r--fonts/poetica/tfm/poslei0.tfmbin0 -> 748 bytes
-rw-r--r--fonts/poetica/tfm/posleii0.tfmbin0 -> 656 bytes
-rw-r--r--fonts/poetica/tfm/poso0.tfmbin0 -> 1116 bytes
-rw-r--r--fonts/poetica/tfm/possc30.tfmbin0 -> 932 bytes
-rw-r--r--fonts/poetica/tfm/possci0.tfmbin0 -> 888 bytes
-rw-r--r--fonts/poetica/tfm/posscii0.tfmbin0 -> 904 bytes
-rw-r--r--fonts/poetica/tfm/possciv0.tfmbin0 -> 952 bytes
-rw-r--r--fonts/poetica/tfm/posw.tfmbin0 -> 1960 bytes
-rw-r--r--fonts/poetica/tfm/posw1.tfmbin0 -> 2044 bytes
-rw-r--r--fonts/poetica/tfm/posw2.tfmbin0 -> 2004 bytes
-rw-r--r--fonts/poetica/tfm/posw3.tfmbin0 -> 2104 bytes
-rw-r--r--fonts/poetica/tfm/posw4.tfmbin0 -> 1896 bytes
-rw-r--r--fonts/poetica/tfm/pottl.tfmbin0 -> 1472 bytes
-rw-r--r--fonts/poetica/tfm/pottl1.tfmbin0 -> 1460 bytes
-rw-r--r--fonts/poetica/vf/poamp.vfbin0 -> 428 bytes
-rw-r--r--fonts/poetica/vf/poch.vfbin0 -> 1588 bytes
-rw-r--r--fonts/poetica/vf/poch1.vfbin0 -> 1508 bytes
-rw-r--r--fonts/poetica/vf/poch2.vfbin0 -> 1508 bytes
-rw-r--r--fonts/poetica/vf/poch3.vfbin0 -> 1560 bytes
-rw-r--r--fonts/poetica/vf/poch4.vfbin0 -> 1556 bytes
-rw-r--r--fonts/poetica/vf/pof.vfbin0 -> 1796 bytes
-rw-r--r--fonts/poetica/vf/pof1.vfbin0 -> 1804 bytes
-rw-r--r--fonts/poetica/vf/pof2.vfbin0 -> 1828 bytes
-rw-r--r--fonts/poetica/vf/pof3.vfbin0 -> 1852 bytes
-rw-r--r--fonts/poetica/vf/pof4.vfbin0 -> 1876 bytes
-rw-r--r--fonts/poetica/vf/pog.vfbin0 -> 2088 bytes
-rw-r--r--fonts/poetica/vf/pog1.vfbin0 -> 2096 bytes
-rw-r--r--fonts/poetica/vf/pog2.vfbin0 -> 2144 bytes
-rw-r--r--fonts/poetica/vf/pog3.vfbin0 -> 2168 bytes
-rw-r--r--fonts/poetica/vf/pog4.vfbin0 -> 2192 bytes
-rw-r--r--fonts/poetica/vf/poorn.vfbin0 -> 344 bytes
-rw-r--r--fonts/poetica/vf/posc.vfbin0 -> 1544 bytes
-rw-r--r--fonts/poetica/vf/posc1.vfbin0 -> 1580 bytes
-rw-r--r--fonts/poetica/vf/posw.vfbin0 -> 2188 bytes
-rw-r--r--fonts/poetica/vf/posw1.vfbin0 -> 2260 bytes
-rw-r--r--fonts/poetica/vf/posw2.vfbin0 -> 2248 bytes
-rw-r--r--fonts/poetica/vf/posw3.vfbin0 -> 2332 bytes
-rw-r--r--fonts/poetica/vf/posw4.vfbin0 -> 2104 bytes
-rw-r--r--fonts/poetica/vf/pottl.vfbin0 -> 1436 bytes
-rw-r--r--fonts/poetica/vf/pottl1.vfbin0 -> 1464 bytes
81 files changed, 1211 insertions, 0 deletions
diff --git a/fonts/poetica/doc/beauty.tex b/fonts/poetica/doc/beauty.tex
new file mode 100644
index 0000000000..e103eb407d
--- /dev/null
+++ b/fonts/poetica/doc/beauty.tex
@@ -0,0 +1,35 @@
+%&latex
+\documentclass{article}
+\usepackage{poetica,colordvi}
+\begin{document}
+\thispagestyle{empty}
+
+\newsavebox{\mybox}
+\newlength{\mywd}\newlength{\myht}\newlength{\mydp}
+\setlength{\fboxrule}{1.2pt}
+\savebox{\mybox}{\fbox{\begin{minipage}{.5\textwidth}
+\begin{center}\begin{Poetica}\fontsize{26}{34}\selectfont
+^--{*A}nd if \+{y}ou wi^{ll} con-\\
+sider a\++{ll} t\++h{\i}ngs, {\wordbounds\++y}ou\\
+will find that ^{th}ose\\
+whi^{ch} are ^goo^--d an^d\\
+use\++ful a\++lways ^have\\
+^{th}e grace of beaut^y\\
+in ^{th}em as we^--{ll}.\\
+{\renewcommand\.{\hspace{1.8pt}}%
+\fontshape{t1}\fontsize{16}{24}\selectfont
+ c\.a\.s\.t\.i\.g\.l\.i\.o\.n\.e}\\[1pc]
+\fontsize{30}{38}\orn{78}
+\end{Poetica}\end{center}
+\end{minipage}}}
+\settowidth{\mywd}{\usebox{\mybox}}
+\settoheight{\myht}{\usebox{\mybox}}
+\settodepth{\mydp}{\usebox{\mybox}}
+\begin{center}
+\noindent\rlap{\vrule width1.1\mywd height1.1\myht depth1.1\mydp}%
+ \hskip.05\mywd%
+ {\White{\usebox{\mybox}}}
+\end{center}
+
+\end{document}
+
diff --git a/fonts/poetica/doc/install b/fonts/poetica/doc/install
new file mode 100644
index 0000000000..ff24bbccf0
--- /dev/null
+++ b/fonts/poetica/doc/install
@@ -0,0 +1,81 @@
+This file contains instructions for one way of installing and using
+the lovely Poetica fonts from Adobe Systems with TeX and LaTeX. The
+files in this area contain everything but the font files themselves
+(*.pfb) which are of course proprietary.
+
+The main description of this material appears in the article by Alan
+Hoenig (me) in the Proceedings of the 16th Annual TeX User Group
+meeting, St. Pete Beach, FL, 1995 (to appear). Alas, that article
+requires the actual Poetica fonts themselves, so although that file
+(poetica.tex) is included, the commands to actually include the
+Poetica types have been commented out. It should be construed as the
+user guide.
+
+Setting Up.
+===========
+
+Place all the vf files in the vf/ subdirectory with all your other vf
+(virtual font) files.
+
+Place all the tfm files in the tfm/ subdirectory with your other tfm
+files.
+
+Place all the input files in the inputs/ subdirectory with your other
+system inputs (probably in a place called something like
+/usr/tex/inputs). You might want to rename the file `ot1poe.fd' to
+`OT1poe.fd' if your system allows this. The file fontpoet.tex is the
+fontinst installation file.
+
+Check the file poetica.map in the doc/ subdirectory. It gives the
+correspondance between the raw font files and the Poetica fonts. You
+should rename your Poetical font files according to the entries in
+this file. For example, the first line of this file reads
+
+ poce0 Poetica-ChanceryExpert </psfonts/poce.pfb
+
+which means you have to find the .pfb file whose FontName is
+Poetica-ChanceryExpert and rename is to `poce.pfb'. (This is a
+laborious process; sorry about that.) Proceed in this way for of the
+files. The part following the angle bracket is an instruction for
+dvips to download this font file as needed from a directory called
+/psfonts on my system. You'll need to change this designation to
+accord with the place where you store the .pfb files. Add the
+contents of poetica.map to psfonts.map, the dvips alias file.
