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Diffstat (limited to 'Master/texmf-dist/source')
| -rw-r--r-- | Master/texmf-dist/source/latex/mfnfss/changes.txt | 50 | ||||
| -rw-r--r-- | Master/texmf-dist/source/latex/mfnfss/manifest.txt | 58 | ||||
| -rw-r--r-- | Master/texmf-dist/source/latex/mfnfss/oldgerm.dtx | 891 | ||||
| -rw-r--r-- | Master/texmf-dist/source/latex/mfnfss/oldgerm.ins | 123 | ||||
| -rw-r--r-- | Master/texmf-dist/source/latex/mfnfss/readme.txt | 96 |
5 files changed, 1218 insertions, 0 deletions
diff --git a/Master/texmf-dist/source/latex/mfnfss/changes.txt b/Master/texmf-dist/source/latex/mfnfss/changes.txt new file mode 100644 index 00000000000..e49b315b556 --- /dev/null +++ b/Master/texmf-dist/source/latex/mfnfss/changes.txt @@ -0,0 +1,50 @@ + +This lists changes to the LaTeX2e files in reverse chronological order. + +NOTE: This file is based on the developers' personal change-log files +and is provided for convenience only. It therefore makes no claims to +completeness or accuracy and it contains some references to files that +are not part of the distribution. + +======================================================================= + + +1998-06-07 Frank Mittelbach <latex-bugs@latex-project.org> + + * oldgerm.dtx: allow to load yinit in any size + +1997-12-18 Frank Mittelbach <latex-bugs@latex-project.org> + + * pandora.ins: replaced .drv by .dtx (pr/2696) + + * pandora.dtx: small documentation fix (removed incorrect \thanks) + +1995-05-07 Frank Mittelbach <latex-bugs@latex-project.org> + + * manifest.txt: + Mentioned that the .fd files for concrete can be produced by + cmextra.ins. + + * oldgerm.dtx (subsection{Important notes}): + Added a new section about the limitations when using these fonts + (due to their strange encodings) pr/1597 + (subsection{The package}): + Replaced \def by \newcommand + +1994-12-11 Frank Mittelbach <latex-bugs@latex-project.org> + + * manifest.txt: + Added to the distribution. + + * dccr.mf: + Added to the distribution. + + * dccrstd.tex: + Added to the distribution. + +1994-06-09 Frank Mittelbach <latex-bugs@latex-project.org> + + * oldgerm.dtx: + Sometime ago \yfrak etc was replaced by \frakfamily etc. + But the documentation was never updated, sigh + diff --git a/Master/texmf-dist/source/latex/mfnfss/manifest.txt b/Master/texmf-dist/source/latex/mfnfss/manifest.txt new file mode 100644 index 00000000000..65e8495ed28 --- /dev/null +++ b/Master/texmf-dist/source/latex/mfnfss/manifest.txt @@ -0,0 +1,58 @@ +% \iffalse meta-comment +% +% Copyright 1993 1994 1995 1996 1997 1998 1999 +% The LaTeX3 Project and any individual authors listed elsewhere +% in this file. +% +% This file is part of the Standard LaTeX `MFNFSS Bundle'. +% -------------------------------------------------------- +% +% This file may be distributed under the terms of the LaTeX Project +% Public License, as described in lppl.txt in the base LaTeX distribution. +% Either version 1.0 or, at your option, any later version. +% +% \fi +% +% CONTENTS OF THE MFNFSS BUNDLE +% ============================= + +oldgerm.dtx + Package to typeset with old german fonts designed by Yannis + Haralambous. These fonts use special ligatures to access + accented characters and may therefore need additional + definitions if used with packages like babel or + german. Support for this might be added in future + releases. Please don't report those kind of problems as bugs, + we do know about it. + +oldgerm.ins + Installation script for the oldgerm package. + +pandora.dtx + Package to typeset with pandora fonts. + +pandora.ins + Installation script for the pandora package and it .fd files. + +manifest.txt + The file you are reading. + +readme.txt + General readme file containing distribution conditions and + information on how to process the files in this bundle. + + +=== + +The following files have been removed from this bundle and are now +part of the AMS-LaTeX distribution: + +amsfonts.fdd +amsfonts.ins +eufrak.dtx +eufrak.ins +euscript.dtx +euscript.ins + + + diff --git a/Master/texmf-dist/source/latex/mfnfss/oldgerm.dtx b/Master/texmf-dist/source/latex/mfnfss/oldgerm.dtx new file mode 100644 index 00000000000..c3feff276cd --- /dev/null +++ b/Master/texmf-dist/source/latex/mfnfss/oldgerm.dtx @@ -0,0 +1,891 @@ +% \iffalse meta-comment +% +% Copyright 1993 1994 1995 1996 1997 1998 1999 +% The LaTeX3 Project and any individual authors listed elsewhere +% in this file. +% +% This file is part of the Standard LaTeX `MFNFSS Bundle'. +% -------------------------------------------------------- +% +% This file may be distributed under the terms of the LaTeX Project +% Public License, as described in lppl.txt in the base LaTeX distribution. +% Either version 1.0 or, at your option, any later version. +% +% \fi +% +% \CheckSum{27} +% +% \iffalse % this is a METACOMMENT ! +% +% File: oldgerm.dtx +% Copyright (C) 1994 Yannis Haralambous +% Copyright (C) 1994-1996 by LaTeX3 project. All rights reserved. +% +%<package>\NeedsTeXFormat{LaTeX2e} +%<package>\ProvidesPackage{oldgerm} +%<Uyswab>\ProvidesFile{Uyswab.fd} +%<Uygoth>\ProvidesFile{Uygoth.fd} +%<Uyfrak>\ProvidesFile{Uyfrak.fd} +%<Uyinit>\ProvidesFile{Uyinit.fd} +%<-driver> [1998/06/07 v2.1j +%<package> LaTeX2e package for Old German fonts] +%<Uyswab> YH Schwabacher font definitions] +%<Uygoth> YH Gothic font definitions] +%<Uyfrak> YH Fraktur definitions] +%<Uyinit> YH large initials font definitions] +% +%<*driver> +\documentclass{ltxdoc} +\usepackage{oldgerm} +\GetFileInfo{oldgerm.sty} +\providecommand\dst{\expandafter{\normalfont\scshape docstrip}} +\title{The \texttt{oldgerm} package for use with + \LaTeXe\thanks{This file contains a reproduction + of an article by Yannis Haralambous}} +\date{\filedate} +\author{Frank Mittelbach} + + + +\begin{document} +\maketitle + \DocInput{oldgerm.dtx} +\end{document} +%</driver> +% +% \fi +% +% \changes{v2.1a}{1993/12/12}{Update for \LaTeXe} +% \changes{v2.1d}{1994/04/14}{Renamed \cs{@newtextcmd} to +% \cs{DeclareTextFontCommand}} +% \changes{v2.1e}{1994/05/27}{Changed for new driver format.} +% \changes{v2.1f}{1994/06/09}{Use correct font +% commands in documentation.} +% \changes{v2.1g}{1995/05/07}{Add a documentation section about the +% limitations when using these fonts due +% to their encoding.