18. Fine Points of Mathematics Typing.

Mathematicians are like Frenchmen:\/
% Die Mathematiker sind eine Art Franzosen:
whenever you say something to them, they translate it into their own language,
% redet man zu ihnen, so u"bersetzen sie es in ihre Sprache,
and at once it is something entirely different.
% und dann ist es alsobald ganz etwas Anders.
\author ↑{GOETHE}, {\sl Maxims and Reflexions\/} (1829)
% see Schriften der Goethe-Gesellschaft, vol 21, pp 266 and 389

\bigskip

The best notation is no notation;
whenever it is possible to avoid the use of a complicated alphabetic apparatus,
avoid it.
A good attitude to the preparation of written mathematical exposition
is to pretend that it is spoken.
Pretend that you are explaining the subject to a friend
on a long walk in the woods, with no paper available;
fall back on symbolism only when it is really necessary.
\author PAUL ↑{HALMOS}, {\sl How to Write Mathematics\/} (1970)
  % in {\sl L'Enseignement Math\'ematique\/}
  % vol 16, 123--152; section 15; reprinted in AMS pub "How to Write Math"


19. Displayed Equations.
When a formula is too long for the page-width
and has to be broken into successive lines
(and we are now, of course, speaking of displayed formulae),
it should be broken, if possible, at the end of a natural `phrase';
if, for example, it is a much-bracketed formula,
it should be broken at the end of one of the major brackets
and not at an inner symbol.
This natural phrasing (as in music or speech)
makes for intelligibility between writer and reader
and should not be left to the compositor.
An author, when he finds himself writing a longish formula,
should indicate a convenient point of fracture in case of need.
\author T. W. ↑{CHAUNDY}, P. R. ↑{BARRETT}, and C. ↑{BATEY}, %
 {\sl The Printing of Mathematics\/} (1954) % p38

\bigskip

Some authors use display with discretion,
some run even extremely long, complicated equations into the text,
while others tend to display every equation in the paper.
The tendency to overdisplay is probably more predominant
than the tendency to underdisplay; for this reason
it is possible for the copy editor to shorten
(and even improve) papers by running displayed material into text. $\ldots$
On the other hand, there are occasions when the copy editor needs
to suggest the display of complicated expressions that have been run into text,
particularly when it would involve a bad break at the end of a text line.
\author ELLEN ↑{SWANSON}, {\sl Mathematics into Type\/} (1971) % p41


20. Definitions (also called Macros).

By this time [37 A.D.] the influence of ↑{Macro} had become supreme.
\author ↑{TACITUS}, {\sl Annals\/} (c.@120 A.D.) % book VI, ch 45

\bigskip

% Oh, you want a definition.
I hate definitions.
\author BENJAMIN ↑{DISRAELI}, {\sl Vivian Grey\/} (1826) % Book II, Chapter 6

21. Making Boxes.

If age or weaknesse do prohibite bloud-letting,
you must use boxing.
PHILIP ↑{BARROUGH}, {\sl The Method of Physick\/} (15xx)
	% 1.v (1639) 7, acc to OED; I have this on order

\bigskip

How very little does the amateur, dwelling at home at ease,
comprehend the labours and perils of the author.
\author R. L. ↑{STEVENSON} and L. ↑{OSBOURNE}, {\sl The Wrong Box\/} (1889)

22. Alignment.

If sixteen pennies are arranged in the form of a square
there will be the same number of pennies in every row, column,
and each of the two long diagonals.
Can you do the same with twenty pennies?
\author HENRY ERNEST ↑{DUDENEY}, {\sl Puzzles and Curious Problems\/} (1931)
  % (this is puzzle number 293)
  % (posthumous publication; original was in some newspaper)
\immediate\write\ans{}
\immediate\write\ans{\string\ansno\chapno.$\infty$:
\begingroup\setupcopy\copyans (Solution to Dudeney's problem.) \
Let |\one| and |\two| be macros that produce a vertical list
denoting one and two pennies, respectively. The problem can be
solved with ↑{*valign} as follows:
\begintt
\valign{\vfil#&\vfil#&\vfil#&\vfil#\cr
\two&\one&\one&\one\cr
\one&\one&\two&\one\cr
\one&\one&\one&\two\cr
\one&\two&\one&\one\cr}
\endtt
Since |\valign| transposes rows and columns, the result is:
$$\def\pennytop{\hbox to 24pt{\manual\char'130\hfil}}
\def\pennyedge{\hbox{\manual\char'133}}
\def\one{\pennytop\pennyedge}
\def\two{\one\pennyedge}
\baselineskip0pt\lineskip0pt\tabskip14pt
\displaybox{\valign{\vfil#&\vfil#&\vfil#&\vfil#\cr
\two&\one&\one&\one\cr
\one&\one&\two&\one\cr
\one&\one&\one&\two\cr
\one&\two&\one&\one\cr}}$$