+
+Using the Fonts.
+================
+
+Plain TeX Users: Check the contents of the vf/ subdirectory. Any one
+of these fonts can be can be selected and used in the usual way, ie,
+
+ \font\foo=poce at 18pt \foo
+
+LaTeX2e Users: Use the package poetica.sty via a declaration like
+
+ \usepackage{poetica}
+
+which makes the Poetica environment available to you. Check the file
+poetica.tex for further details.
+
+LaTeX209 Users: Since the poetica package uses the New Font Selection
+Scheme heavily, there's no special advantage to be gained by using
+this material in latex209. My advice: upgrade to latex2e.
+
+Testing.
+========
+
+The files sonnet.tex and beauty.tex in the doc\ subdirectory provide a
+test of Poetica typesetting. After installation, compile these files
+using latex2e.
+
+Good Luck!
+==========
+
+If you have any comments or suggestions, drop me an electronic line.
+Enjoy this stuff.
+
+---Alan Hoenig [ajhjj@cunyvm.cuny.edu]
+
+
+
+
diff --git a/fonts/poetica/doc/poetica.map b/fonts/poetica/doc/poetica.map
new file mode 100644
index 0000000000..58fa94163e
--- /dev/null
+++ b/fonts/poetica/doc/poetica.map
@@ -0,0 +1,21 @@
+poce0 Poetica-ChanceryExpert </psfonts/poce.pfb
+poci0 Poetica-ChanceryI </psfonts/poci.pfb
+pocii0 Poetica-ChanceryII </psfonts/pocii.pfb
+pociii0 Poetica-ChanceryIII </psfonts/pociii.pfb
+pociv0 Poetica-ChanceryIV </psfonts/pociv.pfb
+porsc0 Poetica-RomanSmallCaps </psfonts/porsc.pfb
+porsca0 Poetica-RomanSmallCapsAlt </psfonts/porsca.pfb
+posa0 Poetica-SuppAmpersands </psfonts/posa.pfb
+posisc0 PoetiSupIniSwaCap </psfonts/posisc.pfb
+posl0 Poetica-SuppLigatures </psfonts/posl.pfb
+poslai0 Poetica-SuppLowercaseAltI </psfonts/poslai.pfb
+poslaii0 PoetiSupLowAltII </psfonts/poslaii.pfb
+poslbi0 Poetica-SuppLowercaseBegI </psfonts/poslbi.pfb
+poslbii0 PoetiSupLowBegII </psfonts/poslbii.pfb
+poslei0 Poetica-SuppLowercaseEndI </psfonts/poslei.pfb
+posleii0 PoetiSupLowEndII </psfonts/posleii.pfb
+poso0 Poetica-SuppOrnaments </psfonts/poso.pfb
+possc30 Poetica-SuppSwashCapsIII </psfonts/possc3.pfb
+possci0 Poetica-SuppSwashCapsI </psfonts/possci.pfb
+posscii0 Poetica-SuppSwashCapsII </psfonts/posscii.pfb
+possciv0 Poetica-SuppSwashCapsIV </psfonts/possciv.pfb
diff --git a/fonts/poetica/doc/poetica.tex b/fonts/poetica/doc/poetica.tex
new file mode 100644
index 0000000000..e028fd7102
--- /dev/null
+++ b/fonts/poetica/doc/poetica.tex
@@ -0,0 +1,809 @@
+%&latex
+
+\documentclass{ltugproc}
+
+\usepackage{twocolumn,epsf,colordvi}
+\newcommand{\tex}{\TeX}\newcommand{\latex}{\LaTeX}
+
+\title{The Poetica Family: Fancy Fonts with \TeX\ and \LaTeX}
+\author{Alan Hoenig}
+
+\begin{document}
+\def\fsize{14pt }
+
+\maketitle
+
+In the beginning of the `desktop publishing era', digital foundries
+concentrated on making all old favorite fonts
+available in digital form. When that task was well along, they then
+began to turn their attention to enhancements to these fonts, the
+first group of which were expert fonts which contained things like small
+capitals and all double-f\/ ligatures. Now that an
+impressive array of expert fonts has become available, a third wave
+may be under way---the development of beautiful fonts which break out
+of common font schemes altogether. A prime example is the
+Poetica family of fonts from Adobe. (Another is the Mantinia faces
+from the Carter and Cone foundry.) The purpose of this presentation is to
+suggest ways of typesetting with these beautiful fonts without walking
+around with numerous font tables in hand.
+
+\section{The Poetica Package}
+As delivered from Adobe Systems, the Poetica fonts comprise 21~fonts in two
+families. The main font is plainly modeled after the Chancery scripts
+of the Renaissance:
+\begin{center}
+%\leavevmode\epsffile{ehammer0.eps}
+\end{center}
+Why so many fonts? There is a wide variety of plain and fancy
+variants for many glyphs, odd ligatures, and special forms word
+endings or beginnings. One font contains ornaments, and another
+contains nothing but different ampersands. Using some of these fancy
+characters, the above phrase might appear
+\begin{center}
+%\leavevmode\epsffile{ehammer.eps}
+\end{center}
+How can we use \TeX\ and \LaTeX\ to typeset with these fonts, using
+convenient input conventions?
+
+Yannis Haralambous and John Plaice~\cite{omega}\ have already
+demonstrated that the best way is to use a \tex\ that handles 16-bit
+input. In that way, all the raw Adobe fonts can become part of a
+single, huge font associated with which would be a complex system of
+ligature rules to automatically select various glyphs in appropriate
+situations. Their Omega system is one such 16-bit system, currently freely
+available, which will handle such fonts, and which will handle a
+Poetica super-font. However, the fonts are so attractive that many
+people will not want to wait to implement Omega, and so I present the following
+discussion. Alternatively, the clumsiness of the arrangements I
+suggest may convince authors of the need to upgrade to Omega right
+away!
+
+\subsection{The Raw Package: A Closer Look}
+The main package consists of four main chancery fonts. Each has
+similar lowercase alphabets, but the uppercase characters are
+increasingly fancy. An expert font contains some ligatures, superior
+and inferior figures, and miscellaneous glyphs. A small caps font and
+an alternate {\sc sc} font contains upright capitals that match the
+Chancery fonts.
+\begin{center}
+%\leavevmode\epsffile{etable.eps}
+\end{center}
+
+The second Poetica family is more interesting. There are four swash
+caps fonts, each of which contains two increasingly fancy uppercase
+alphabets.
+\begin{center}
+% \begin{Poetica}
+% \+{A B C D E *A *B *C *D *E}\\
+% \++{A B C D E *A *B *C *D *E}\\
+% \+++{A B C D E *A *B *C *D *E}\\
+% ^-{A B C D E *A *B *C *D *E}
+% \end{Poetica}
+%\leavevmode\epsffile{eupper.eps}
+\end{center}
+An initial swash font contains one very fancy uppercase
+font, appropriate only for word beginnings.
+\begin{center}
+% \begin{Poetica}
+% ^{A \ B \ C \ D \ E \ F \ G \ H \ I \ J}
+% \end{Poetica}
+%\leavevmode\epsffile{einit.eps}
+\end{center}
+There are two lowercase
+alternate fonts, and each of these contains several groups of
+alternate forms for many lowercase characters.
+\begin{center}
+% \begin{Poetica}
+% g k p y z\\
+% \+{ g k p y z}\\
+% \++{ g k p y z}\\
+% \+++{ g k p y z}\\
+% \++++{ g k p y z}
+% \end{Poetica}
+%\leavevmode\epsffile{ealt.eps}
+\end{center}
+There are two each of
+lowercase beginnings and endings fonts. Each of these fonts contains
+at least two forms (of certain letters only) appropriate for word boundaries.