} +% +% \section{Introduction} +% +% This file defines commands to use the old German fonts for Fraktur, +% Schwabacher, and Gothic designed by Yannis Haralambous. +% To access them, use the package \texttt{oldgerm} in a +% |\usepackage| command. +% +% \DescribeMacro\gothfamily \DescribeMacro\frakfamily +% \DescribeMacro\swabfamily This +% package option defines the commands |\gothfamily|, |\frakfamily| and +% |\swabfamily| to +% switch to the corresponding font families (thus these commands +% behave similar as |\sffamily| or |\ttfamily|). Since these +% families only consist of one shape in one series, commands like +% |\bfseries| or |\itshape| have no effect when typesetting in these +% families. However, size changing commands are honoured. +% +% \DescribeMacro\textgoth +% \DescribeMacro\textfrak +% \DescribeMacro\textswab +% In addition the package defines the corresponding font commands with +% arguments, that is |\textgoth|, |\textfrak|, and |\textswab|. +% +% \subsection{Important notes} +% +% These fonts are currently encoded in a way that does not correspond +% to any standard encoding (for this reason they are classified by +% NFSS as |U| encoded. In addition the fonts uses special ligatures +% with the character |"| to access accents and sharp s. +% For this reason commands accessing special +% characters like |\ss| or accents like |\"| will not really work +% directly when used with these fonts. You can either declare them for +% the |U| encoding manually, e.g., by saying something like +%\begin{verbatim} +% \DeclareTextCommand{\"}{U}[1]{\UseTextAccent{OT1}#1} +% \DeclareTextCompositeCommand{\"}{U}{a}{"a} +% \DeclareTextCompositeCommand{\"}{U}{u}{"u} +% ... +% \DeclareTextCommand{\ss}{U}{"s} +%\end{verbatim} +% and so on, or you use the ligatures directly. However, declaring +% composite characters for the |U| encoding means that they are declared +% for every font with |U| encoding which might be totally inappropriate +% for other fonts. +% +% Please also note that while |"a|, etc.\ looks very much like the +% convention used by the |german| or |babel| packages the internal +% mechanism to produce the accents is completely different. These +% packages define |"a| to produce something like |\"a| which isn't +% defined for the |U| encoding, while |"a| without the package is +% interpreted as a ligature generating the accented letter ``\"{a}'' +% in the font. Using these packages with these fonts will therefore +% produce some undesired effects. +% +% Finally please note that there might be some strange hyphenations in +% the German examples of the article by Yannis below. The reason is +% that this document is typeset with standard English hyphenation +% patterns to ensure that it does work everywhere (this could be +% improved). +% +% \vspace{0.5cm} +% +% \begin{quote} +% The following section is a reproduction of an article by Yannis +% about these fonts which was presented at the Cork '90 +% \TeX{}conference and was later published in \textsl{TUGboat\/} 12\#1, +% pages 129--138. It is complete except for the picture of Emanuel +% Breitkopf and the appendices which have +% been left out (at the moment). +% \end{quote} +% +% \vspace{0.5cm} +% +% \begingroup +% +% +% ^^A a number of definitions to typeset Yannis article +% +% \renewcommand\line{\hbox to\hsize} +% \newcommand\MF{\textsf{Metafont}} +% \newcommand\entry{} +% +% Yannis uses different names in his article +% +% \let\ygoth\gothfamily +% \let\yfrak\frakfamily +% \let\yswab\swabfamily +% +% +% +% +% \begin{multicols}{2} +% [ +% \section{Typesetting old german: +% Fraktur, Schwabacher, +% Gotisch and Initials} +% \begin{center} +% Yannis Haralambous\protect\\ +% U. F. R. de Math\'ematiques,\protect\\ +% Universit\'e de Lille--Flandres--Artois,\protect\\ +% 59655 Villeneuve d'Ascq, France +% \end{center} +% ] +% +% Typesetting in the old style, with the corresponding types, besides +% being an art, is also a real pleasure. \MF\ allows the creation of +% faithful copies of these types and \TeX\ gives the possibility of +% using them in the most traditional manner. In this spirit, the +% necessary fonts and macros to typeset in the old german types +% Gotisch (also called Textur), Schwabacher and Fraktur are presented +% in this paper, together with an historical introduction to each of +% them. Also, a set of initials is described. Rules for typesetting in +% these types are given, together with extracts from the original +% sources. +% +% \centerline{\vphantom{A}} +% \centerline{\slshape This paper is dedicated to} +% \centerline{\slshape D. E. Knuth.}\vskip1cm +% +% \noindent This article shows the first results of a longterm project +% on reconstructing old types and typesetting following the old rules, +% with \TeX\ and \MF. The work presented in this paper has been done +% on a Mac SE/30 with Oz\TeX\ and Mac\MF. +% +% \subsection{General Introduction to the Project: What's the Use of +% Reconstructing Old Types} +% +% Old types are beautiful. Until now, one could find either modernized +% copies of them (for decorative use) or facsimiles of historical +% books. With \TeX\ and \MF\ at last we have the possibility to +% approach these types in the manner ---and with the care--- of a +% \textit{collectionneur}. Since there is no commercial scope, no +% compromise needs to be made in the creation of the fonts. And once +% the \MF ing is done, we can bring the fonts back to life, by using +% them in typesetting texts, new or old ones. \TeX\ and \MF\ are +% strong enough to achieve a faithful reproduction of old works, and +% what's more, delicate enough to allow a personal tone and new ideas. +% Thanks to D. E. Knuth's work, typesetting becomes an interpretative +% art at the reach of everybody. And you can believe me, it is the +% same pleasure to read (resp. typeset) Goethe's poems in Breitkopf's +% Fraktur as to hear (resp. play) Mozart's Sonatas on a Stein's +% Pianoforte. +% +% \subsection{Old German Types \protect\\ +% Gotisch} +% +% Gutenberg choosed the bible as his first work for merely commercial +% reasons: only the churches and monasteries could afford to buy +% quantities of books. Consequently, the first types he created had to +% imitate manuscript characters, to