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+\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}