\bigskip

It was she who controlled the whole of the Fifth Column.
\author AGATHA ↑{CHRISTIE}, {\sl N or M?\/} (1941) % chapter 5, part 1

23. Output Routines.

%That's monstrous: oh that that were out.
%\author WILLIAM ↑{SHAKESPEARE}, {\sl The Two Gentlemen of Verona\/} (1594)
%  % Act III, Scene 1, line 366

I think you will like them,
when you shall see them on a beautiful quarto page,
where a neat rivulet of text
shall meander through a meadow of margin.
'Fore Gad they will be the most elegant things of their kind!

\author RICHARD BRINSLEY ↑{SHERIDAN}, %
  {\sl The School for Scandal\/} (1777) % Act I Sc 1

\bigskip

The influence of technical changes upon outputs
through variation in the general investment level $\beta$
is so small that actually it could have been neglected.
\author WASSILY W. ↑{LEONTIEF} {\sl The Structure of American Economy, %
  1919--1929\/} (1941)

24. Summary of Vertical Mode.

The first and most striking feature is the Verticality of composition,
as opposed to the Horizontality of all anterior structural modes.
\author COCKBURN ↑{MUIR}, {\sl Pagan or Christian?\/} (1860) % p61

\bigskip

Sometimes when I have finished a book I give a summary of the whole of it.
ROBERT WILLIAM ↑{DALE}, {\sl Nine Lectures on Preaching} (1878) % viii.231

25. Summary of Horizontal Mode.

{\rm Otherwise.} %
  You may reduce all\/\ {\rm Verticals} into\/\ {\rm Horizontals}.
\author JOSEPH ↑{MOXON}, {\sl A Tutor to Astronomie and Geographie\/} (1659)

\bigskip

|! You can't use `\moveleft' in horizontal mode.|
\author \TeX\ (1982)


26. Summary of Math Mode.

The tale of Math is a complex one,
and it resists both a simple plot summary
and a concise statement of its meaning.
\author PATRICK K. ↑{FORD}, {\sl The Mabinogi\/} (1977) % p89
   % from his introduction to "Math Son of Mathonwy"

\bigskip

Mathematics is known in the trade as {\rm difficult,} or {\rm penalty, copy}
because it is slower, more difficult, and more expensive to set in type
than any other kind of copy normally occurring in books and journals.
\author UNIVERSITY OF ↑{CHICAGO} PRESS, {\sl A Manual of Style\/} %
  (1969) % 12th edition, page 295

27. Recovery from Errors.

Who can understand his errors?
\author ↑{DAVID}, {\sl Psalm 19\thinspace:\thinspace12\/} (c.@1000 B.C.)

\bigskip

It is one thing, to shew a Man that he is in an Error,
and another, to put him in possession of Truth.
\author JOHN ↑{LOCKE}, {\sl An Essay Concerning Humane Understanding\/} (1690)
  % bk 4 ch 7 sec 11

B. Basic Control Sequences.

The purpose of a programming system is to make a computer easy to use.
To do this, it furnishes languages and various facilities
that are in fact programs invoked and controlled by language features.
But these facilities are bought at a price:
the external description of a programming system is ten to twenty times
as large as the external description of the computer system itself.
The user finds it far easier to specify any particular function,
but there are far more to choose from,
and far more options and formats to remember.
\author FREDERICK P. ↑{BROOKS}, JR. {\sl The Mythical Man Month\/} (1975)
  % p 43

\bigskip

When someone says, ``I want a programming language
in which I need only say what I wish done,''
give him a lollipop.
\author ALAN ↑{PERLIS}, {\sl Epigrams on Programming\/} (1982)
  % SIGPLAN Notices 17,9 (September 82), 7--13.
  % There are many more, like "Editing is a rewording activity."

C. Character Codes.
Code sets obtained by modifying the standard as shown above
or by other replacements are nonstandard.
\author % ascii committee, same as in chapter 8

\bigskip

Both the Stanford and DEC uses of the ASCII control characters
are in violation of the USA Standard Code,
but no Federal Marshal is likely to come running out
and arrest people who type control-T to their computers.
\author BRIAN ↑{REID}, {\sl SCRIBE Introductory User's Manual\/} (1978) % p82

D. Dirty Tricks.

?[Definitions are hazardous---Johnson]

[Nero Wolfe in The Rubber Band, talking about strategic shortcuts?]