be able to concurrence the +% beautiful manuscript bibles produced by the monasteries themselves. +% This explains the fact that Gutenberg's font is so elaborated. A +% similar situation arose with Venetian greek renaissance types, which +% had to imitate alexandrinian and byzantine greek handwriting: +% hundreds of ligatures were used. +% +% Gutenberg's font had 288 characters: besides the 25 uppercase (there +% is no distinction between I and J) and 27 lowercase (there are two +% kinds of s), all the others are variant types, accented characters +% and ligatures. +% +% The font |ygoth| presented here, is not an exact copy of Gutenberg's +% font. It merely follows Gutenberg's guidelines on lowercase +% characters and selects the uppercase ones from different 15th +% century types. Please note that these uppercase characters are not +% suitable for ``all capitals'' typesetting. Here are the basic upper +% and lowercase characters: +% +% {\baselineskip=20pt +% \noindent\centerline{\ygoth A B C D E F G H} +% +% \noindent\centerline{\ygoth I K L M N O P Q R} +% +% \noindent\centerline{\ygoth S T U V W X Y Z} +% +% \noindent\centerline{\ygoth a b c d e f g h i j} +% +% \noindent\centerline{\ygoth k l m n o p q r} +% +% \noindent\centerline{\ygoth s s: t u v w x y z} +% } +% \noindent +% +% For all old german types there is no distinction between I and J; +% also there are two kinds of s: the middle and initial ``long s'' and +% the final ``short s'' +% $$\hbox{\ygoth s\ s:}$$ +% In composite words, a short s is used when some +% component of the word ends on s: +% $$\hbox{{\ygoth Aus:gang}, but {\ygoth Anstand}.}$$ +% Since it's almost impossible for a computer to know if some s is +% long or short, you have to do it manually: type |s:| for a short s, +% like in |Aus:gang| or |Alles:|. +% +% The following ligatures are part of the font: +% +% {\baselineskip=20pt +% \noindent\centerline{\ygoth ae ba be bo ch ck ct} +% +% \noindent\centerline{\ygoth da de do ha he ho} +% +% \noindent\centerline{\ygoth ff fi fl ffi ffl ij ll} +% +% \noindent\centerline{\ygoth oe pa pe po pp qq qz} +% +% \noindent\centerline{\ygoth ss ssi st tz va ve vu} +% } +% \noindent +% Beside the ones shown beyond, there are variant forms +% +% \noindent\centerline{\ygoth \char'052\ \char'057\ \char'075} +% +% at positions {\it'052, '057, '075} of the font. Because of the many +% ligatures, there is no place left for special characters (I used +% only 128-character fonts); you'll have to switch to |CM| for \#, \$, +% \%, \&, *, +, = etc. For the vowels a, e, o, u with Umlaut and for +% the \ss, I followed Partl's [1988] convention: just type |"a|, |"e|, +% |"o|, |"u|, |"s| (\"e is used in flemish) to obtain +% +% \noindent\centerline{\ygoth "a "e "o "u "s.} +% +% The difference with Partl's approach is that in our case |"a|, |"e|, +% etc are ligatures. Since \ss\ historically comes from the ligature +% s+z (\ss\ is called es-zet), by typing either |"s| or |sz|, you get +% the same output. +% +% In Appendix A you can find a sample of the font; it is an extract of +% Luther's bible (1534), in the original orthograph. +% +% \subsection{Schwabacher} +% +% The name comes from Schwabach, a little german town on the south of +% N\"urnberg. According to Updike [1927], \textsl{in fifteenth century +% German gothic or black-letter fonts, a differentiation of type-faces +% began to show itself, as we have seen, in the last twenty years of +% the century, between types that were somewhat pointed and a rounder, +% more cursive gothic letter, with certain peculiarities ---the closed +% a, looped b, d, h, and l, and a tailed f ans s. The first type was +% called ``fraktur.'' The second was ultimately known as +% ``schwabacher.''} Schwabacher was in some extend the ``boldface'' +% font, compared to the usual Fraktur. The font presented here is +% called |yswab|; it is based on 18th century types. Nevertheless, +% some characters (like the ``hebrew-like question mark {\yswab?}) +% have been taken from a contemporary book: A. Wikenhauser [1948], +% \textsl{Das Evangelium nach Johannes}, where John's text is written in +% Schwabacher and comments in Fraktur. Here are the basic upper and +% lowercase characters: +% +% \noindent\centerline{\yswab A B C D E F G H I K L M N} +% +% \noindent\centerline{\yswab O P Q R S T U V W X Y Z} +% +% \noindent\centerline{\yswab a b c d e f g h i j k l m n} +% +% \noindent\centerline{\yswab o p q r s: s t u v w x y z.} +% +% The following ligatures are included in the font: +% +% \noindent\centerline{\yswab ff, sf, ss, st, sz} +% +% For the vowels a, e, o, u with Umlaut, you have the choice between +% two forms: for the older one (a small ``e'' over the letter) you +% need to type a |*| + vowel combination, and for the newer one a |"| +% + vowel combination. So, by typing |*a|, |*e|, |*o|, |*u|, |"a|, +% |"e|, |"o|, |"u| you get +% +% \noindent\centerline{\yswab *a *e *o *u "a "e "o "u} +% +% respectively. +% +% \subsection{Fraktur} +% +% The first Fraktur type was created by Johann Sch\"onsperger in +% Augsburg to typeset the book of prayers of Kaiser Maximilian (1513). +% Some years later, Hieronymus Andre\ae\ created a new Fraktur type, +% used by D\"urer for the printing of his theoretical works. In the +% 17th century, Fraktur had a period of decline. It was only in the +% fall of the 18th century that some progressive typographers like G. +% I. Breitkopf and J. F. Unger gaved Fraktur a new breath, by creating +% new fonts with the aesthetic standards of their time. Especially +% Unger's font seems to lay more in the 19th century spirit. +% +% \iffalse +% \begin{figure*}[t] +% \[ *** \mbox{ sorry, that wouldn't be portable }*** \] +% \caption{\yfrak Gottlob Immanuel Breitkopf} +% \end{figure*} +% \fi +% +% +% Gottlob Immanuel Breitkopf (1719--1794) lived in Leipzig. He +% travelled a lot, studied french, english and other foreign fonts and +% wrote himself an article (Breitkopf [1793]) on the situation of +% typographers and typography in Leipzig at his time. In 1754 he was +% to first to use removable types to typeset music. His name is +% familiar to all musicians and friends of music, because of the +% famous Breitkopf \& H\"artel editions of complete works of Bach, +% Beethoven