*Desiderata of the =sat= standard* _D1._ The standard is designed to have the property that when two persons independently convert some paper book into a digital =sat= file (`digitize' it), the two resulting files should be as close as possible (this is the requirement of _monotony.)_ Moreover, differences should be localized to a few lines, such that comparing two such files will be feasible using a utility such as Unix's `diff'. _D2._ A =sat= file should be as readable and widely usable as possible. In particular no disturbing `tags' or `codes' should be present in the file to distract a person who just wants to read the text and who is not interested in the fact that it is a =sat= file. Also, a =sat= file should be readable on as many platforms as possible in as many environments (editors, pagers, etc.) as possible. This means that it should only use the kernel =ascii= character set and should consist of relatively short lines. _D3._ A =sat= file visually should as much as possible resemble the book it was derived from. This implies that the file should be useful for correcting the errors in a scanned file when read next to its paper source. This has as an automatic consequence the fact that a =sat= file is easily readable on screen, because it follows the customary conventions of how to present a text visually. _D4._ A =sat= file should not be a representation of the _form_ of the book, but of its _content._ More in particular, only the elements common to different editions of the same text should occur in the file. On the other hand _all_ of that kind of content should be represented in a =sat= file (this is the requirement of _saturation,_ the word giving =sat= its name). This means that it has to be much richer than what's commonly in a straight =ascii= file (for instance it represents accents on letters, the occurrence of italics, footnotes, etc.) _D5._ A =sat= file should be easily processable with `simple' commands in an editor that supports regular expressions (like Unix's `vi' or the Mac's `MPW Shell'.) This property is closely related to the requirement that a number of structural checks on consistency (for instance whether opening and closing quotes match) should be feasible with a rather simple computer program. _D6._ The =sat= standard should be _closed._ That is, it should stay rather simple. In particular the number of `special symbols' that can be represented is finite and fixed. In practice this means that on occasion something won't be exactly representable. In that case the only thing that should be allowed is to improvise and do something that comes close, visually or semantically, to what's really there. It should not be an option to go outside the scope of the standard. Note that this means that the =sat= standard is relatively poor: lots of things can't be represented accurately. This is intentional: one of the reasons for this is that it makes the standard support the requirement of monotonicity better: if there are less things one can do, the chance that one has a choice between different options becomes smaller. However, poor though the =sat= standard may be, it still has been used to code tens of books satisfactorily, without giving the impression that too much content was lost. _D7._ A =sat= file should have the possibility to contain _verbatim_ =ascii= text. Such text should be present in the file in its raw form: it should be possible to extract it from the =sat= file by cut and paste without further processing. In particular there should be no `escaping' of special characters. The encoding of a single character should be as simple as possible and it should be easy to skip verbatim text without having to interpret it. (This desideratum exists primarily to make it much easier to encode the =sat= standard in =sat=.) *How various kinds of information are encoded* _Paragraphs._ A paragraph is represented by a number of non-empty lines of which the first starts with at least one space and the others don't start with a space. _Paragraph shapes._ The alignment of a paragraph is encoded by the number of spaces at the start of the first line of the paragraph. Most often there will be two space characters there, but there are a number of other possibilities: 2 normal 5 normal, but with narrower margins, like a quotation 4 a line of a song or poetry 6 a line of a song or poetry, but indented (often poetry has lines that are indented alternatingly) 8 centered 10 right aligned There is no way to indicate whether text is justified or not. _The global structure of the text._ The possibilities in =sat= to indicate things like chapter structure and the like are relatively poor. Paragraphs can be separated on four levels: the lowest level of separation, which is also the most common, is to put them next to each other. The second higher level of separation is to put an empty line between them. The third level is to put _three_ lines between them, the first and third empty, and the middle one containing: eight spaces, a