+\begin{center}
+% \begin{Poetica}
+% \+{ baa \ \ end \ \ hah \ \ ill \ \ ton}\\
+% \++{ baa \ \ end \ \ hah \ \ ill \ \ ton}\\
+% \+++{ baa \ \ end \ \ hah \ \ ill \ \ ton}\\
+% \++++{ baa \ \ \ end \ \ \ hah \ \ \ ill \ \ \ ton}
+%\leavevmode\epsffile{ebound.eps}
+% \end{Poetica}
+\end{center}
+A special ligature font contains fancy forms of the familiar
+f-ligatures, as well as many more ligatures not normally used.
+\begin{center}
+% \begin{Poetica}
+% \+{ff} \ \++{ff} \ \+++{ff} \ \++++{ff} \
+% \+{fi \ fl \ ffi \ ffl \ cl \ ct \ ft \ ll \ ^--{ll} \ ^{ll} \ sp \ st }
+% \ \++{st} \ \+++{st} \ ^{st}
+% %^---{st} ^--{st} ^-{st}
+% \end{Poetica}
+%\leavevmode\epsffile{eligs.eps}
+\end{center}
+Finally, separate fonts contain batches of ornaments and bunches of
+ampersands.
+\begin{center}
+% \begin{Poetica}
+% \fontshape{orn}\selectfont A B C D E a b c d e\\
+% \fontshape{amp}\selectfont A B C D E a b c d e
+% \end{Poetica}
+%\leavevmode\epsffile{eorns.eps}
+\end{center}
+
+It's clear that there are many ways to represent a single character,
+depending on its location in a word, whether it's upper- or lowercase,
+and the degree of swash that an author desires. The first example
+also makes clear that a little swash goes a long way, and a convenient
+font selection scheme would make it convenient to typeset in some
+single `background' font from which it would be easy to ascend or
+descend to fancier or plainer fonts for isolated characters. We'd
+also like to be able to do this without having to lug around sheaves
+of font tables with us.
+
+The next section details the font scheme that I propose for these
+fonts. I will then show how to use \TeX's virtual font mechanism to
+create these fonts.
+
+\section{Fonts, Fonts, Fonts}
+Poetica contains a total of sixteen---16!---uppercase alphabets.
+These include:
+
+\begin{itemize}
+\item four alphabets matching the four original chancery fonts;
+
+\item eight increasingly fancy swash alphabets (these appear in four
+fonts so that each font contains a pair of uppercase alphabets, one of
+which is in the lowercase position);
+
+\item a super-fancy swash alphabet suitable only for initial letters
+(if then);
+
+\item two small caps alphabets; and
+
+\item a small caps alternate alphabet (although this is a sparse
+set---only 15~letters are represented.
+\end{itemize}
+
+I felt able to organize these in twelve fonts:
+\begin{itemize}
+\item four Chancery fonts;
+
+\item four swash fonts, each incorporating two uppercase alphabets;
+
+\item one super-swash font;
+
+\item two small caps fonts; and
+
+\item two titling fonts.
+\end{itemize}
+
+This is still a formidable array of fonts, and I'll say more later on
+about ways of dealing with them all. But at this point, I'll indicate
+that I shoehorned two swash uppercase alphabets into each font by
+virtue of \TeX's ligature mechanism. Most of the time, uppercase
+glyphs appear only at the beginning of a word, so I created the fonts
+so that \verb=*= followed by a capital letter generates the alternate
+capital. For example, if I type
+\[\hbox{\tt A B C D E}\]I might get
+$$
+%\hbox{\fontsize{18}{22}\fontfamily{poet}\Fontshape{f2}A B C D E}
+%\epsffile{eabcde.eps}
+$$
+but if I type
+\[\hbox{\tt \char`\*A \char`\*B \char`\*C \char`\*D \char`\*E}\]
+in the same font, I get
+$$
+%\hbox{\fontsize{18}{22}\fontfamily{poet}\Fontshape{f2}*A *B *C *D *E}
+%\epsffile{east.eps}
+$$
+instead.
+
+The uppercase alphabets dictate the nature of their fonts. They
+quite clearly become increasingly fancy, so it makes sense to
+apportion some of the other special characters to these fonts in order
+of increasing fanciness. It's straightforward via Alan Jeffrey's {\tt
+fontinst} package to add these characters to the fonts.
+
+\subsection{Word Boundaries}
+Many of the characters provided by Adobe belong specially to the
+beginnings or endings of words, and the {\tt boundarychar} mechanism
+of \tex3 makes this easy to implement, but not as easy as I expected
+for the following interesting reason.
+
+Human readers are quite specific in what constitutes a word boundary.
+Most often it would be a space or punctuation, but \tex3 is more
+restrictive: essentially any consecutive string of characters is a
+word. This means that \verb=te\it st= is two words from \tex's point of
+view---that is, a font change in the middle of a word creates two word
+boundaries. Typesetting with fonts containing fancy word boundary
+glyphs requires dealing with this fact.
+
+Here is an example of automatic boundary glyph selection.
+Notice here how the forms of the `m' and `t'
+change depending on their positions within a word. With the proper
+fonts selected, I simply typed {\tt mat tom-tom} to get
+$$
+%\hbox{\fontsize{18}{22}\fontfamily{poet}\Fontshape{F3}mat\ \ \ \
+%tom-tom}
+%\epsffile{etomtom.eps}
+$$
+
+\subsection{Supporting Macros}
+These fonts are beautiful, but I needed some input conventions that
+would allow me to increase or decrease the amount of fanciness in some
+easy way.
+
+I began by appropriating from mathematics
+the characters \verb=^=, \verb=_=, \verb=+=,
+and \verb=-=; this is no loss, as I felt it unlikely that I'd be doing
+math in conjunction with Poetica. (However, some of the Chancery
+capitals do
+make a good candidate as a math calligraphic alphabet. That is a
+different and easier problem.)
+
+Typesetting is done within the Poetica environment:
+\begin{verbatim}
+\begin{Poetica}
+ ...
+\end{Poetica}
+\end{verbatim}
+(I am assuming the conventions of \LaTeX2e, so I have access to the
+New Font Selection Scheme) which automatically switches to the
+Poetica family. All the fonts are in the medium series \verb=m=,
+selected automatically, and the fonts themselves are divided into
+three
+groups of shapes. (Adobe provides no bold face fonts in this family.)
+`Normal' fonts comprise four fonts, with font
+shapes of \verb=n0=, \verb=n1=, \verb=n2=, and \verb=n3=. Two groups
+of five swash fonts apiece, with shape designations \verb=f0= through
+\verb=f4= (\verb=f==fancy) and \verb=F0= through
+\verb=F4= (\verb=f= or \verb=F==fancy) encompass the ornate fonts I
+set up. The F-shapes incorporate word
+boundary glyphs, while f-shapes do not.
+The higher the number, the fancier the font. There is
+also a small caps font (shape \verb=c= and \verb=c1=)
+and two titling fonts (shapes
+\verb=t= and \verb=t1=). The default font has the shape
+\verb=n3= at an eighteen-on-twenty-two point size:
+\begin{center}
+% \begin{Poetica}
+% Alpha-Betic Constants Demand Emphasis. 12345 67890\end{Poetica}
+%\leavevmode\epsffile{ealpha.eps}
+\end{center}
+
+Although these fonts can be accessed by the usual NFSS commands, the
+usual \verb=\fontshape= and \verb=\selectfont= commands are
+discouraged in favor of a single \verb=\Fontshape= command which
+combines \verb=\fontshape= and \verb=\selectfont= together with some
+bookkeeping, the reason for which will shortly become clear. It will
+be necessary to do any font sizing with \verb=\fontsize= (in the usual
+way) before calling \verb=\Fontshape=.