etc. +% +% After Breitkopf, the ``official'' version of Fraktur (newspapers and +% official documents) didn't evolved very much. In the 19th century, +% with all its social ---and artistic--- turbulences many decorative +% Fraktur types have been made, most of them are monstruous (for +% example see Knebel [1870]). A final renovative effort has been made +% in the twenties of our century by artists like Walter Tiemann and +% others. Unfortunately, the destructive trend for uniformisation of +% nazism didn't left much place for \ae sthetic improvements or +% changements. +% +% Texts like {\yfrak Warum deutsche Schrift}? (Why german type?) by +% G. Barthel [1934], and {\yfrak Heraus: aus: der Schriftverelendung}! +% (No more degenerate writing!) by T. Thormeyer [1934] ({\yfrak +% ...die Rundungen haben nichts: mit dem deutschen +% Spannungs:bed"urfnis: gemeinsam. Das: Schwelgen in abgerundeten +% Formen kann man andern Nationen "uberlassen...}) show that nazists +% tried to use Fraktur as a symbol of the german nation. But ---an +% historical paradox--- it was the nazis themselves who abolished +% Fraktur in 1941\footnote{There seems to have been some +% secrecy around this decision of the nazis. The only data I could +% find is a short and cryptical reference in the 1941 DIN-booklet on +% typographic standards: ``Bekanntgebung I$\!$I EM 8408/41 vom 26 Juli +% 1941 des Reichswirtschaftsministers an den Deutschen +% Normenauschlu\ss''. I would be very obliged if some reader could +% provide me with more informations.}. In a not too old edition of +% the Brockhaus, one can find the sentence \textsl{``Die +% nationalsozialist. Regierung lie\ss\ die Fraktur 1941 aus +% Zweckm\"a\ss igkeitsgr\"unden von Amts wegen abschaffen. Ob sie +% damit eine Entscheidung traf, die ohnehin im Zuge der Entwicklung +% lag, ist schwer zu beurteilen...''} (it is hard to say if the nazi +% decision of abolishing Fraktur was really in the sense of +% development...); there is a certain nostalgy in these words. +% +% +% Today Fraktur is used mainly for decorative purposes (a nice +% counterexample is the dtv pocket edition of Mozart's correspondence: +% his letters are in Fraktur and the comments in Antiqua). Also there +% are methods for the old german handwriting (S\"uterlin) which also +% include Fraktur (for example {\yfrak Wir lesen deutsche Schrift}, +% bei A. Kiewel et al [1989]). +% +% Let's return now to \TeX: the font |yfrak| which I propose is in the +% old Breitkopf style. Here are the basic upper and lowercase +% characters +% +% \noindent\centerline{\yfrak A B C D E F G H I K L M N} +% +% \noindent\centerline{\yfrak O P Q R S T U V W X Y Z} +% +% \noindent\centerline{\yfrak a b c d e f g h i j k l m n} +% +% \noindent\centerline{\yfrak o p q r s: s t u v w x y z.} +% +% It contains the same ligatures and Umlauts as |yswab|. The symbols +% {\yfrak\char'044} (which means ``etc'') and {\yfrak\char'100} (an +% attempt to differentiate I and J) are in font positions \textit{'044} +% and \textit{'100} respectively. You can a find a sample of the font in +% Appendix B; it is the begining of the second part of Carl Philipp +% Emanuel Bach's treatise on the true art of playing the keyboard +% (meant is the harpsichord and/or clavichord) ``{\yfrak Versuch "uber +% die wahre Art das: Clavier zu spielen}'' [1762]. +% +% \subsection{Initials} +% +% The chancery initials which you can see on Appendix B and C are a +% revival of baroque designs. This makes them suitable for old and new +% texts as well. They form the font |yinit|. You have the choice of +% creating characters with depth zero, or characters with height equal +% to |cap_height| of |cmr10| (with the corresponding magnification) +% and the biggest part of the character under the baseline. For this +% there is a boolean parameter |zero_depth| in the |yinit.mf| +% parameter file. To typeset the initial D of Appendix B, I used the +% macro |\yinitial{D}| as follows (with |zero_depth:=false|) +% \begin{verbatim} +% \def\yinitial#1 +% {\hangindent=2.54cm +% \hangafter=-4 +% \hskip-3.24cm +% \lower-2.7mm +% \hbox{\yinit #1} +% \hskip1.5mm} +%\end{verbatim} +% Of course all these parameters will need some adjustment, according +% to the interline skip and the textfont you are using. Note also that +% |\par| stops the execution of |\hangafter|; you should better use +% |\hfill\break\indent| instead. +% +% \subsection{Typesetting Rules} +% +% In the following text, taken from the Duden (M\"ulsing and Schmidt +% [1919]) many fine points of typesetting in Fraktur are explained. +% The essential points are the following: 1) don't use ligatures in +% latin antiqua words, use them in french antiqua and in french +% Fraktur; 2) in a composite word, do not use ligatures between +% adjacent letters of two components 3) the antiqua \ss\ is to be used +% in german words and names regardless of the language; 4) the latin +% ``etc'' is to be translated as {\yfrak usw.} and its older form +% {\yfrak\char'044} should not be used anymore; 5) concerning foreign +% words in german, use Fraktur when the word has been ``germanized'', +% and else antiqua; 6) the hyphen should always be in Fraktur, except +% when it appears between two antiqua words; 7) in 1879, Daniel +% Sanders proposed {\yfrak\char'100} as an alternative to {\yfrak I} +% for the letter J, it would be nice if the authorities recognize it. +% +% \vskip0.3cm +% \centerline{\yfrak Einzelvorschriften f"ur den Schriftsatz} +% \vskip0.5cm +% +% \yfrak In diesem Abschnitte stellen wir einige Einzelvorschriften +% zusammen, deren allgemeine Befolgung f"ur die Einheitlichkeit bei +% der Herstellung von Drucksachen sehr w"unschens:wert w"are. +% +% \yswab Ligaturen \bf \AE, \ae, \OE, \oe\ \yswab statt +% \bf Ae, ae, Oe, oe. \yfrak In lateinischen W"ortern sind die +% Ligaturen nicht anzuwenden, z. B. \rm Caelius mons, Asa +% foetida. \yfrak In franz"osischen W"ortern, die im deutschen Satz +% verstreut vorkommen, mu"s, wie im franz"osischen Satz "uberhaupt, +% stets: \bf \OE\ \yfrak und \bf \oe\ \yfrak gesetzt +% werden, z. B. \rm \OE uvres, s\oe ur. \yfrak Selbst bei +% Fraktursatz darf auf das: kleine o$\!$e nicht verzichtet werden, z. +% B. Hors:d'o$\!