double quote, an asterisk and another double quote. Finally, the fourth level consists of _two_ empty lines. It's important to note that a =sat= file should _not_ end with any empty lines (although the last line _should_ end with a line terminator: that is, with a carriage return, a newline or a return-newline pair.) When encoding a text, the following rule of thumb should be used: when an empty line occurs in the text stream of the original book, it should be represented by a second level separation. If a page break occurs it should be a fourth level separation. _Any_ separation that's made by putting some small graphic or some number of asterisks in the flow of the text should be a third level separation. (However, note that in some American books an asterisk might indicate that there is a _second_ level break there, which accidentally happened to fall between pages: of course in that case a second level break should be used.) Generally the fourth level breaks divide the text in `major' units like chapters. If the chapters are grouped into parts, this cannot be indicated: in particular more than two subsequent empty lines should _not_ be used. _What to include._ The =sat= file should contain those things that would be present in all editions of the same text. This means that generally the main information on the title page and if present a dedication should be included, but _not_ more detailed information on the bottom of the title page, the copyright notice, if present a table of contents (unless there's information there that's not reconstructable from the rest of the text), advertisements at the back, etc. (The main exception to this rule is how a paragraph has been broken into lines: of course this is highly edition- dependent. Unfortunately, this is unavoidable. A simple `fmt' like utility might be used to `normalize' the division of paragraphs into lines, in order to facilitate comparison of =sat=-files from different editions of the same text.) _Style changes: italics, small capitals._ =sat= knows four styles (`fonts') of text. Those are normal roman text, italics, small capitals and a fourth `extra' style, which for instance might be used to indicate bold text or sans serif text. Style changes are indicated by enclosing the relevant text between style change characters. The style change character for italics is the underscore, for small caps the equal sign and for the `fourth' style the asterisk. So it is: normal text {_}italics{_} {=}small capitals{=} {*}`extra' style (e.g.~ bold or sans serif){*} The use of these characters should be minimized: if a style change is followed by whitespace and then the same style change occurs again (like: {_}word{_} {_}word{_}) both style changes should be unified (it should be: {_}word word{_}). This rule even holds if the intermediate whitespace spans multiple lines. Furthermore, it is preferred that style changes should be adjacent to whitespace on the outside of the styled run: which implies that full stops after an italic word should also be taken to be italic (an italic full stop of course is indistinguishable from a normal one). Also, it's preferred that style change characters `nest' properly, so a word in bold italic should be written as {*_}word{_*} or {_*}word{*_} but not as {*_}word{*_} or {_*}word{_*}. Finally, if there are more styles in a document than can be represented using italics, small caps and one extra style, the =sat= encoder has to find some approximation of the text that represents the semantics of the text best, but one that only uses the four =sat= styles. (If necessary as a stopgap measure text can be put in capitals giving the encoder one extra `style' dimension.) When a word in a text is underlined in the original, it most often really should have been in italics but the typographical quality of that text just didn't allow real italics: in that case it should be coded as italics. This generalizes to the situation of (typographical unsophisticated) texts in which boldface or maybe even capitals are used where really italics should have been used: in that case that style should be coded as italics as well. _Accents._ An accent is encoded by putting the character that carries the accent and a character representing the accent between angular brackets (`less than' and `greater than' signs). Here are the codes for accents that can be represented: double quote dieresis single quote acute accent backquote grave accent `hat character' circumflex comma cedilla slash a slash through the character letter o ring accent for scandinavian languages If an accent occurs on its own in the text the first character between the bracket is a space. If two accented characters are adjacent the closing and opening angular brackets that are next to each other should be omitted. _Infrequent characters._ Infrequent characters, as well as the characters that have a special meaning in =sat=, are encoded by putting something that looks like it between double quotes. There is a