+
+But even \verb=\Fontshape= is too verbose. Most of the time, we are
+content to typeset virtually everything in a piece of text in the same
+font, except from time to time we may want to make one or two
+characters more or less fancy than the default. Although the usual
+font changing could be invoked, it's a bit messy to do that for a
+single character here and there. I implemented a scheme which seemed
+to me ideal from the point of view of making these spot changes, and
+for that reason different meanings were assigned to \verb=^=,
+\verb=_=, \verb+|+, \verb=\+=, and \verb=\-=. The control sequences
+\verb=\+= and \verb=\-= take the next character (or group) and raise
+the level of fanciness up or down by one font. If that is not
+sufficient, simply add additional \verb=+=s and \verb=-=s. The
+symbols \verb=^= and \verb=_= now mean go up to the fanciest and
+plainest fonts respectively (that is, shapes \verb|n0| and \verb|f4|),
+
+but the \verb=+= and \verb=-= convention
+also holds here. The vertical bar is now equivalent to the
+\verb=\noboundary= command. There are also two additional commands:
+\verb|\wordbounds| and \verb|\nowordbounds|,
+ which select the F-shape or f-shape
+fonts respectively.
+
+Thus, if we type
+\begin{verbatim}
+\begin{Poetica}
+For every action there is a reaction
+\end{Poetica}
+\end{verbatim}
+we get
+\begin{center}
+% \begin{Poetica}
+% For every Action there is a Reaction
+% \end{Poetica}
+%\leavevmode\epsffile{eact1.eps}
+\end{center}
+But if we type
+\begin{verbatim}
+\begin{Poetica}
+^For every \+A^{ct}{\i}on\ \
+ ^there i^s a
+ ^--{*R}ea^--{ct}{\i}o^n
+\end{Poetica}
+\end{verbatim}
+we get instead
+\begin{center}
+% \begin{Poetica}
+% ^For every \+A^{ct}{\i}on\ \ ^there i^s a
+% ^--{*R}ea^--{ct}{\i}o^n
+% \end{Poetica}
+%\leavevmode\epsffile{eact2.eps}
+\end{center}
+Actually, the markup here is almost as intrusive as normal \TeX\ markup
+would be, but normal Poetica markup would not be this excessive. I
+had great fun generating this sample, adding and subtracting \verb=+=s
+and \verb=-=s until there was sufficient demonstration of these
+conventions as well as a demonstration of several different glyphs.
+Note the several \verb=ct= ligatures, and other alternate letterforms.
+
+Let's see why special treatment of word bounds is necessary. If we
+re-typeset this example with \verb|\wordbounds| in effect, we get
+\begin{center}
+% \begin{Poetica}\wordbounds
+% ^For every \+A^{ct}{\i}on\ \ ^there i^s a
+% ^--{*R}ea^--{ct}{\i}o^n
+% \end{Poetica}
+%\leavevmode\epsffile{eact3.eps}
+\end{center}
+Notice the unfortunate appearance of certain boundary glyphs in the
+middle of real words due to the word boundaries formed every time
+there is a font shift.
+
+Incidentally, to get an idea
+of the possibilities of swash I first typed
+\begin{verbatim}
+\begin{Poetica}
+^{For every action
+ there is a Reaction}
+\end{Poetica}
+\end{verbatim}
+to get
+\begin{center}
+% \begin{Poetica}
+% ^{For every action there is a Reaction}
+% \end{Poetica}
+%\leavevmode\epsffile{eact4.eps}
+\end{center}
+
+Let me include two more examples. If we type
+\begin{verbatim}
+\newsavebox{\mybox}
+\newlength{\mywd}\newlength{\myht}
+\newlength{\mydp}
+\setlength{\fboxrule}{1.2pt}
+\savebox{\mybox}
+ {\fbox{\begin{minipage}{.5\textwidth}
+ \begin{center}\begin{Poetica}
+ \fontsize{26}{34}\selectfont
+ ^--{*A}nd if \+{y}ou wi^{ll} con-\\
+ sider a\++{ll} t\++h{\i}ngs,
+ {\wordbounds\++y}ou\\
+ will find that ^{th}ose\\
+ whi^{ch} are ^goo^--d an^d\\
+ use\++ful a\++lways ^have\\
+ ^{th}e grace of beaut^y\\
+ in ^{th}em as we^--{ll}.\\
+ {\renewcommand\.{\hspace{1.8pt}}%
+ \fontshape{t1}\fontsize{16}{24}
+ \selectfont
+ c\.a\.s\.t\.i\.g\.l\.i\.o\.n\.e}\\[1pc]
+ \fontsize{30}{38}\orn{78}
+ \end{Poetica}\end{center}
+\end{minipage}}}
+\settowidth{\mywd}{\usebox{\mybox}}
+\settoheight{\myht}{\usebox{\mybox}}
+\settodepth{\mydp}{\usebox{\mybox}}
+\noindent\rlap{\vrule width1.1\mywd
+ height1.1\myht depth1.1\mydp}%
+ \hskip.05\mywd%
+ {\White{\usebox{\mybox}}}
+\end{verbatim}
+we get figure~\ref{castiglione}.
+Notice that the titling fonts have to be accessed explicitly (ditto
+for the small caps fonts); they are not part of the bump up scheme
+elsewhere in use. We selected a special ornament via the \verb|\orn|
+command; there is a corresponding \verb=\amp= command to select
+ampersands for the special ampersand font. I guess you will need to
+have access to the ornament and ampersand font tables to know which
+characters to choose. Since I am using Tom Rokicki's {\tt dvips}
+post-processor, I use the {\tt colordvi} package. I get the fancy
+effect here by setting a big, black rule box, and overprinting the
+text in \verb|\White| ink. Actually, only the indented material sets
+type; the remaining lines set things up to print white on black.
+
+\begin{figure*}
+% \newsavebox{\mybox}
+% \newlength{\mywd}\newlength{\myht}\newlength{\mydp}
+% \setlength{\fboxrule}{1.2pt}
+% \savebox{\mybox}{\fbox{\begin{minipage}{.5\textwidth}
+% \begin{center}\begin{Poetica}\fontsize{26}{34}\selectfont
+% ^--{*A}nd if \+{y}ou wi^{ll} con-\\
+% sider a\++{ll} t\++h{\i}ngs, {\wordbounds\++y}ou\\
+% will find that ^{th}ose\\
+% whi^{ch} are ^goo^--d an^d\\
+% use\++ful a\++lways ^have\\
+% ^{th}e grace of beaut^y\\
+% in ^{th}em as we^--{ll}.\\
+% {\renewcommand\.{\hspace{1.8pt}}%
+% \fontshape{t1}\fontsize{16}{24}\selectfont
+% c\.a\.s\.t\.i\.g\.l\.i\.o\.n\.e}\\[1pc]
+% \fontsize{30}{38}\orn{78}
+% \end{Poetica}\end{center}
+% \end{minipage}}}
+% \settowidth{\mywd}{\usebox{\mybox}}
+% \settoheight{\myht}{\usebox{\mybox}}
+% \settodepth{\mydp}{\usebox{\mybox}}
+\begin{center}
+% \noindent\rlap{\vrule width1.1\mywd height1.1\myht depth1.1\mydp}%
+% \hskip.05\mywd%
+% {\White{\usebox{\mybox}}}
+%\leavevmode\epsffile{ebeauty.eps}
+\end{center}
+\caption{\label{castiglione}One example.}
+\end{figure*}
+
+And a final example. To get figure~\ref{shakes},
+I typed
+\begin{verbatim}
+\newdimen\W
+\newcommand{\dropcap}[1]{\setbox0=
+ \hbox{\fontsize{44}{48}
+ \selectfont#1\ }%
+ \setbox0=\hbox to.5\wd0{\hss\box0}%
+ \W=\wd0 \gdef\.{\noindent\hskip\W}
+ \noindent\vbox to10pt{\box0 \vss}}
+\begin{center}
+\begin{Poetica}\fontsize{23}{31}
+ \selectfont
+ \fontsize{30}{32}\selectfont
+ _{A Sonne}{\wordbounds^--{|t}}
+ \\[3pt]
+ {\fontsize{14}{21}\fontshape{c}
+ \selectfont
+ William Shakespeare}
+\end{Poetica}\end{center}
+\begin{verse}\begin{Poetica}
+ \dropcap{^W}hen, in disgrace with
+ \+{*F}ortune and men's eye^{s},\\
+ \.I a^--{ll} alone beweep my
+ outca\++{st} \ ^{st}ate,\\
+ And trouble deaf heaven with my
+ bootle^--{ss} cries,\\
+ \+And look upon myself, and
+ curse my fate,\\
+ Wishing me like to one more
+ ri^{ch} in ^-{h}ope,\\
+ Featured like him, like him
+ with ^{f}riends posse^--{st},\\
+ Desiring this man's ar^---{t}
+ and that man's sco^---{p}e,\\
+ \+With what I most enjoy
+ contented least;\\
+ Yet in these thoughts myself
+ almost de^--{sp}{\i}sing---\\
+ Haply I think on ^{th}ee:
+ and then my \+++{st}ate,\\
+ Like to the \+Lark at break
+ of day arisin{\wordbounds^g}\\
+ \+From su^-{ll}en earth,
+ sings hymns at \++Heaven's
+ gate;\\[6pt]
+ \quad ^For ^{th}y sweet \ \ \
+ {\wordbounds^--l}ove rememb'red
+ suc^-{h} weal^{th} brings\\
+ \quad ^{Th}at t^-{h}en \++++{*I}
+ scorn to ^{ch}ange my ^-{st}ate
+ with ^-{*K}ings.\\
+\end{Poetica}
+\end{verse}
+\end{verbatim}
+The Poetica macro file, very short, appears in Appendix~A.