$euvre. +% +% \yswab Sonstige Ligaturen. \yfrak In Wortverschmelzungen wie +% Schiffahrt, Schnel{\kern-1pt}l"aufer, al{\kern-1pt}liebend, d. h. +% also in W"ortern, die von drei gleichen Mitlauten einen +% aus:gesto"sen haben, ist die Ligatur anzuwenden, wenn sie in der +% betreffenden Schriftgattung vorhanden ist. Die Ligatur ist ferner +% "uberall da anzuwenden, wo sie die sprachliche Richtigkeit nicht +% st"ort, z. B. benutzen, abflauen, Billard, nicht aber in einfachen +% Zusammensetzungen wie ent{}zwei, Kauf{}leute, viel{}leicht. +% +% \yswab Der Buchstabe "s in fremdsprachichem Satz. \yfrak Wenn aus: +% einem Deutschen Namen, in dem "s vorkommt, durch Anf"ugung einer +% Lateinischen Endung ein Lateinisches: Wort gebildet wird, so bleibt +% das: "s erhalten, es: erscheint also als: \rm \ss\ \yfrak (in +% Antiqua). So wird z. B. aus: Wei"senburg: \rm Wei\ss +% enburgensis \yfrak(der \rm Codex Wei\ss enburgensis). \yfrak +% Eben\-so wird \rm\ss\ \yfrak gesetzt, wenn deutsche Eigennamen +% mit "s in fremdsprachlichem Satz erscheinen, z. B.: \rm +% Monsieur A\ss mann a \'et\'e \`a Paris. Ho trovato il Signor Gro\ss +% e a Venezia. +% +% \yswab usw. -- {\yfrak\char'044} -- {\bf etc.} \yfrak Im +% deutschen Satze ist ``und so weiter'' der amtlichen Vorschrift +% gem"a"s durch usw. abzuk"urzen, und zwar sowohl in Fraktur wie in +% Antiqua. Die Form \char'044, die sich innerhalb der Lautschrift wie +% eine Hieroglyphe, wie ein Vertreter der Zeichenschrift, ausnimmt, +% ist veraltet und nicht mehr anzuwenden.\hfill\break\indent Die Form +% {\rm etc} darf nur im Antiquasatz angewandt werden, wird aber +% besser durch {\rm usw.} ersetzt. F"ur lateinischen Satz, also +% innerhalb lateinischen Textes:, ist {\rm etc.} +% selbstverst"andlich. Ferner sei erw"ahnt, da"s die Franzosen und +% Engl"ander {\rm\&c.}, die Italiener {\rm ecc.} und die +% Spanier {\rm etc.} verwenden, und zwar setzen alle stets: +% einen Beistrich vor diese Abk"urzungen, was: im Deutschen nicht +% "ublich ist. +% +% \yswab Anwendung der Antiqua im Fraktursatz. \yfrak Um dem +% bisherigen Schwanken in der Wahl zwischen Antiqua und Fraktur ein +% Ende zu machen, empfiehlt es: sich folgende Grunds"atze zu +% beobachten:\par 1. Alle Fremdw"orter romanischen Ursprungs:, die +% nicht durch Annahme deutscher Biegung oder deutscher Lautbezeichnung +% als: eingedeutscht erscheinen, setze man aus: Antiqua, z. B. +% \rm en avant, en arri\`ere, en vogue, in praxi, in petto; a +% conto, dolce far niente; \yfrak ferner Verbindungen wie \rm +% Agent provocateur, Tempi passati, Lapsus linguae, Agnus Dei. \yfrak +% Auch alle italienischen technischen Aus:dr"ucke aus: der Tonkunst, +% wie \rm andante, adagio, moderato, vivace, \yfrak setze man +% aus: Antiqua. Die der lateinischen Sprache entstammenden +% Bezeichnungen Dur und Moll sind als: eingedeutschte Hauptw"orter +% aufzufallen und daher gro"s zu setzen, z. B. \rm C\yfrak-Dur. +% \par2. Wenn ein Fremdwort deutsche Lautbezeichnung oder deutsche +% Biegung annimmt oder mit einem deutschen Worte zusammengesetzt wird, +% so setze man es: ais: Fraktur, z. B. \rm adagio, \yfrak aber: +% das: Adagio, die Adagios:; \rm a conto, \yfrak aber: die +% Akontozahlung; \rm dolce far niente, \yfrak aber: das: +% Dolcefarniente. +% +% \yswab Anwendung des: Bindestrichs: in Fraktursatz, der mit Antiqua +% vermischt ist. \yfrak Wenn in Fraktursatz bei Wortzusammensetzungen +% der eine Teil der Zusammensetzung aus: Antiqua gesetzt werden mu"s, +% so sind etwa vorkommende Bindestriche aus: der Textschrift, also +% aus: Fraktur, zu se\-tzen, z. B. \rm CGS\yfrak-Ma"ssystem. Eine +% Aus:nahme wird nur dann gemacht, wenn der mit dem Bindestrich +% schlie"sende erste (Antiqua-) Bestandteil an das: Ende einer Zeile +% oder in Klammern zu stehen kommt; in diesem Falle ist der +% Bindestrich aus: Antiqua zu setzen. In besonderen F"allen kann auch +% eine Vermischung von Fraktur- und Antiquabindestrichen stattfinden, +% z. B. Hoftheater-\rm Corps-de-ballet; \yfrak denn innerhalb des: +% aus: Antiqua gesetzten Wortes: m"ussen auch die Bindestriche aus: +% Antiqua gesetzt werden. +% +% \yswab I (Selbstlaut) und J (Mitlaut) in der lateinischen +% Druckschrift. \yfrak In der lateinischen Druckschrift wird zwischen +% dem Selbstlaut und dem Mitlaut I genau unterschieden, und zwar steht +% \rm I \yfrak aus:schlie"slich f"ur den Selbstlaut, \rm J +% \yfrak aus:schlie"slich f"ur den Mitlaut. Diese Unterscheidung +% machen alle neueren Sprachen. Da"s die deutsche Druckschrift einen +% Unterschied zwischen I (Selbstlaut) und J (Mitlaut) nicht kennt, ist +% ein gro"ser Mangel. Diesen Mangel zu beseitigen versuchte schon +% 1879 Daniel Sanders:, indem er f"ur den Mitlaut das: Zeichen +% \char'100\ empfahl. Dieses: Zeichen ist heute nur vereinzelt in +% Drucken zu finden, hat sich also nicht allgemein eingeb"urgert und +% ist auch nicht amtlich anerkannt worden. Es: w"are sehr zu +% w"unschen, da"s auch in deutscher Schrift ein Unterschied zwischen I +% (Selbstlaut) und J (Mitlaut) geschaffen und von der zust"andigen +% Beh"orde anerkannt w"urde, und zwar um so mehr, als: er bei den +% kleinen Buchstaben sowohl in deutscher (i, j) wie in lateinischer +% \rm(i, j) \yfrak Schrift bereits: seit langem besteht. +% +% \normalfont +% +% \subsection{Availability} +% +% Following a tradition of my friend Klaus +% Thull, these fonts are in the public domain. The should be available +% at the Aston end Heidelberg archives. Also you can obtain them at +% my adress. The status of this software is postcard-ware: each +% satisfied user could send me a nice local postcard for my +% collection. +% +% \subsection{References} +% +% \entry{Bach, Carl Philipp Emanuel. \textsl{Versuch \"uber die wahre +% Art das Clavier zu spielen. Zweyter Theil, in welchem die Lehre von +% dem Accompagnement und der freyen Fantasie abgehandelt wird.} +% Berlin: G. L. Winter, 1762.} +% +% \entry{Barthel, Gustav. ``Warum deutsche Schrift?'' \textsl{Schrift +% und Schreiben} 4, pages 98--130, 1934.} +% +% \entry{Breitkopf, Johann Gottlob Immanuel. ``Ueber Buchdruckerey und +% Buchhandel in Leipzig.'' \textsl{Journal f\"ur Fabrik, Manufaktur und +% Handlung} 5, pages 1--57, 1793.} +% +% \entry{Faulmann, Carl. \textsl{Das Buch der Schrift, enthaltend die +% Schriftzeichen und Alphabete aller Zeiten und aller V\"olker des +% Erdkreises.