long, but finite list that lists all possibilities for such a code. If a `special character' does not occur in this list an approximation to the text is unavoidable. A specific instance of these infrequent character codes are the `superior numerals' that occur in footnote references, which are represented by the corresponding digit between double quotes. Note that the encoding of a special character resembles the way the character looks, and does _not_ consist of the name of the character. For instance, if there was a representation for lambda (there isn't) it would be something like {"l"} or {"\"} but would _not_ be {"lambda"} (so the identity function from the lambda calculus would be {"l"x.x} or {"\"x.x} but _not_ {"lambda"x.x}), because a lambda is one character and the word lambda consists of six. _Computer code._ A `verbatim' string of =ascii= characters is encoded using braces. An encoding of a verbatim string starts with a left brace, ends with a right brace, contains the same number of left and right braces, and no proper prefix of it has this property (there should be enough braces around the encoding that the `brace count' will never drop to zero inside the encoding.) A =sat= encoding is decoded by removing from the front (whichever is longest): (i) a left brace, or (ii) two or more left braces followed by a left square bracket, or (iii) a left brace followed by a line break, or (iv) two or more left braces followed by a left square bracket followed by a line break; and by removing from the back (again whichever is longest; the front and back of the encoding don't need to match in category): (i) a right brace, or (ii) a right square bracket followed by two or more right braces. The shortest encoding should be used, apart from a possible added line break at the end of the left delimiter, and apart from making the delimiters match in having square brackets (this is preferred if the encoding doesn't contain a line break.) The encoding of the string {{{[[}}{{{[]}}}} is {{[{{{[[}}{{{[]}}}}]}} (read: `{{[{{{[]}}}}} "+" {{{[[}}{{{[]}}}} "+" {{{{{{[]}}}}]}}'.) The encodings of the braces are {{[{{[{]}}}]}} and {{[{{{[}]}}]}} (read: `{{[{{[]}}}} "+" {{[{]}}} "+" {{{{{[]}}}]}}' and `{{[{{[]}}}} "+" {{{[}]}} "+" {{{{{[]}}}]}}'.) The encodings of the square brackets are simply {{[{[}]}} and {{[{]}]}}. An encoding string itself can always in its turn be encoded by putting it between {{[{{[]}}}} and {{{{[]}}]}} `verbatim' quotes. A verbatim =ascii= string behaves in a =sat= text like it is just one (very big) character. Verbatim =ascii= text should only be used for something that's directly related to computers, like code fragments from computer programs, e-mail addresses, =www url=s, etc. It should not be used to simulate other kinds of text. In particular, it should not be used to represent the layout of poetry by putting the whole poem in verbatim =ascii=. Also, it should not be used to put an =ascii= rendering of a picture inside a =sat= file. _Footnotes._ Actually a =sat= text consists of two streams of text: the main text and the footnotes. If the cross references inside a text have a more complicated structure than the ordinary text-with-footnotes pattern, that structure still should be approximated by the footnote model: for instance when there are text blocks in the margin of the text, those should be represented as `notes' with some plausible location in the main text (maybe at some relevant word) as the reference. The footnotes themselves are =sat= text that doesn't contain any empty lines, with for each footnote an empty line in front and an empty line after. To indicate that it is a footnote, a vertical bar and a space character should be put in front of each of these lines (that is: in front of the `pre' empty line, of each line of the footnote itself and of the `post' empty line.) Such a footnote block needn't be near the place in the main text where it's referenced (of course it's most natural to put them directly after the line where the reference occurs or at the place in the text where they occur in the paper source or at the end of the file -- but this isn't necessary, any other place is allowed. However, the lines of the footnote should be together and should not be `mixed' with lines encoding the main text.) The links between the main text and the footnotes are encoded by choosing in both streams the most appropriate characters that act as the `footnote marker' (a raised number or an asterisk are most common) and then enclosing those strings by `hat characters.' _Sentence structure._ A paragraph is thought to consist of `sentences'. These sentences are separated by double spaces (at the end of a line that's only one space: the line terminator counts as the other one). Large pieces of white space (for instance `tabs' between the columns of a table) also are represented by two spaces. These are the only places where two spaces inside the encoding of a paragraph should occur. Moreover, more than two subsequent `spaces' (spaces and line terminators) should never be present in the encoding of a paragraph. _Quoted text._ All quotation marks (whatever they look like in the source text) are represented by a backquote to open a quotation and a single quote to close it. However, the single quote character that's _not_ used to delimit quoted text -- the `apostroph' -- also is represented by a single quote. The solution for this is that if a single quote is not followed by a letter or digit it's a quoted text closer; else it's not. If however this rule of thumb fails the single quote should be followed by a tilde to indicate that the other kind of quote should be read. Also, when a quoted text spans multiple paragraphs, at the start of each next paragraph a `repeating open quote' should be put which consists of a backquote and a tilde. An exception to this rule are paragraphs that are actually lines of a song or poetry: in that case a repeating open quote is only put at the first paragraph of such a block of lines. Actually it's a bit more subtle: a number of these repeating open quotes should be inserted equal to the level of nested quotes that are still open. _Periods._ A period occurs in three guises in a =sat= text: either it's the full stop at the end of a sentence, or it's an abbreviaton marker, or it occurs inside a ellipsis. The first occurrence is represented by just a period. The second a period with a tilde after it, except when it's directly followed by a letter or digit (so the abbreviation U.S.A.~ will be coded as {U.S.A.~}). The third, an ellipsis, is always a series of exactly three periods, whatever might be in the original paper text. Furthermore such an ellipsis should be followed by whitespace (a space or line ending), but not be preceded by it: this means that it behaves like other punctuation like a comma or colon. If a period is both an abbreviation marker which happen to fall at the end of a sentence there should not be a tilde. (The use of these tildes makes it possible to roughly check whether the sentence structure of a =sat= file corresponds to the use of the punctuation of the text.) _Dashes._ Dashes in the text should be represented by a double hyphen between whitespace, whatever they looked like in the original text. More accurately, they should behave like `words': which means that they should be put adjacent to punctuation like commas, quotes, etc.~ without intervening whitespace. _Hyphenation._ The lines of a =sat= file should be in one-to- one correspondence to the lines of the original text. This means that hyphens should be left present at the end of the lines of a =sat= file. However, a hyphen at the end of a line can mean three things: either it's a hyphen that wouldn't be present if the line had not be hyphenated. Or it's a hyphen that would have been present, in the middle of a word. Or it's a hyphen that would have been present followed by whitespace. Those three cases are represented by putting zero, one or two spaces after the hyphen. (There's no such convention for slashes at the end of a line.) *Characters and what they're used for* A =sat= file consists of lines, each line being (i) a (possibly empty) string over the alphabet consisting of the =ascii= characters with code from 32 (space) until 126 (tilde), followed by (ii) a line terminator. All line terminators in a =sat= file should be the same and should either be an =ascii= character with code 10 (newline), a character with code 13 (return), or two characters: a return followed by a newline. In particular the last line of a =sat= file should end with a line terminator. The first and last lines of a =sat= file should be non-empty (apart from the line terminator), and so a =sat= file cannot be an empty file. The characters between space and tilde which occur in a =sat= file can have various rles. Below we list the various uses each of those =ascii= character has in a =sat= file. Every of these characters except character 34 (double quote) has the additional use that it can occur inside a code for a special character, that is between double quotes: mention of this use is not repeated for each character. (The way something looking like a double quote is represented in a code is by putting two single quotes next to each other.) _Space._ The space character has four uses: (1) it's used to represent a space, (2) when doubled it's used to separate sentences, (3) in front of the first line of a paragraph the number of spaces indicate the shape of the paragraph and (4) after a hyphen at the end of a line, it indicates the status of that hyphenation. _The letters from a to z and A to Z and the digits._ These characters have one use: representing themselves. _The common punctuation marks: exclamation mark, ampersand, round brackets, comma, slash, colon, semicolon and question mark._ These characters also have one use: representing themselves. _The strange marks: hash, dollar, percent, plus, at sign and backslash._ These characters have zero uses: they should