+
+\subsection{Creating Poetica Virtual Fonts}
+
+The tool of choice for creating virtual fonts is the {\tt fontinst}
+package of Alan Jeffrey. In the presence of Ascii files containing
+font information, running the installation file through \TeX\ creates
+the {\tt.vpl} files from which the actual {\tt.vf} virtual fonts are
+rendered. The font information should be in three types of files.
+\begin{enumerate}
+\item Metric files---files giving information about the sizes and
+kernings of each glyph. typically, these are files with extensions
+{\tt.pl} (\TeX\ fonts) or {\tt.afm} (type~1 outline fonts). The {\tt
+fontinst} package reads these files and creates its own metric
+{\tt.mtx} files. Other metric information needs to be supplied in
+additional {\tt.mtx} files using commands following the standard {\tt
+fontinst} syntax.
+
+\item Encoding files, which say how the glyphs should be arranged in
+the font. In addition to this {\em encoding\/} information, ligature
+information is also found here.
+
+\item Miscellaneous additional files, usually metric in nature.
+\end{enumerate}
+
+The {\tt fontinst} installation file has the following structure.
+\begin{verbatim}
+\input fontinst.sty
+\installfonts
+ \installfamily{OT1}{poet}{}
+ \installfont{pof3}{posl0,unposl3,
+ poslaii0,poslai0,
+ unlai1,
+ possciv0,unsc,
+ setfont1,
+ pociii0,latinpoe}
+ {OT1swa}%
+ {OT1}{poet}{m}{f3}{}
+ ...
+ ...
+\endinstallfonts
+\bye
+\end{verbatim}
+The lines of ellipses represent (many) additional {\tt\string\installfont}
+commands (not shown here). These instructions provide for a font
+family called {\tt poet} which uses {\tt OT1} (original \TeX)
+encoding. One font in that family is called {\tt pof3} and
+corresponds to medium series {\tt m} and font shape {\tt f3} within
+this family.
+
+The second and third parameters of the \verb=\installfont= command
+present a list of metric and encoding files that {\tt fontinst} will
+need to construct the virtual fonts. The cryptic nature of these file
+names is imposed, as is so often the case, by the $8+3$ file name
+structure of MS-DOS. Here's a brief description of these files.
+
+\begin{itemize}
+\item All file names {\tt po...} are {\tt.afm} files containing metric
+information about one of the 21 Poetica raw fonts. The names {\tt
+posl0}, {\tt poslaii0}, {\tt poslai0}, {\tt poslbii0}, {\tt posleii0},
+{\tt poslei0}, {\tt possciv0}, and {\tt pociii0} belong to the
+ligature, the second lowercase alternates, the first lowercase
+alternates, the second lowercase beginning letters, the second
+lowercase endings, the first lowercase endings, the fourth
+supplementary swash caps, and Chancery font number~3.
+
+\item Because the order in which the information is read by {\tt
+fontinst}, we need some mechanism for removing superfluous information
+from {\tt fontinst}'s memory. The {\tt un....mtx} files perform this
+function. See below for an extensive description of this process.
+Remember that the {\tt fontinst} macros have been crafted
+so that information once read is not over-written by later information.
+\end{itemize}
+
+% \newdimen\W
+% \newcommand{\dropcap}[1]{\setbox0=\hbox{\fontsize{44}{48}\selectfont#1\ }%
+% \setbox0=\hbox to.5\wd0{\hss\box0}%
+% \W=\wd0 \gdef\.{\noindent\hskip\W}\noindent\vbox to10pt{\box0 \vss}}
+% \begin{center}
+% \begin{Poetica}\fontsize{23}{31}\selectfont
+% \fontsize{30}{32}\selectfont _{A Sonne}{\wordbounds^--{|t}}\\[3pt]
+% {\fontsize{14}{21}\fontshape{c}\selectfont William Shakespeare}
+% \end{Poetica}\end{center}
+% \begin{verse}\begin{Poetica}
+% \dropcap{^W}hen, in disgrace with \+{*F}ortune and men's eye^{s},\\
+% \.I a^--{ll} alone beweep my outca\++{st} \ ^{st}ate,\\
+% And trouble deaf heaven with my bootle^--{ss} cries,\\
+% \+And look upon myself, and curse my fate,\\
+% Wishing me like to one more ri^{ch} in ^-{h}ope,\\
+% Featured like him, like him with ^{f}riends posse^--{st},\\
+% Desiring this man's ar^---{t} and that man's sco^---{p}e,\\
+% \+With what I most enjoy contented least;\\
+% Yet in these thoughts myself almost de^--{sp}{\i}sing---\\
+% Haply I think on ^{th}ee: and then my \+++{st}ate,\\
+% Like to the \+Lark at break of day arisin{\wordbounds^g}\\
+% \+From su^-{ll}en earth, sings hymns at \++Heaven's gate;\\[6pt]
+% \quad ^For ^{th}y sweet \ \ \
+% {\wordbounds^--l}ove rememb'red suc^-{h} weal^{th} brings\\
+% \quad ^{Th}at t^-{h}en \++++{*I} scorn to ^{ch}ange my ^-{st}ate
+% with ^-{*K}ings.\\
+% \end{Poetica}\end{verse}
+\begin{figure*}
+\begin{center}
+%\leavevmode\epsffile{esonnet.eps}
+\end{center}
+\caption{\label{shakes}A second example.}
+\end{figure*}
+
+\section{Crafting a Font}
+
+Let's consider in greater detail the construction of the font we
+called {\tt pof3}. The first thing {\tt fontinst} does is read the glyph
+information pertaining to the ligatures ({\tt posl0}), whose glyphs
+have been named according to the standard Adobe encoding vector. For
+example, position~65---A---of the ligature raw font \verb=posl0= is
+occupied by the ligature `Ch' and is called `A' in the {\tt.afm} file.
+
+This is bad, and a violation of Adobe's own standards! Such a glyph
+should, by rights, be named `Ch' since that's what the letterform
+looks like and not `A'.
+If something is not done, the real `A' (in {\tt possciv0}) will never
+be typeset and every `A' in the source document will appear as `Ch' in
+the typeset output. (Do you see why? {\tt fontinst} pays attention
+only to the first definition of a letterform. Since the default
+nomenclature creates an `A' out of a C-h ligature, this becomes the
+definition of `A' and a proper definition of A later on will be ignored.)