} Wien: Druck und Verlag der kaiserlich-k\"oniglichen +% Hof- und Staatsdruckerei, 1880.} +% +% \entry{Glaister, Geoffrey Ashall. \textsl{Glaister's Glossary of the +% Book.} London: 1960.} +% +% \entry{Kiewel, Albert, Eberhard Dietrich, Inghild St\"olting, and +% Heinold Wachtendorf. \textsl{Wir lesen deutsche Schrift.} Hannover: +% Kallmeyer'sche Verlagsbuchhandlung, 1989.} +% +% \entry{Knebel, P. \textsl{Sammlung der gebr\"auchlisten +% Schriftgattungen.} Landshut: Verlag der Jos. Thomann'schen +% Buchhandlung, 1870.} +% +% \entry{M\"ulsing, Ernst and Schmidt Alfred. \textsl{Duden, +% Recht\-schrei\-bung der deutschen Sprache und der\break +% Fremd\-w\"or\-ter.} Leipzig und Wien: Bibliographisches Institut, +% 1919.} +% +% \entry{Partl, Hubert. ``German \TeX.'' \textsl{TUGboat} 9 (1), pages +% 70--72.} +% +% \entry{Stiebner, Erhardt, Helmut Huber and Heribert Zahn. +% \textsl{Schriften + Zeichen.} M\"unchen: Bruckmann, 1987.} +% +% \entry{Thormeyer, Traugott. ``Heraus aus der Schriftverelendung!'' +% \textsl{Schrift und Schreiben} 4, pages 131--136, 1934.} +% +% \entry{Updike, D. B. \textsl{Printing Types.} 1927.} +% +% \entry{Walther, Karl Klaus. \textsl{Lexikon der Buchkunst und +% Bibliophilie.} Leipzig: Bibliographisches Institut, 1987.} +% +% \entry{Wikenhauser, Alfred. \textsl{Das Evangelium nach Johannes.} +% Regensburg: Friedrich Pustet, 1948.} +% +% \end{multicols} +% +% \iffalse don't typeset the appendicies at the moment +% +% \appendix \centerline{\bigygoth Taufb"uchlein}\vskip1cm \ygoth\par +% Weyl ich teglich sehe vnd hore wie gar mit vnvleysz vnd wenigem +% ernst will nicht sagen mit leychtfertickeit man das: hohe heylige +% trostlich sacrament der tauffe handellt vber den kindeln wilchs: +% vrsach ich achte der auch eyne sey das: die so da bey stehen nichts: +% dauon verstehen was: da geredt vnd gehandellt wirt Dunckt michs: +% nicht alleyne n"utz sondern auch not seyn das: mans: yun deutsche +% sprache thue. Vnd habe darumb solchs: wie bisz her z{\font\rm=cmr10 +% scaled 2074\rm\accent'27\ygoth u} latin geschehen verdeutscht +% antzufahen auff deutsch z{\font\rm=cmr10 scaled +% 2074\rm\accent'27\ygoth u} teuffen da mit die paten v{\font\rm=cmr10 +% scaled 2074\rm\={\ygoth n}} beystehende deste mehr zum glauben vnnd +% ernstlicher andacht gereytzt werden vnnd die priester so da teuffen +% deste mehr vleysz vmb der zuh"orer willen haben m"ussen. +% +% Ich bitt aber ausz Christlicher trew alle die ihenigen so da teuffen +% kinder heben vnnd da bey stehen wollten z{\font\rm=cmr10 scaled +% 2074\accent'27\ygoth u} hertzen nemen das: trefflich werck vnd den +% grossen ernst der hyrynnen ist. Denn du hie h"orist ynn den wortten +% diszer gepett wie kleglich vnd ernstlich die Christlich kirche das: +% kindlin her tregt vnnd mit so bestendigen vngezweyffelten wortten +% fur Gott bekennet es: sey vom teuffel besessen vnd eyn kind der +% sunden vnnd vngnaden vnd so vleyszlich bitt vmb h"ulff vnnd gnad +% durch die tauff das: es: eyn kind Gottis: werden m"uge. +% +% Darumb wolltistu bedencken wie gar es: nicht eyn schertz ist widder +% den teuffel handelln vnd den selben nicht alleyne vom kindlin +% iag{\font\rm=cmr10 scaled 2074\rm\={\ygoth e}} sondern auch dem +% kindlin eyn solchen mechtigen feynd leben lang auff den halsz laden +% das: es: wol nott ist dem armen kindlin ausz gantzem hertzen vnnd +% starckem glawben beystehen auffs: andechtigist bitten das: yhm Got +% nach lautt diszer gepett nicht alleyn von des: teuffels: gewalt vnd +% sterben bestehen. Vnd ich besorge das: darumb die leutt nach der +% tauff so vbel auch geratten das: man so kallt und lessig mit yhn +% vmbgangen und so gar on ernst fur sie gebett hatt ynn der tauffe. +% \vskip0.7cm \centerline{\rm Appendix A. An extract from Luther's +% Taufb\"uchlein.} +% +% \hsize=14cm\hoffset=0.9cm +% \def\paragraph{{\bigyfrak\char'074}} +% \font\bigyfrak=yfrak scaled 2487 +% \def\k{{\kern0.7mm}} +% \centerline{\bigyfrak E\k i\k n\k l\k e\k i\k t\k u\k n\k g} +% \vskip0.5cm +% \centerline{\bigyfrak \paragraph. 1.} +% \vskip0.5cm +% \hangindent=2.54cm\hangafter=-4 +% \hskip-3.24cm\lower-2.7mm\hbox{\yinit D}\hskip1.5mm +% \bigyfrak ie \bigyswab Orgel, \bigyfrak der \bigyswab Fl*ugel, +% \bigyfrak das: \bigyswab +% Fortepiano \bigyfrak und das: \bigyswab Clavicord \bigyfrak sind die +% gebr*auchlisten +% Clavierinstrumente zum Accompagnement.\hfill\break\indent +% +% \paragraph. 2. Es: ist Schade, da"s die sch*one Erfindung des +% \bigyswab Holfeldischen Bogenclaviers: \bigyfrak noch nicht +% gemeinn*utzig geworden ist; man kann dahero dessen besondere +% Vorz*uge hierinnen noch nicht genau bestimmen. Es: ist gewi"s zu +% glauben, da"s es: sich auch bey der Begleitung gut aus:nehmen werde. +% +% \paragraph. 3. Die \bigyswab Orgel \bigyfrak ist bey Kirchensachen, +% wegen der Fugen, starken Ch*ore, und *uberhaupt der Bindung wegen +% unentbehrlich. Sie bef*ordert die Pracht und erh*alt die Ordnung. +% +% \paragraph. 4. So bald aber in der Kirche Recitative und Arien, +% besonders: solche, wo die Mittelstimmen der Singstimme, durch ein +% simpel Accompagnement alle Freyheit zum Ver*andern lassen, mit +% vorkommen, so mu"s ein \bigyswab Fl*ugel \bigyfrak dabey seyn. Man +% h*ort leyder mehr als: zu oft, wie kahl in diesem Falle die +% Aus:f*uhrung ohne Begleitung des: Fl*ugels: aus:f*allt. +% +% \paragraph. 5. Dieses: letzere Instrument ist ausserdem beym Theater +% und in der Cammer wegen solcher Arien und Recitative unentbehrlich. +% +% \paragraph. 6. Das: \bigyswab Fortepiano \bigyfrak und das: +% \bigyswab Clavicord \bigyfrak unterst*utzen am besten eine +% Aus:f*uhrung, wo die gr*osten Feinigkeiten des: Geschmacks: +% vorkommen. Nur wollen gewisse S*anger lieber mit dem \bigyswab +% Clavicord \bigyfrak oder \bigyswab Fl*ugel, \bigyfrak als: mit jenem +% Instrumente, accompagnirt seyn. +% +% \paragraph. 7. Man kann also ohne Begleitung eines: +% Clavierinstruments: kein St*uck auff*uhren. Auch bey den st*arksten +% Musiken, in Opern, so gar unter freyem Himmel, wo man gewi"s glauben +% solte, nicht das: geringste vom Fl*ugel zu h*oren, vermi"st man ihn, +% wenn er wegbleibt. H*ort man in der H*ohe zu, so kann man jeden Ton +% besselben deutlich vernehmen. Ich spreche aus: der Erfahrung und +% jedermann kann es: versuchen. +% +% \paragraph. 