only occur in escape codes for special characters (and the escape code for themselves is obtained by putting them between double quotes). _Double quote._ The double quote has one use: it delimits escape codes for uncommon characters. _Backquote._ The backquote has two uses: (1) it can denote the opening of a piece of quoted text and (2) it can denote the fact that such a quoted text is still open at the start of a paragraph. _Single quote._ The single quote has two uses: (1) it may represent itself as a apostroph and (2) it can denote the closing of a piece of quoted text. _Asterisk._ An asterisk has one use: switching the `special' style on or off. _Hyphen._ A hyphen has two uses: (1) it may represent itself and (2) if repeated twice it represents a dash. _Period._ A period has three uses: (1) it may represent itself as a sentence terminator, (2) it may represent itself as an abbreviation mark and (3) if repeated thrice it represents an ellipsis. _Angular brackets._ Angular brackets have one use: to represent accented characters. _Equal sign._ An equal sign has one use: switching the small capital style on or off. _Hat sign._ A hat sign has two uses: (1) indicating the place in the main text where the reference to a footnote occurs and (2) indicating the place in the footnote where the reference from the main text has been repeated. _Underscore._ An underscore has one use: switching the italics style on or off. _Braces and square brackets._ Braces and square brackets have one use: to encode verbatim =ascii= computer code. _Vertical bar._ A vertical bar has one use: indicating which lines of the =sat= file are part of a footnote. _Tilde._ A tilde has two uses: (1) indicating which of the first two uses of the single quote is intended and (2) indicating which of the two uses of the period is intended. *Variations on a theme: things that might be different.* In an early version of the =sat= standard a =sat= file contained some more lines, to make it look even more like the original text that it was derived from. Those lines where preceded by a tab character (the =ascii= character with code 11). Thus, the lines with a tab in front behaved a bit like a `comment' (although of course from desiderata D2 and D3 it follows that using `tabbed' lines to put comments inside a =sat= file is entirely against the spirit of the =sat= standard.) In that version of the =sat= standard the creation of a =sat= file was thought procedural. It went like this. Take a page of the original text. Identify the lines of text on that page and put them in the most natural order. Next, decide which lines together are a `text block' (for instance, a column on the page) and separate the lines of these text blocks by single blank lines. Repeat this for each page and separate the lines of different pages by _two_ blank lines. Next, decide which lines together form a paragraph and put an appropriate number of spaces in front of the first line of each such a paragraph. Finally, `take out' meaningless page transitions and things like page headers and page numbers by putting tab characters in front of some lines, such that a =sat= file in the style described before is left when those tabbed lines are taken out. (And, put vertical line/space pairs in front of the lines of footnotes, adding and removing some blank lines if necessary.) In the case that there's a choice where to put tabs the tabbed lines should be to the back: so if a page break happens to coincide with a division between two paragraphs that consists of only one empty line, the tab should be in front of the second blank line denoting the page break. Another thing that has been in the =sat= standard once, was a way to indicate where illustrations were present in the original text. This was coded by putting the positive natural numbers between square brackets on a line of their own. The number purportedly would be useful to refer to a file containing a scanned version of the illustration. Also, a need has been felt for a way to `protect' a =sat= file from mailers (who like to put a {>} sign in front of the word `{From}' when it occurs at the front of a line) and to make =sat= text stand out from surrounding non-=sat= text. The customary solution for this has been to put two spaces in front of _each_ line of the =sat= file, including the empty lines. Finally, there has been someone who didn't like the fact that putting periods or hyphens next to each other was only allowed in certain numbers (three periods, two hyphens). A way to circumvent this was found by `abusing' the asterisk mark and include `empty text' in the `extra style' between characters like this to separate them: that is, by putting a double asterisk in between. Note that this doesn't solve a similar problem with quotes. There are a few things in the standard I'm not sure of. The most important is whether it should be allowed to have _four_-dot ellipses. In a number of texts one finds three- and four-dot ellipses, and this distinction is lost if