+Therefore, we must read a file {\tt
+unposl3.mtx} which saves the ligature information under a more
+meaningful name and frees up the `A' slot for the real glyph. Two lines of
+this file might read
+\begin{verbatim}
+\resetligglyph Ch A
+\unsetglyph A
+\end{verbatim}
+where we have previously entered the definition
+\begin{verbatim}
+ \setcommand\resetligglyph#1#2#3{
+ \setleftkerning{#1#2}{#1}{1000}
+ \setrightkerning{#1#2}{#2}{1000}
+ \resetglyph{#1#2}
+ \glyph{#3}{1000}
+ \endresetglyph
+ }
+\end{verbatim}
+In this case, a new glyph called `Ch' is defined to be equivalent to
+`A'. This new glyph is also given some appropriate kerning
+information. Once that definition has been fixed, the `A' glyph has been made
+free for later use.
+
+This is the philosophy behind the next several files. Special
+alternate forms, beginning forms, and ending forms are carefully
+ingested, and various {\tt un...} files save glyphs under more
+appropriate names and free up poorly named slots. Finally, the
+uppercase letters are taken from a swash font, some of the alternate
+characters are declared to be equivalent to letter glyphs (in file
+{\tt setfont1.mtx}), the remaining lowercase
+and other characters are taken from the Chancery~3 font {\tt pociii0},
+and {\tt latinpoe.mtx} lists the characters in the font. This
+concludes the metric portion.
+
+Anything not involving measurement is by definition the province
+of an encoding file. The file lays out the order of glyphs in a
+font---the encoding vector---and arranges for ligature formation. For
+example,
+\begin{verbatim}
+\setslot{c}
+ \Ligature{h}{ch}
+ \Ligature{k}{ck}
+ \Ligature{l}{cl}
+ \Ligature{t}{ct}
+ \atendofword{cend}
+\endsetslot
+\end{verbatim}
+arranges things with \TeX\ so that `c' followed by `h' are replaced by
+the special `ch' ligature if the `ch' glyph exists.
+If a `c' appears at the end of a word, it
+is replaced by a special final c glyph, here called `cend'. Special
+forms for the beginning of a word are set up by
+\begin{verbatim}
+\setslot{boundarychar}
+ \atstartofword{b}{bbeg}
+ \atstartofword{e}{ebeg}
+ ...
+ \atstartofword{w}{wbeg}
+ \atstartofword{y}{ybeg}
+\endsetslot
+\end{verbatim}
+We use the {\tt fontinst} definitions
+\begin{verbatim}
+\setcommand\Ligature#1#2{% cond'l lig
+ \ifisglyph{#2}\then
+ \ligature{LIG}{#1}{#2}\fi}
+\setcommand\atendofword#1{
+ \Ligature{boundarychar}{#1}}
+\setcommand\atstartofword#1#2{
+ \Ligature{#1}{#2}}
+\end{verbatim}
+to control these special ligatures.
+
+The {\tt fontinst} files will have been
+posted on the CTAN archive network for anonymous file transfer.
+
+\appendix
+\section{The Poetica Macros}
+
+\begin{verbatim}
+%%% Package File poetica.sty
+\newcount\poetic \newcount\poetbound
+ \poetbound=4
+\newcount\poetceiling \poetceiling=8
+\newcount\poetfloor \poetfloor=0
+
+\def\wordbounds{\def\fancyshape{F}}
+\def\nowordbounds{\def\fancyshape{f}}
+ \nowordbounds % default
+
+\def\parsefontshape#1#2{\poetic=-1
+ \if f#1\poetic=\poetbound
+ \advance\poetic by#2 \fi
+ \if n#1\poetic=\poetfloor
+ \advance\poetic by#2 \fi
+}
+\def\setshape{% input is \poetic
+ \ifnum\poetic<0 \else
+ \ifnum\poetic<\poetbound
+ \edef\fshape{n\the\poetic}%
+ \else\advance\poetic by-\poetbound
+ \edef\fshape{\fancyshape\the\poetic}%
+ \fi
+ \fi
+}
+\newcommand{\Fontshape}[1]{
+ \parsefontshape#1%
+ \fontshape{#1}\selectfont}
+\newenvironment{Poetica}{%
+ \begingroup\fontencoding{OT1}
+ \fontfamily{poet}\fontsize{18}{22}
+ \fontseries{m}\Fontshape{n3}
+ \poetic=3 \setshape}{\endgroup}
+\let\dhyph=\- \let\mytabs=\+
+\let\oldhat=^ \let\oldsub=_
+ \let\oldvert=|
+\catcode`\^\active \catcode`\_\active
+\catcode`\|\active \def\|{\oldvert}
+ \let|=\noboundary
+\newcount\INC \INC 1
+\def^{\bgroup \let\compare=-
+ \let\bump=\bumpdown \INC-1
+ \poetic=\poetceiling
+ \afterassignment\getnextchar
+ \global\let\nexttok= }
+\def_{\bgroup \let\compare=+
+ \let\bump=\bumpup \INC 1
+ \poetic=\poetfloor
+ \afterassignment\getnextchar
+ \global\let\nexttok= }
+\def\-{\bgroup \let\compare=-
+ \let\bump=\bumpdown \INC-1 \bump
+ \afterassignment\getnextchar
+ \global\let\nexttok= }
+\def\+{\bgroup \let\compare=+
+ \let\bump=\bumpup \INC 1 \bump
+ \afterassignment\getnextchar
+ \global\let\nexttok= }
+
+\def\getnextchar{%
+ \if\compare\nexttok
+ \bump \let\nextact\grabchar
+ \else
+ \edef\nextact{
+ \noexpand\typeset
+ \noexpand\nexttok}%
+ \fi \nextact
+}
+\def\grabchar{\afterassignment
+ \getnextchar \let\nexttok}
+\def\bumpdown{\advance\poetic \INC
+ \ifnum\poetic<\poetfloor
+ \poetic\poetfloor \fi}
+\def\bumpup{\advance\poetic \INC
+ \ifnum\poetic>\poetceiling
+ \poetic\poetceiling \fi}
+\def\typeset#1{\setshape\fontshape{\fshape}
+ \selectfont #1\egroup}
+
+%% ornaments and ampersands
+
+\newcommand{\orn}[1]{
+ {\fontshape{orn}\selectfont\symbol{#1}}}
+\newcommand{\amp}[1]{
+ {\fontshape{amp}\selectfont\symbol{#1}}}
+
+\endinput
+\end{verbatim}
+
+\begin{thebibliography}{9}
+
+\bibitem{omega}Y. Haralmbous and J. Plaice. {\em First applications
+of $\Omega$.} {\it TUGboat} {\bf 15} (1994), 3, 344-352.