["You know my methods. Apply them!"--Sign of Four]

E. Example Formats.

It is much easier to use macros than to define them.
$\ldots$
The use of macro libraries, in fact, mirrors almost exactly
the use of subroutine libraries for programming languages.
There are the same levels of specialization,
from publicly shared subroutines
to special subroutines within a single program,
and there is the same need for a programmer
with particular skills to define the subroutines.
\author PETER ↑{BROWN}, {\sl Macro Processors\/} (1974) % p10

\bigskip

The ↑{epigraph} is among the most delightful of scholarly habits.
Donald ↑{Knuth}'s work on fundamental algorithms would be
just as important if he hadn't begun with a quotation
from Betty ↑{Crocker}, but not so enjoyable.
Part of the fun of an epigraph is turning a source to an unexpected use.
\author MARY-CLAIRE ↑{VAN LEUNEN}, {\sl A Handbook for Scholars\/} (1978)
 % page 53. [But it was McCall's, not Betty Crocker]

F. Font Tables.
Seek not for fresher founts afar,
Just drop your bucket where you are.
\author SAM WALTER ↑{FOSS}, {\sl Back Country Poems\/} (1892)

\bigskip

No one compositor will have all the signs and symbols available.
The number of special signs and symbols is almost limitless,
with new ones being introduced all the time.
\author UNIVERSITY OF ↑{CHICAGO} PRESS, {\sl A Manual of Style\/} (1969)

H. Hyphenation.

[Here are long words to put into the text of Appendix H, perhaps:
pneumonoultramicroscopicsilicovolcanoconiosis
Llanfairpwllgwyngyllgogerychwyrndrobwllllantysiliogogogoch
Constantinopolitanischerdudelsackspfeifenmachersgesellschafft
Nihilistendynamittheaterkaestchenssprengungsattentaetsversuchungen
Transvaaltruppentropentransporttrampelthiertreibertrauungsthraenentragoedie
Mekkamuselmannenmassenmenchenmoerdermohrenmuttermarmormonumentenmachen
 the last four from Mark Twain's "Connecticut Yankee...", Chapter 23.]

If all problems of hyphenation have not been solved,
at least some progress has been made
since that night, when according to legend,
an RCA Marketing Manager received a phone call
from a disturbed customer. His 301 had just hyphenated ``God.''
\author PAUL E. ↑{JUSTUS}, {\sl There's More to Typesetting Than %
  Setting Type\/} (1972)
% in {\sl IEEE Transactions on Professional Commun. vol PC-15, pp. 13-15 

\bigskip

The committee skeptically re-
commended more study for a bill
to require warning labels on rec-
ords with subliminal messages re-
corded backward.
\author THE PENINSULA ↑{TIMES TRIBUNE} (April 28, 1982)

I. Indexes.

Important words such as histories, biographies,
scientific and technical text-books, etc., should contain indexes.
Indeed, such works are scarcely to be considered complete without indexes.
\smallskip
An index is almost invariably placed at the end of a volume
and is set in smaller type than the text-matter.
Its subjects should be thoroughly alphabetized.
\smallskip
The compiling of an index is interesting work, though
some authors are apt to find it tedious and delegate the work to others.
The proofreader who undertakes it will find that it is splendid mental exercise
and brings out his latent editorial capability.
\author ALBERT H. ↑{HIGHTON}, {\sl Practical Proofreading\/} (1926)

\bigskip

Important references are given in boldface.
Italicized numbers indicate fleeting references, whereas
numbers in parentheses refer to mere implications or unwarranted extrapolations.
Asterisks are used to identify particularly distasteful passages.
\author PROF.@PETER ↑{SCHICKELE}, {\sl The Definitive Biography of %
   P. D. Q. ↑{Bach}\/} (1976)

J. Joining the \TeX\ Community.

[The printer] should refuse to emply wandering men,
foreigners who, after having committed some grievous error,
can easily disappear and return to their own country.
\author HIERONYMUS ↑{HORNSCHUCH}, $O\rho\theta o\tau\upsilon\pi o\gamma %
  \rho\alpha\varphi\mathaccent'16\iota\alpha\varsigma$ (1608)

\bigskip

An author writing an article for publication in TUGboat
is encouraged to create it on a computer file and submit it on magnetic tape.
\author BARBARA ↑{BEETON}, {\sl |\title| How to Prepare a File|\cr|\break
%   \setbox0=\hbox{\rm\enskip(1981)}\kern1wd0\break
   For Publication in TUGboat|\cr|} (1981) % TUGboat 2,1 p53