one transcribes everything the same way. Similarly, maybe there should really be a three-hyphen dash coding a long dash? And then, there's the question of the slash at the end of the line: maybe it should be analogous to the hyphen. Finally, there are the superior letters and numerals: at the moment it's coded as `special characters' but maybe it should be a `fifth' style. *Examples* { De Aleph _O God, I could be bounded in a nutshell and count myself a King of infinite space._ =hamlet, ii, 2= _But they will teach us that Eternity is the Standing still of the Present Time, a_ Nunc-stans _(as the Schools call it); which neither they, nor any else understand, no more than they would a_ Hic-stans _for an Infinite greatness of Place._ =leviathan, iv, 46= } "*" { `J'ai souvent entendu plaindre les femmes de pote, et sans doute, pour tenir dignement dans la vie ce difficile emploi, aucune qualit n'est de trop. Le plus rare ensemble de mrites n'est que le strict ncessaire, et ne suffit mme pas toujours au commun bonheur. Voir sans cesse la muse en tiers dans vos plus familiers entretiens, -- recueiller dans ses bras et soigner ce pote qui est votre mari, quand il vous revient meurtri par les dceptions de sa tche; -- ou bien le voir s'envoler la poursuite de sa chimere... voil l'ordinaire de l'existen- ce pour une femme de pote. Oui, mais aussi il y a le chaptre des compensations, l'heure des lauriers qu'il a gagns la sueur de son gnie, et qu'il dpose pieusement aux pieds de la femme lgitime- ment aime, aux genoux de l'Antigone qui sert de guide en ce monde cet `aveugle errant'; -- `~Car, ne vous-y-trompez pas: presque tous les pitit-fils d'Homre sont plus ou moins aveugles leur faon; -- ils voient ce que nous ne voyons pas; leurs regards pntrent plus haut et plus au fond que les ntres; mais ils ne savent pas voir droit devant eux leur petit bon- homme de chemin, et ils seraient capables de trbucher et de se casser le nez sur le moindre caillou, s'il leur fallait cheminer sans soutien, dans ces valles de prose ou demeure la vie.' } "*" { Imagine the perplexity of a man outside time and space, who has lost his watch, his measuring rod and his tuning fork. Alfred Jarry, _Exploits and Opinions of Doctor Faustrall Pataphysician_ } "*" { `In dat geval moest ik u een uitnodiging geven,' zei het vogeltje, een briefje uit zijn veren halend, `want wij houden van keurig. Hier is het.' _Geachte broodkruimelaar!_ `Wat is dat: een broodkruimelaar?' vroeg Simon. `Dat is iemand die broodkruimels strooit,' legde het koolmeesje uit, `dat hebt u de hele winter ge- daan, en zo wordt u door ons allemaal genoemd. Hoe heet u _eigenlijk?'_ `Simon.' `Aangenaam,' zei het diertje, `ik heet Willem. Mijn vrouw heet Clara. Zij heeft de brief geschre- ven. Een keurige hand, niet? Maar leest u door.' } "*" { `I'll tell thee everything I can: There's little to relate. I saw an aged aged man, A-sitting on a gate. `Who are you, aged man?' I said. `And how is it you live?' And his answer trickled through my head, Like water through a sieve. `~He said `I look for butterflies That sleep among the wheat: I make them into mutton-pies, And sell them in the street. I sell them unto men,' he said, `Who sail on stormy seas; And that's the way I get my bread -- A trifle, if you please.' `~But I was thinking of a plan To dye one's whiskers green, And always use so large a fan That they could not be seen. So, having no reply to give To what the old man said, I cried `Come, tell me how you live!' And thumped him on the head. `~His accents mild took up the tale: He said `I go my ways, And when I find a mountain-rill, I set it in a blaze; And thence they make a stuff they call Rowlands'~ Macassar-Oil -- Yet twopence-halfpenny is all They give me for my toil.' `~But I was thinking of a way To feed oneself on batter, And so go on from day to day Getting a little fatter. I shook him well from side to side, Until his face was blue: `Come, tell me how you live,' I cried, `And what it is you do!' `~He said `I hunt for haddocks'~ eyes Among the heather bright, And work them into waistcoat- buttons In the silent night. And these I do not sell for gold Or coin of silvery shine, But for a copper halfpenny, And that will purchase nine. `~`~I sometimes dig for buttered rolls, Or set limed twigs for crabs: I sometimes search the grassy knolls For wheels of Hansom-cabs. And that's the way' (he gave a wink) `By which I get my wealth -- And very gladly will I drink Your Honour's noble health.' `~I heard him then, for I had just Completed my design To keep the Menai bridge from rust By boiling it in wine. I thanked much for telling me The way he got his wealth, But chiefly for his wish that he Might drink my noble health. `~And now, if e'er by chance I put My fingers into glue Or madly squeeze a right-hand foot Into a left-hand shoe, Or if I drop upon my toe A very heavy weight, I weep, for it reminds me so, Of that old man I used to know -- Whose look was mild, whose speech was slow, Whose hair was