+
+\end{thebibliography}
+
+\end{document}
+
diff --git a/fonts/poetica/doc/sonnet.tex b/fonts/poetica/doc/sonnet.tex
new file mode 100644
index 0000000000..b81c8db975
--- /dev/null
+++ b/fonts/poetica/doc/sonnet.tex
@@ -0,0 +1,37 @@
+%&latex
+\documentclass{article}
+\usepackage{poetica}
+\begin{document}
+\thispagestyle{empty}
+
+\newdimen\W
+\newcommand{\dropcap}[1]{\setbox0=\hbox{\fontsize{44}{48}\selectfont#1\ }%
+ \setbox0=\hbox to.5\wd0{\hss\box0}%
+ \W=\wd0 \gdef\.{\noindent\hskip\W}\noindent\vbox to10pt{\box0 \vss}}
+
+ \begin{center}
+ \begin{Poetica}\fontsize{23}{31}\selectfont
+ \fontsize{30}{32}\selectfont _{A Sonne}{\wordbounds^--{|t}}\\[3pt]
+ {\fontsize{14}{21}\fontshape{c}\selectfont William Shakespeare}
+ \end{Poetica}\end{center}
+ \begin{verse}\begin{Poetica}
+ \dropcap{^W}hen, in disgrace with \+{*F}ortune and men's eye^{s},\\
+ \.I a^--{ll} alone beweep my outca\++{st} \ ^{st}ate,\\
+ And trouble deaf heaven with my bootle^--{ss} cries,\\
+ \+And look upon myself, and curse my fate,\\
+ Wishing me like to one more ri^{ch} in ^-{h}ope,\\
+ Featured like him, like him with ^{f}riends posse^--{st},\\
+ Desiring this man's ar^---{t} and that man's sco^---{p}e,\\
+ \+With what I most enjoy contented least;\\
+ Yet in these thoughts myself almost de^--{sp}{\i}sing---\\
+ Haply I think on ^{th}ee: and then my \+++{st}ate,\\
+ Like to the \+Lark at break of day arisin{\wordbounds^g}\\
+ \+From su^-{ll}en earth, sings hymns at \++Heaven's gate;\\[6pt]
+ \quad ^For ^{th}y sweet \ \ \
+ {\wordbounds^--l}ove rememb'red suc^-{h} weal^{th} brings\\
+ \quad ^{Th}at t^-{h}en \++++{*I} scorn to ^{ch}ange my ^-{st}ate
+ with ^-{*K}ings.\\
+ \end{Poetica}\end{verse}
+
+\end{document}
+
diff --git a/fonts/poetica/inputs/OT1poet.fd b/fonts/poetica/inputs/OT1poet.fd
new file mode 100644
index 0000000000..ff3dcb559a
--- /dev/null
+++ b/fonts/poetica/inputs/OT1poet.fd
@@ -0,0 +1,97 @@
+%Filename: OT1poet.fd
+%Created by: tex fontpoet
+%Created using fontinst v1.335
+
+%THIS FILE SHOULD BE PUT IN A TEX INPUTS DIRECTORY
+
+\ProvidesFile{OT1poet.fd}
+ [1995/05/16 Fontinst v1.335 font definitions for OT1/poet.]
+
+\DeclareFontFamily{OT1}{poet}{}
+
+\DeclareFontShape{OT1}{poet}{m}{orn}{
+ <-> poorn
+}{}
+
+\DeclareFontShape{OT1}{poet}{m}{amp}{
+ <-> poamp
+}{}
+
+\DeclareFontShape{OT1}{poet}{m}{c}{
+ <-> posc
+}{}
+
+\DeclareFontShape{OT1}{poet}{m}{c1}{
+ <-> posc1
+}{}
+
+\DeclareFontShape{OT1}{poet}{m}{t}{
+ <-> pottl
+}{}
+
+\DeclareFontShape{OT1}{poet}{m}{t1}{
+ <-> pottl1
+}{}
+
+\DeclareFontShape{OT1}{poet}{m}{n1}{
+ <-> poch1
+}{}
+
+\DeclareFontShape{OT1}{poet}{m}{n2}{
+ <-> poch2
+}{}
+
+\DeclareFontShape{OT1}{poet}{m}{n3}{
+ <-> poch3
+}{}
+
+\DeclareFontShape{OT1}{poet}{m}{n0}{
+ <-> poch4
+}{}
+
+\DeclareFontShape{OT1}{poet}{m}{n}{
+ <-> poch4
+}{}
+
+\DeclareFontShape{OT1}{poet}{m}{f0}{
+ <-> pof
+}{}
+
+\DeclareFontShape{OT1}{poet}{m}{F0}{
+ <-> pog
+}{}
+
+\DeclareFontShape{OT1}{poet}{m}{f1}{
+ <-> pof1
+}{}
+
+\DeclareFontShape{OT1}{poet}{m}{F1}{
+ <-> pog1
+}{}
+
+\DeclareFontShape{OT1}{poet}{m}{f2}{
+ <-> pof2
+}{}
+
+\DeclareFontShape{OT1}{poet}{m}{F2}{
+ <-> pog2
+}{}
+
+\DeclareFontShape{OT1}{poet}{m}{f3}{
+ <-> pof3
+}{}
+
+\DeclareFontShape{OT1}{poet}{m}{F3}{
+ <-> pog3
+}{}
+
+\DeclareFontShape{OT1}{poet}{m}{f4}{
+ <-> pof4
+}{}
+
+\DeclareFontShape{OT1}{poet}{m}{F4}{
+ <-> pog4
+}{}
+
+
+\endinput
diff --git a/fonts/poetica/inputs/fontpoet.tex b/fonts/poetica/inputs/fontpoet.tex
new file mode 100644
index 0000000000..a5b7f80383
--- /dev/null
+++ b/fonts/poetica/inputs/fontpoet.tex
@@ -0,0 +1,72 @@
+%&plain
+
+%% fontinst installation file for Adobe Poetica fonts.
+
+%% pch1 Poetica Chancery 1
+%% pch2 Poetica Chancery 2
+
+\input fontinst.sty
+
+\errorcontextlines=10
+
+\installfonts
+ \installfamily{OT1}{poet}{}
+%% SWASH FONTS
+ \installfont{posw3}{posl0,unposl7,% ligatures
+ poslaii0,poslai0,unlai1,%save lowercase alternates
+ poslbii0,unlbi1,% lowercase beginnings
+ posleii0,poslei0,unlei1,%lowercase endings
+ possciv0,unscii,% swash caps
+ pociii0,latinpoe}% glyphs from Chancery III
+ {OT1swa}{OT1}{poet}{m}{sw3}{} %
+ \installfont{posw4}{posl0,unposl7,% ligatures
+ poslaii0,poslai0,unlai1,%save lowercase alternates
+ poslbii0,unlbi1,% lowercase beginnings
+ posleii0,poslei0,unlei1,%lowercase endings
+ posisc0,% supp swash caps
+ pociii0,latinpoe}% glyphs from Chancery III
+ {OT1swa}{OT1}{poet}{m}{sw4}{} %
+\endinstallfonts
+\bye
+%% BASIC CHANCERY FONTS, 0 through 3
+ \installfont{poch}{poce0,unpoce,pociv0,latinpoe}
+ {OT1poe}{OT1}{poet}{m}{n}{}
+ \installfont{poch1}{poce0,unpoce,poci0,latinpoe}
+ {OT1poe}{OT1}{poet}{m}{n1}{}
+ \installfont{poch2}{posl0,unposl2,poce0,unpoce,pocii0,latinpoe}
+ {OT1poe}{OT1}{poet}{m}{n2}{}
+ \installfont{poch3}{posl0,unposl3,poce0,unpoce,pociii0,latinpoe}
+ {OT1poe}{OT1}{poet}{m}{n3}{}
+%% SMALL CAPS AND TITLING
+ \installfont{posc}{porsc0,unporsc,pociv0,latinpoe}
+ {OT1poe}{OT1}{poet}{m}{sc}{}
+ \installfont{pottl}{porsc0,pociv0,latinpoe}
+ {OT1ttl}{OT1}{poet}{m}{ttl}{}
+ \installfont{pottl1}{porsca0,unprsca1,porsc0,pociv0,latinpoe}
+ {OT1ttl}{OT1}{poet}{m}{ttl1}{}
+%% SWASH FONTS
+ \installfont{posw}{posl0,unposl4,% ligatures
+ poslai0,unlai,% save lowercase alternates
+ poslbi0,unlbi,% lowercase beginnings
+ poslei0,unlei,% lowercase endings
+ possci0,unsci,% swash caps
+ pociii0,latinpoe}% glyphs from Chancery III
+ {OT1swa}{OT1}{poet}{m}{sw}{} %
+ \installfont{posw1}{posl0,unposl5,% ligatures
+ poslai0,unlai1,% save lowercase alternates
+ poslbi0,unlbi1,% lowercase beginnings
+ poslei0,unlei1,% lowercase endings
+ posscii0,unscii,% swash caps
+ pociii0,latinpoe}% glyphs from Chancery III
+ {OT1swa}{OT1}{poet}{m}{sw1}{} %
+ \installfont{posw2}{posl0,unposl6,% ligatures
+ poslaii0,poslai0,unlai,% save lowercase alternates
+ poslbii0,unlbi,% lowercase beginnings
+ posleii0,poslei0,unlei,% lowercase endings
+ possc30,unsci,% swash caps
+ pociii0,latinpoe}% glyphs from Chancery III
+ {OT1swa}{OT1}{poet}{m}{sw2}{} %
+\endinstallfonts
+\endinstallfonts
+
+\bye
diff --git a/fonts/poetica/inputs/poetica.sty b/fonts/poetica/inputs/poetica.sty
new file mode 100644
index 0000000000..078d7de9a4
--- /dev/null
+++ b/fonts/poetica/inputs/poetica.sty
@@ -0,0 +1,59 @@
+%%% Package File poetica.sty