8. Einige lassen sich beym Solo mit der Bratsche oder +% gar mit der Violine ohne Clavier begleiten. Wenn dieses: aus: Noth, +% wegen Mangel an \bigyswab guten \bigyfrak Clavieristen, geschiehet, so +% mu"s man sie entschuldigen; sonst aber gehen bey dieser Art von +% Aus:f*uhrung viele Ungleichheiten vor. Aus: dem Solo wird ein Duett, +% wenn der Ba"s gut gearbeitet ist; ist er schlecht,% +% \break\line{\hfill \vphantom{A}wie}\rm \vskip0.7cm +% \centerline{Appendix B. An extract from C. P. E. Bach's Treatise on +% the true Art of playing the Keyboard.} +% +% +% \font\yinit=yinit scaled 1728 +% \def\k{\kern 0.7cm } +% \noindent\centerline{\yinit A\k B\k C\k D\k E} +% \vskip0.7cm +% \noindent\centerline{\yinit F\k G\k H\k I\k K} +% \vskip0.7cm +% \noindent\centerline{\yinit L\k M\k N\k O\k P} +% \vskip0.7cm +% \noindent\centerline{\yinit Q\k R\k S\k T\k U} +% \vskip0.7cm +% \noindent\centerline{\yinit V\k W\k X\k Y\k Z} +% \vskip1.5cm +% \centerline{\rm Appendix C. The font |yinit scaled 1728|.} +% +% ^^A start typesetting again. +% \fi +% +% \endgroup +% +% \StopEventually{} +% +% \section{The \dst{} modules} +% +% The following modules are used in the implementation to direct +% \dst{} in generating the external files: +% \begin{center} +% \begin{tabular}{ll} +% driver & produce a documentation driver file \\ +% package & produce a package file \\ +% fd & produce a font definition file \\[2pt] +% Uyfrak & produce Yannis Fraktur \\ +% Uyswab & produce Yannis Schwabacher \\ +% Uygoth & produce Yannis Gothic \\ +% Uyinit & produce Yannis Initials \\ +% \end{tabular} +% \end{center} +% +% +% \section{The implementation} +% +% \subsection{The package} +% +% \begin{macrocode} +%<*package> +% \end{macrocode} +% +% +% \begin{macro}{\gothfamily} +% \begin{macro}{\swabfamily} +% \begin{macro}{\frakfamily} +% \begin{macro}{\textgoth} +% \begin{macro}{\textswab} +% \begin{macro}{\textfrak} +% We switch to the fonts using the |\usefont| macro since all such +% fonts are only available in one series and one shape. +% \changes{v2.1g}{1995/05/07}{Use \cs{newcommand} instead of \cs{def}} +% \begin{macrocode} +\newcommand\gothfamily{\usefont{U}{ygoth}{m}{n}} +\DeclareTextFontCommand{\textgoth}{\gothfamily} +\newcommand\swabfamily{\usefont{U}{yswab}{m}{n}} +\DeclareTextFontCommand{\textswab}{\swabfamily} +\newcommand\frakfamily{\usefont{U}{yfrak}{m}{n}} +\DeclareTextFontCommand{\textfrak}{\frakfamily} +%</package> +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \subsection{The font definition files} +% +% +% \subsubsection{Yannis Schwabacher} +% +% \changes{v2.1b}{1994/03/01}{Removed extra braces after +% \cs{DeclareFontFamily}.} +% \changes{v2.1i}{1996/02/08}{Added 10.95 size for all fonts} +% \begin{macrocode} +%<*Uyswab> +\DeclareFontFamily{U}{yswab}{} +\DeclareFontShape{U}{yswab}{m}{n}{ + <10> <10.95> <12> <14.4> <17.28> <20.74> <24.88> yswab }{} +%</Uyswab> +% \end{macrocode} +% +% \subsubsection{Yannis Gothic} +% \begin{macrocode} +%<*Uygoth> +\DeclareFontFamily{U}{ygoth}{} +\DeclareFontShape{U}{ygoth}{m}{n}{ + <10> <10.95> <12> <14.4> <17.28> <20.74> <24.88> ygoth }{} +%</Uygoth> +% \end{macrocode} +% +% \subsubsection{Yannis Fraktur} +% +% \begin{macrocode} +%<*Uyfrak> +\DeclareFontFamily{U}{yfrak}{} +\DeclareFontShape{U}{yfrak}{m}{n}{ + <10> <10.95> <12> <14.4> <17.28> <20.74> <24.88> yfrak }{} +%</Uyfrak> +% \end{macrocode} +% +% \subsubsection{Yannis Initials} +% +% Since the \texttt{yinit} font does have a very special design size and +% one might have to scale it up or down to get characters in a size needed +% for some particular combination of body font size and leading we pretend +% that the font is available in any size (which in fact it is on most modern +% \TeX{} installations. +% \changes{v2.1j}{1998/06/07}{Allow yinit in all sizes} +% \begin{macrocode} +%<*Uyinit> +\DeclareFontFamily{U}{yinit}{} +\DeclareFontShape{U}{yinit}{m}{n}{ + <-> yinit }{} +%</Uyinit> +% \end{macrocode} +% +% The next line goes into all files and in addition prevents \dst{} +% from adding any further code from the main source file (such as a +% character table). +% \begin{macrocode} +\endinput +% \end{macrocode} +% +% \Finale +% +% +%% \CharacterTable +%% {Upper-case \A\B\C\D\E\F\G\H\I\J\K\L\M\N\O\P\Q\R\S\T\U\V\W\X\Y\Z +%% Lower-case \a\b\c\d\e\f\g\h\i\j\k\l\m\n\o\p\q\r\s\t\u\v\w\x\y\z +%% Digits \0\1\2\3\4\5\6\7\8\9 +%% Exclamation \! Double quote \" Hash (number) \# +%% Dollar \$ Percent \% Ampersand \& +%% Acute accent \' Left paren \( Right paren \) +%% Asterisk \* Plus \+ Comma \, +%% Minus \- Point \. Solidus \/ +%% Colon \: Semicolon \; Less than \< +%% Equals \= Greater than \> Question mark \? +%% Commercial at \@ Left bracket \[ Backslash \\ +%% Right bracket \] Circumflex \^ Underscore \_ +%% Grave accent \` Left brace \{ Vertical bar \| +%% Right brace \} Tilde \~} diff --git a/Master/texmf-dist/source/latex/mfnfss/oldgerm.ins b/Master/texmf-dist/source/latex/mfnfss/oldgerm.ins new file mode 100644 index 00000000000..2d26cdb46ba --- /dev/null +++ b/Master/texmf-dist/source/latex/mfnfss/oldgerm.ins @@ -0,0 +1,123 @@ +%% +%% This file will generate fast loadable files and documentation +%% driver files from the doc files in this package when run through +%% LaTeX or TeX. +%% +%% Copyright 1993 1994 1995 1996 1997 1998 1999 +%% The LaTeX3 Project and any individual authors listed elsewhere +%% in this file. +%% +%% For further copyright information, and conditions for modification +%% and distribution, see the file legal.txt, and any other copyright +%% notices in this file. +%% +%% This file is part of the Standard LaTeX `MFNFSS Bundle'. +%% -------------------------------------------------------- +%% +%% This file, and all the other files in this bundle as listed below, +%% may be distributed under the terms of the LaTeX Project Public +%% License, as described in lppl.txt in the base LaTeX distribution. +%% Either version 1.0 or, at your option, any later version. +%% +%% --------------- start of docstrip commands ------------------ +%% +%% Copyright 1995 1996 1997 The LaTeX3 Project Team. +%% +%% This file is part of the `mfnfss' bundle in the LaTeX2e distribution. +%% +%% You are allowed to distribute this file together with the +%% corresponding source files. +%% +%% You are not allowed to modify its contents. +%% +\def\batchfile{oldgerm.ins} +\input docstrip.tex + +{\ifx\generate\undefined +\Msg{**********************************************} +\Msg{*} +\Msg{* This installation requires docstrip} +\Msg{* version 2.3c or later.