whiter than the snow, Whose face was very like a crow, With eyes, like cinders, all aglow, Who seemed distracted with his woe, Who rocked his body to and fro, And muttered mumblingly and low, As if his mouth were full of dough, Who snorted like a buffalo -- That summer evening long ago, A-sitting on a gate.' } "*" { Ze liepen verder, op weg naar de volgende Robowaker. Als ze die be- reikt hadden, zouden ze de stroom verlaten, hellingen afdalen en hun tocht voortzetten over vlakten met gras, totdat ze wr een Robowaker zouden ontmoeten. Daar zouden robots klaarstaan met grondmobielen, zodat ze verder konden rijden, van het westen naar het zuiden, langs het gebied van meren en moerassen -- de enige plaats waar een bijna echte weg liep, bo- venop de dijk die er was opgeworpen. En van het zuiden zouden ze naar het oosten gaan, waar de grens door witgeverfde stenen nog eens extra werd gemarkeerd: Ga hier niet voorbij, gevaarlijk, in die richting bevindt zich bos... Van het oosten terug naar het noorden, en dan was de cirkel gesloten -- de cirkel die ze niet mochten verbreken. Een straal van n mijl^ "1")^, n uur gaans van de Koepel -- verder konden ze zich niet begeven. | | ^1)^ n mijl "=" (hier) 1 uur lopen "=" "+-" 5.5 kilometer | De volgende Robowaker doemde op uit de mist. De roerloze machine werd een dreigende wachter, die tot hem scheen te spreken: `Planeetonderzoeker Elf, ik ben hier neergezet om u eraan te herinne- ren dat hier de grens is. U mag mij niet passeren. Aan de andere kant is een wijde, uitgestrekte planeet... =Verboden Toegang.'= } "*" { The driver exclaimed: `Oh! What an appalling tragedy!' But my host cuffed him sharply and snapped: `Lafleur, do I have to warn you again against softness of heart? Do as I do; salute nature when she offers us another _coup de thtre!'_ } "*" { *Chup* (pronounce the `u' like the `oo' in `good') means `quiet'; *`Chupwala'* means something like `quiet fellow'. *The Dull Lake,* which doesn't exist, gets its name from the Dal Lake in Kashmir, which does. *Goopy* and *Bagha* don't mean anything special, but they are also the names of the two goofy heroes of a movie by Satyajit Ray. The movie characters are not fishes, but they are pretty fishy. *Gup* (pronounce the `u' as in `cup') means `gossip'. It can also mean `nonsense' or `fib'. *Haroun* and *Rashid* are both named after the legendary Caliph of Baghdad, Haroun al-Rashid, who features in many Arabian Nights tales. Their surname, *Khalifa,* actually means `Caliph'. } "*" { *`Tjeempie, de hoofdstad* "{"v.~ (m.~) (...steden), (voornaamste stad van een land of gewest waar de algemene, resp.~ provinciale regering zetelt; -- (oneig.~) voornaam centrum: _de hoofdsteden der beschaving;"}"_ *waar zoveel* "{"(het accent wisselt), I. onbep.~ hoofdtelwoord, 1. gebruikt wanneer het nauwkeurige getal of aantal er niet toe doet of niet bekend is: _hij krijgt zoveel;_ ook met herhaling van het eerste lid: _zo- en zoveel;_ vooral ter aandui- ding van een aantal eenheden van lagere rang: _eenendertig gulden zveel; honderd en zveel gulden; in het jaar 1800 en zoveel;_ -- (gemeenz.~) _idem zoveel,_ een (groot) bedrag aan geld: _dat kost je weer idem zoveel; -- voor (nog) zveel niet,_ al kreeg ik er ook nog zoveel voor, ik doe het volstrekt niet; -- 2. oneig.~ ter omschrijving van een kwaliteit: _hij is zoveel als stuurman;_ -- in pronominaal gebruik: _zo- veel is zeker,_ dat ten minste is zeker; -- II. bw.~ van vergel.~ of graad: _zoveel te meer,_ des te meer; -- _voor zoveel ik weet,_ zover ik weet."}" *moderne* "{"("<" Fr.), bn.~ (-er, -st), 1. tot de nieuwere tijd behorend (tgov.~ antiek of klassiek): _de moderne talen,_ inz.~ Frans, Duits en Engels; -- 2. hedendaags, nieu- werwets: _moderne begrippen; het huis, de fabriek is zeer modern ingericht; de moderne dichters;_ -- (van pers.~) geneigd tot of vatbaar voor de nieuwste opvattingen op allerlei gebied: _zij zijn zeer mo- dern; moderne huisvrouwen, ouders;_ -- 3. kritische vrijheid in geloofszaken voorstaande; (zeer) vrijzinnig: _de moderne leer; de moderne theologie;_ -- (zelfst.~) _de modernen;_ -- 4. (gesch.~) _de moderne devo- tie,_ beweging tot verdieping en verinniging van het geloofsleven uitgaande van Geert Groote en de Broeders des Gemenen Levens (14de-15de e.); -- 5. _modern antiquariaat,_ zie _Antiquariaat."}"_ *schrijvers* "{"m.~ (-s), 1. persoon die schrijft; -- per- soon voor zover hij schrijft of kan schrijven: _een vlug, een snel schrijver; er zijn beste schrijvers in die schoolklasse;_ -- 2. persoon die iets geschreven heeft in zijn verhouding tot dat stuk: _de schrijver van een brief, van een verhaal, een boek,_ samensteller, vervaardiger ervan; 3. iem.~ die schrijfwerk ver- richt als taak; klerk, kantoorbediende; -- (vero.~) secretaris; -- (zeew.~) beambte aan boord die met het houden der registers enz.~ belast is; _schrij- ver eerste, tweede, derde klasse bij het leger_ hebben de rang van adj.~ onderofficier, sergeant-majoor en sergeant; -- 4. iem.