+\newcount\poetic \newcount\poetbound \poetbound=4
+\newcount\poetceiling \poetceiling=8
+\newcount\poetfloor \poetfloor=0
+
+\def\wordbounds{\def\fancyshape{F}}
+\def\nowordbounds{\def\fancyshape{f}}\nowordbounds % default
+
+\def\parsefontshape#1#2{\poetic=-1% for `non-text' fonts
+ \if f#1\poetic=\poetbound \advance\poetic by#2 \fi
+ \if n#1\poetic=\poetfloor \advance\poetic by#2 \fi
+}
+\def\setshape{% input is the value of \poetic
+ \ifnum\poetic<0 \else
+ \ifnum\poetic<\poetbound \edef\fshape{n\the\poetic}%
+ \else\advance\poetic by-\poetbound \edef\fshape{\fancyshape\the\poetic}%
+ \fi
+ \fi
+}
+\newcommand{\Fontshape}[1]{\parsefontshape#1%
+ \fontshape{#1}\selectfont}
+\newenvironment{Poetica}{%
+ \begingroup\fontencoding{OT1}\fontfamily{poet}\fontsize{18}{22}
+ \fontseries{m}\Fontshape{n3}\poetic=3 \setshape}{\endgroup}
+\let\dhyph=\- \let\mytabs=\+ % save discretionary hyphen, tab command
+\let\oldhat=^ \let\oldsub=_ \let\oldvert=|
+\catcode`\^\active \catcode`\_\active
+\catcode`\|\active \def\|{\oldvert} \let|=\noboundary
+\newcount\INC \INC 1 % an increment register
+\def^{\bgroup \let\compare=-\let\bump=\bumpdown \INC-1 \poetic=\poetceiling
+ \afterassignment\getnextchar \global\let\nexttok= }
+\def_{\bgroup \let\compare=+\let\bump=\bumpup \INC 1 \poetic=\poetfloor
+ \afterassignment\getnextchar \global\let\nexttok= }
+\def\-{\bgroup \let\compare=-\let\bump=\bumpdown \INC-1 \bump
+ \afterassignment\getnextchar \global\let\nexttok= }
+\def\+{\bgroup \let\compare=+\let\bump=\bumpup \INC 1 \bump
+ \afterassignment\getnextchar \global\let\nexttok= }
+
+\def\getnextchar{%
+ \if\compare\nexttok % fancy sign? if so, bump the right way
+ \bump \let\nextact\grabchar
+ \else
+ \edef\nextact{\noexpand\typeset\noexpand\nexttok}% default behavior
+ \fi \nextact
+}
+\def\grabchar{\afterassignment\getnextchar \let\nexttok}
+\def\bumpdown{\advance\poetic \INC
+ \ifnum\poetic<\poetfloor \poetic\poetfloor \fi}
+\def\bumpup{\advance\poetic \INC
+ \ifnum\poetic>\poetceiling \poetic\poetceiling \fi}
+\def\typeset#1{\setshape\fontshape{\fshape}\selectfont
+ #1\egroup}
+
+%% ornaments and ampersands
+
+\newcommand{\orn}[1]{{\fontshape{orn}\selectfont\symbol{#1}}}
+\newcommand{\amp}[1]{{\fontshape{amp}\selectfont\symbol{#1}}}
+
+\endinput
diff --git a/fonts/poetica/tfm/poamp.tfm b/fonts/poetica/tfm/poamp.tfm
new file mode 100644
index 0000000000..bae0056125
--- /dev/null
+++ b/fonts/poetica/tfm/poamp.tfm
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diff --git a/fonts/poetica/tfm/poce0.tfm b/fonts/poetica/tfm/poce0.tfm
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index 0000000000..9f12aaa4a5
--- /dev/null
+++ b/fonts/poetica/tfm/poce0.tfm
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diff --git a/fonts/poetica/tfm/poch.tfm b/fonts/poetica/tfm/poch.tfm
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index 0000000000..e56491873b
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index 0000000000..968a254a0e
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+++ b/fonts/poetica/tfm/poch1.tfm
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index 0000000000..c7340d612e
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diff --git a/fonts/poetica/tfm/poch3.tfm b/fonts/poetica/tfm/poch3.tfm
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index 0000000000..208d5cabf2
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diff --git a/fonts/poetica/tfm/poch4.tfm b/fonts/poetica/tfm/poch4.tfm
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diff --git a/fonts/poetica/vf/poamp.vf b/fonts/poetica/vf/poamp.vf
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diff --git a/fonts/poetica/vf/pof4.vf b/fonts/poetica/vf/pof4.vf
new file mode 100644
index 0000000000..36619c1c32
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diff --git a/fonts/poetica/vf/pog.vf b/fonts/poetica/vf/pog.vf
new file mode 100644
index 0000000000..8346af1058
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diff --git a/fonts/poetica/vf/pog1.vf b/fonts/poetica/vf/pog1.vf
new file mode 100644
index 0000000000..b2dc58a772
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diff --git a/fonts/poetica/vf/pog2.vf b/fonts/poetica/vf/pog2.vf
new file mode 100644
index 0000000000..1421adebdc
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diff --git a/fonts/poetica/vf/pog3.vf b/fonts/poetica/vf/pog3.vf
new file mode 100644
index 0000000000..ba9b7d1441
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diff --git a/fonts/poetica/vf/pog4.vf b/fonts/poetica/vf/pog4.vf
new file mode 100644
index 0000000000..8e1f812df8
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diff --git a/fonts/poetica/vf/poorn.vf b/fonts/poetica/vf/poorn.vf
new file mode 100644
index 0000000000..648b141875
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diff --git a/fonts/poetica/vf/posc.vf b/fonts/poetica/vf/posc.vf
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index 0000000000..48f6532687
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new file mode 100644
index 0000000000..6bcd7a9ec7
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diff --git a/fonts/poetica/vf/posw.vf b/fonts/poetica/vf/posw.vf
new file mode 100644
index 0000000000..49f6419766
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diff --git a/fonts/poetica/vf/posw1.vf b/fonts/poetica/vf/posw1.vf
new file mode 100644
index 0000000000..ed347f1387
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diff --git a/fonts/poetica/vf/posw2.vf b/fonts/poetica/vf/posw2.vf
new file mode 100644
index 0000000000..31361f1e52
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diff --git a/fonts/poetica/vf/posw3.vf b/fonts/poetica/vf/posw3.vf
new file mode 100644
index 0000000000..a4fc3f3c46
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diff --git a/fonts/poetica/vf/posw4.vf b/fonts/poetica/vf/posw4.vf
new file mode 100644
index 0000000000..54d604aaa4
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diff --git a/fonts/poetica/vf/pottl.vf b/fonts/poetica/vf/pottl.vf
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index 0000000000..f7bb3f7d67
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index 0000000000..e596e87a74
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