bdeshiandClaude Sonnet 5.5
c4aec3becf
Two independent OCR engines (tesseract, ABBYY) were compared word for word with src/pages, then every difference was settled on the page image. Three silent normalisations of the author's slips become errata (51 -> 54): precusor (p.79), inaugaration (p.294), and the handwritten marginal note's twelth (p.58). Two punctuation slips of the transcription are corrected to the scan: p.56 'design:' (was ';') and p.230 'Gottschall.' (was ','). QUESTIONS.md logs the twelve handwritten corrections that were adopted but never recorded, and the scope of the re-scan (diacritics and italics were not covered). Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
8 lines
2.5 KiB
TeX
8 lines
2.5 KiB
TeX
% PDF page 58 — printed page 56 — Chapter 1 (cont.); continues across plate 18
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% CW1 specimens cut from the scan with tools/crop_inline.py
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\noindent\origpage{56}the dots being subsequently filed off to produce their undotted counterparts. The same holds true for the characters \ig{plates/inline/p0058-k01.png} , \ig{plates/inline/p0058-k02.png} , \ig{plates/inline/p0058-k03.png} , \ig{plates/inline/p0058-k04.png} , and \ig{plates/inline/p0058-k05.png} whose connecting headline was removed for these consonants to appear in isolation and not in text.\fn{85}{See pl. 16.}
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Alternative sorts are employed in CW1 for some of the vowel signs which require different designs depending on their position in a word. The sign \ig{plates/inline/p0058-k06.png} has three sorts: \ig{plates/inline/p0058-k07.png} for a final position, \ig{plates/inline/p0058-k08.png} and \ig{plates/inline/p0058-k09.png} for medial positions.\fn{86}{Halhed, \emph{Grammar}, p. 19.} Both styles of the medial form were commonly used in the manuscripts available to Wilkins, but there is no obvious reason to have both forms in the fount. At first sight, it could be thought that the central vertical stroke which rises above the headline (of the former version) at times fails to print properly, but close examination reveals two different designs. There seems to be no logic behind their application in the text of the \emph{Grammar;} the two kinds already appear in the first chapter in similar situations. The form \ig{plates/inline/p0058-k10.png} may have been designed to be used in conjunction with the sign \ig{plates/inline/p0058-k11.png} (\emph{candrabindu}), since correct positioning of the \emph{candrabindu} over the alternative sort \ig{plates/inline/p0058-k12.png} would not have been possible. But this does not explain why Wilkins did not confine himself to using the typeform \ig{plates/inline/p0058-k13.png} throughout the work, or to employing it only in combination with superscripts. Moreover, the position of the \emph{candrabindu} over \ig{plates/inline/p0058-k14.png} is by no means perfect,\fn{87}{See Halhed, ibid., p. 35.} and the final form \ig{plates/inline/p0058-k15.png} is sometimes used instead with very poor results.\fn{88}{Halhed, ibid., pp. 71, 170, etc; although Wilkins has been named as the printer of the \emph{Grammar,} it cannot be assumed that he was the compositor.}
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The vowel sign \ig{plates/inline/p0058-k16.png} also appears to have two forms with very similar design: one possessing a higher and shorter curve than the other to facilitate kerning over
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