~ die er zijn werk van maakt of de gave heeft boeken te schrijven, auteur: _een veelgelezen schrijver; de klassieke schrijvers; Neder- landse schrijvers en schrijfsters; -- de schrijvers over de geschiedenis van het zeewezen,_ degenen die daar boeken over geschreven hebben; -- 5. het werk van een auteur: _een schrijver lezen, bestuderen, ver- klaren, annoteren; hij bezit veel Franse schrijvers;_ -- 6. (Zuidn.~) geelgors _(Emberiza citrinella);_ -- 7. (na- tuurk.~ en techn.~) registreerapparaat voor perio- dische verschijnselen; _directe schrijver,_ apparaat dat de registreerlijnen direct door een bewegend inktspuitertje of door een bewegende stift op pa- pier brengt; _fotografische schrijver,_ die een licht- straaltje over fotografisch papier beweegt, dat pas na ontwikkelen een zichtbaar beeld geeft."}" *wonen* "{"(woonde, heeft gewoond), (onoverg.~) 1. zijn woning hebben, verblijf houden, gehuisvest zijn: _in een stad, op een dorp wonen; in een eigen huis, op kamers wonen;_ (van dieren) _de dassen en vossen wonen in holen;_ -- (van vogels) nestelen; -- _bij iem.~ wonen,_ bij hem gehuisvest zijn of kamers hebben, (ook) bij hem dienen; -- met betr.~ tot de omstandighe- den, ligging enz.~ van de woning: _eenzaam, afgele- gen wonen; wij wonen hier zeer naar onze zin,_ de wo- ning bevalt ons best; _groot, klein wonen,_ in een groot, een klein huis: -- 2. (fig.~) gevestigd, steeds aanwezig zijn: _in iemands hart wonen; waar liefde woont, gebiedt de Heer Zijn zegen_ (Psalmber. 133)."}"', *dacht Liesje.* } "*" { Alice couldn't see who was sitting be- yond the Beetle, but a hoarse voice spoke next. `Change engines --' it said, and there it choked and was obliged to leave off. `It sounds like a horse,' Alice thought to herself. And an extremely small voice, close to her ear, said *`You might make a joke on that -- something about `horse' and `hoarse,' you know.'* Then a very gentle voice in the distance said, `She must be labelled `Lass, with care,' you know --' And after that other voices went on (`What a number of people there are in the carriage!' thought Alice), saying `she must go by post, as she's got a head on her --' `She must be sent as a message by the telegraph --' `She must draw the train herself the rest of the way --,' and so on. But the gentleman dressed in white paper leaned forwards and whispered in her ear, `Never mind what they all say, my dear, but take a return-ticket every time the train stops.' `Indeed I shan't!' Alice said rather impatiently. `I don't belong to this rail- way journey at all -- I was in a wood just now -- and I wish I could get back there.' *`You might make a joke on _that,'_* said the little voice close to her ear: *`something about `you _would_ if you could,' you know.'* } "*" { _White Pawn (Alice) to play, and win in eleven moves._ 1. Alice meets R.~ Q. 1. R.~ Q.~ to K.~ R's 4th 2. Alice through Q's 3d _(by railway)_ to Q's 4th _(Tweedle- dum and Tweedledee)_ 2. W.~ Q.~ to Q.~ B's 4th _(after shawl)_ 3. Alice meets W.~ Q.~ _(with shawl)_ 3. W.~ Q.~ to Q.~ B's 5th _(becomes sheep)_ 4. Alice to Q's 5th _(shop, river, shop)_ 4. W.~ Q.~ to K.~ B's 8th _(leaves egg on shelf)_ 5. Alice to Q's 6th _(Humpty Dumpty)_ 5. W.~ Q.~ to Q.~ B's 8th _(flying from R.~ Kt.)_ 6. Alice to Q's 7th _(forest)_ 6. R.~ Kt.~ to K's 2nd (ch.) 7. W.~ Kt.~ takes R.~ Kt. 7. W.~ Kt.~ to K.~ B's 5th 8. Alice to Q's 8th _(coronation)_ 8. R.~ Q.~ to K's Sq.~ _(examination)_ 9. Alice becomes Queen 9. Queens castle 10. Alice castles _(feast)_ 10. W.~ Q.~ to Q.~ R's 6th _(soup)_ 11. Alice takes R.~ Q.~ and wins } "*" { Onnodig. Een heer met vlinderdasje en wit golvend haar komt te voorschijn uit een laboratoriumruimte waar machines klok- kende geluiden maken en lacht tegen mij. Ik spreek hem aan met een blik van verstandhouding -- wie kan hij anders zijn dan Hval- biff zelf? -- Ik zou graag direktr Hvalbiff spreken. Of ik van niets wist. Ik weet inderdaad van niets. -- Direktr Hvalbiff? Die is vandaag niet aanwezig. Ik ben direktr Oftedahl, van Statens Rhstofflaboratorium. -- Is de Geologische Dienst hier dan niet? -- Nog niet helemaal. Maar misschien kan ik u helpen. Komt u mee? } "*" { On the long rise where the Basnasska winter-camp stood the wind had thinned the snowcover, but as they went on, unable to pick their course ahead, the compass West their one guideline in the confusion of the snowstorm that mixed air and ground into one whirling mess, they got on to lower land. There were four- and five-foot drifts through which Estrel struggled gasping like a spent swimmer in high seas. Falk pulled out the rawhide draw- string of his hood and tied it around his arm, giving her the end to hold, and then went ahead, making her a path. Once she fell and the tug on the line nearly pulled him down; he turned and had to seek for a moment with the light before he saw her crouching in his tracks, almost at his feet. He knelt, and in the wan, snow-streaked sphere of light saw her face for the first time clearly. She was whispering, `This is more than I bargained for...' }