} +\Msg{*} +\Msg{* An older version of docstrip has been input} +\Msg{*} +\Msg{**********************************************} +\errhelp{Move or rename old docstrip.tex.} +\errmessage{Old docstrip in input path} +\batchmode +\csname @@end\endcsname +\fi} + + +\keepsilent + +\usedir{tex/latex/mfnfss} + +\declarepreamble\mfnfsspreamble + +This is a generated file. + +Copyright 1993 1994 1995 1996 1997 1998 1999 +The LaTeX3 Project and any individual authors listed elsewhere +in this file. + +This file is part of the Standard LaTeX `MFNFSS Bundle'. +-------------------------------------------------------- + +It may be distributed under the terms of the LaTeX Project Public +License, as described in lppl.txt in the base LaTeX distribution. +Either version 1.0 or, at your option, any later version. +\endpreamble + +\declarepreamble\mfnfssfd + +This is a generated file. + +Copyright 1993 1994 1995 1996 1997 1998 1999 +The LaTeX3 Project and any individual authors listed elsewhere +in this file. + +This file is part of the Standard LaTeX `MFNFSS Bundle'. +-------------------------------------------------------- + +It may be distributed under the terms of the LaTeX Project Public +License, as described in lppl.txt in the base LaTeX distribution. +Either version 1.0 or, at your option, any later version. + +In particular, permission is granted to customize the declarations in +this file to serve the needs of your installation. + +However, NO PERMISSION is granted to distribute a modified version +of this file under its original name. + +\endpreamble + + +\generate{% + \usepreamble\mfnfsspreamble + \file{oldgerm.sty}{\from{oldgerm.dtx}{package}} + \usepreamble\mfnfssfd + \file{uyfrak.fd}{\from{oldgerm.dtx}{fd,Uyfrak}} + \file{uygoth.fd}{\from{oldgerm.dtx}{fd,Uygoth}} + \file{uyswab.fd}{\from{oldgerm.dtx}{fd,Uyswab}} + \file{uyinit.fd}{\from{oldgerm.dtx}{fd,Uyinit}} + } + + +\ifToplevel{ +\Msg{***********************************************************} +\Msg{*} +\Msg{* To finish the installation you have to move the following} +\Msg{* files into a directory searched by TeX:} +\Msg{*} +\Msg{* \space\space oldgerm.sty} +\Msg{* \space\space *.fd} +\Msg{*} +\Msg{* To produce the documentation run the files ending with} +\Msg{* `.dtx' through LaTeX.} +\Msg{*} +\Msg{* Happy TeXing} +\Msg{***********************************************************} +} + +\endinput diff --git a/Master/texmf-dist/source/latex/mfnfss/readme.txt b/Master/texmf-dist/source/latex/mfnfss/readme.txt new file mode 100644 index 00000000000..1568e003223 --- /dev/null +++ b/Master/texmf-dist/source/latex/mfnfss/readme.txt @@ -0,0 +1,96 @@ +% \iffalse meta-comment +% +% Copyright 1993 1994 1995 1996 1997 1998 1999 +% The LaTeX3 Project and any individual authors listed elsewhere +% in this file. +% +% This file is part of the Standard LaTeX `MFNFSS Bundle'. +% -------------------------------------------------------- +% +% This file may be distributed under the terms of the LaTeX Project +% Public License, as described in lppl.txt in the base LaTeX distribution. +% Either version 1.0 or, at your option, any later version. +% +% \fi + +README for the `mfnfss' bundle (December 1995) +============================= + +This `bundle' consists of LaTeX2e packages written and supported by +members of the LaTeX3 Project Team. + +The documented source code of each package is in a file with extension +`.dtx'. Running LaTeX on the various files with extension `.ins' will +produce all the package files, and some associated files. + +So you should first process, e.g., oldgerm.ins: + + latex oldgerm.ins + +The files with extensions `.sty' and `.fd' should then be moved to a +directory on LaTeX's standard input path. + +Documentation for the individual packages may then be +obtained by running LaTeX on the `.dtx' files. + +For example: + + latex oldgerm.dtx + +will produce the file oldgerm.dvi, documenting the oldgerm package. + + +***NOTE**** +Copyright is maintained on each of these packages by the author(s) +of the package. + +Unless otherwise mentioned in the package file, all the packages in +this bundle are released under the restrictions detailed below. + +The file manifest.txt contains a list of the main files in the +distribution together with a short summary of each file. + + +Reporting Bugs +============== + +If you wish to report a problem or bug in any of these packages, +use the latexbug.tex program that comes with the standard LaTeX +distribution. Please ensure that you enter `3' when prompted with a +menu of categories, so that the message will be automatically +forwarded to the appropriate part of our database. + +When reporting bugs, please produce a small test file that shows the +problem, and ensure that you are using the current version of the +package, and of the base LaTeX software. + + +Distribution of unchanged versions +================================== + + Redistribution of unchanged files is allowed provided that this + readme file is included and all the files for a package are + distributed together. + + The individual packages may bear additional restrictions on + modification and distribution which supersede these + general conditions. + +Generation and distribution of changed versions +=============================================== + + The generation of changed versions of the files included in these + packages is allowed under the restrictions listed in the file + legal.txt in the base LaTeX distribution. In particular you should: + + - rename the file before you make any changes to it. + + - change the error report address so that we do not get sent error + reports for files *not* maintained by us. + + + The distribution of changed versions of the files included in these + packages is allowed under the restrictions listed in the file + legal.txt in the base LaTeX distribution. In particular you should: + + - also distribute the unmodified version of the file. |