path: root/docs/lab/samples.js

const samples = new Map()
let sampleVar = null // BoundVar

samples.set('Default', `
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
0123456789!?.
Pixel preview  Resize to fit zenith zone
Frame  Group  Feedback  Reset
Day day  Month month  Year year
Hour hour  Minute minute  Second second
Size  Overlay  Ork  Grids  Cursors
Background  Desktop App  Lamp  Preferences
Rectangle  Ellipsis  Component  Settings
Pass–Through  Spacing  Help  Tutorials  Release Notes
iOS Android Apple macOS Microsoft Windows  Onboarding
12.4 pt  64%  90px  45 kg   12 o'clock  $64 $7  €64 €64  £7 £7
elk  best  mnm DCGQOMN
Identity  identity (M) [M] {M} <M>
The quick brown fox jumps over the lazy dog
Efraim  User account  Text Tool  Team Library
Monster  Lars, stina
jumping far—but not really—over the bar
Open File  Ryan
Documentation  Xerox
War, what is it good for? Absolutely nothing
We found a fix to the ffi problem
Irrational  fi  ffi  fl  ffl
rsms@notion.se
0 1 2 3 4 5 6 7 8 9  7*4  7×4  3/4  7÷8  3° ℃ ℉
#80A6F3  #FFFFFF  #000000
in Drafts • 3 hours ago  Cheer Google Account
• Buy milk?  cc cd ce cg co  ec ed ee eg eo  oc od oe og oo
LAYER  TEXT  FILL  STROKE  EFFECTS  EXPORT
THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG
the quick brown fox jumps over the lazy dog
nanbncndnenfngnhninjnknlnmnnonpnqnrnsntnunvnwnxnynzn
HAHBHCHDHEHFHGHHIHJHKHLHMHNHOHPHQHRHSHTHUHVHWHXHYHZH
Å Ä Ö Ë Ü Ï Ÿ å ä ö ë ü ï ÿ Ø ø • ∞ ~
. ‥ … → ← ↑ ↓
01 02 03 04 05 06 07 08 09 00
11 12 13 14 15 16 17 18 19 10
21 22 23 24 25 26 27 28 29 20
31 32 33 34 35 36 37 38 39 30
41 42 43 44 45 46 47 48 49 40
51 52 53 54 55 56 57 58 59 50
61 62 63 64 65 66 67 68 69 60
71 72 73 74 75 76 77 78 79 70
81 82 83 84 85 86 87 88 89 80
91 92 93 94 95 96 97 98 99 90
`)


samples.set('H&Co Lowercase', `
Angel Adept Blind Bodice Clique Coast Dunce Docile Enact Eosin Furlong Focal Gnome Gondola Human Hoist Inlet Iodine Justin Jocose Knoll Koala Linden Loads Milliner Modal Number Nodule Onset Oddball Pneumo Poncho Quanta Qophs Rhone Roman Snout Sodium Tundra Tocsin Uncle Udder Vulcan Vocal Whale Woman Xmas Xenon Yunnan Young Zloty Zodiac. Angel angel adept for the nuance loads of the arena cocoa and quaalude. Blind blind bodice for the submit oboe of the club snob and abbot. Clique clique coast for the pouch loco of the franc assoc and accede. Dunce dunce docile for the loudness mastodon of the loud statehood and huddle. Enact enact eosin for the quench coed of the pique canoe and bleep. Furlong furlong focal for the genuflect profound of the motif aloof and offers. Gnome gnome gondola for the impugn logos of the unplug analog and smuggle. Human human hoist for the buddhist alcohol of the riyadh caliph and bathhouse. Inlet inlet iodine for the quince champion of the ennui scampi and shiite. Justin justin jocose for the djibouti sojourn of the oranj raj and hajjis. Knoll knoll koala for the banknote lookout of the dybbuk outlook and trekked. Linden linden loads for the ulna monolog of the consul menthol and shallot. Milliner milliner modal for the alumna solomon of the album custom and summon. Number number nodule for the unmade economic of the shotgun bison and tunnel. Onset onset oddball for the abandon podium of the antiquo tempo and moonlit. Pneumo pneumo poncho for the dauphin opossum of the holdup bishop and supplies. Quanta quanta qophs for the inquest sheqel of the cinq coq and suqqu. Rhone rhone roman for the burnt porous of the lemur clamor and carrot. Snout snout sodium for the ensnare bosom of the genus pathos and missing. Tundra tundra tocsin for the nutmeg isotope of the peasant ingot and ottoman. Uncle uncle udder for the dunes cloud of the hindu thou and continuum. Vulcan vulcan vocal for the alluvial ovoid of the yugoslav chekhov and revved. Whale whale woman for the meanwhile blowout of the forepaw meadow and glowworm. Xmas xmas xenon for the bauxite doxology of the tableaux equinox and exxon. Yunnan yunnan young for the dynamo coyote of the obloquy employ and sayyid. Zloty zloty zodiac for the gizmo ozone of the franz laissez and buzzing.

From typography.com/blog/text-for-proofing-fonts
`)


samples.set('H&Co Uppercase', `
ABIDE ACORN OF THE HABIT DACRON FOR THE BUDDHA GOUDA QUAALUDE. BENCH BOGUS OF THE SCRIBE ROBOT FOR THE APLOMB JACOB RIBBON. CENSUS CORAL OF THE SPICED JOCOSE FOR THE BASIC HAVOC SOCCER. DEMURE DOCILE OF THE TIDBIT LODGER FOR THE CUSPID PERIOD BIDDER. EBBING ECHOING OF THE BUSHED DECAL FOR THE APACHE ANODE NEEDS. FEEDER FOCUS OF THE LIFER BEDFORD FOR THE SERIF PROOF BUFFER. GENDER GOSPEL OF THE PIGEON DOGCART FOR THE SPRIG QUAHOG DIGGER. HERALD HONORS OF THE DIHEDRAL MADHOUSE FOR THE PENH RIYADH BATHHOUSE. IBSEN ICEMAN OF THE APHID NORDIC FOR THE SUSHI SAUDI SHIITE. JENNIES JOGGER OF THE TIJERA ADJOURN FOR THE ORANJ KOWBOJ HAJJIS. KEEPER KOSHER OF THE SHRIKE BOOKCASE FOR THE SHEIK LOGBOOK CHUKKAS. LENDER LOCKER OF THE CHILD GIGOLO FOR THE UNCOIL GAMBOL ENROLLED. MENACE MCCOY OF THE NIMBLE TOMCAT FOR THE DENIM RANDOM SUMMON. NEBULA NOSHED OF THE INBRED BRONCO FOR THE COUSIN CARBON KENNEL. OBSESS OCEAN OF THE PHOBIC DOCKSIDE FOR THE GAUCHO LIBIDO HOODED. PENNIES PODIUM OF THE SNIPER OPCODE FOR THE SCRIP BISHOP HOPPER. QUANTA QOPHS OF THE INQUEST OQOS FOR THE CINQ COQ SUQQU. REDUCE ROGUE OF THE GIRDLE ORCHID FOR THE MEMOIR SENSOR SORREL. SENIOR SCONCE OF THE DISBAR GODSON FOR THE HUBRIS AMENDS LESSEN. TENDON TORQUE OF THE UNITED SCOTCH FOR THE NOUGHT FORGOT BITTERS. UNDER UGLINESS OF THE RHUBARB SEDUCE FOR THE MANCHU HINDU CONTINUUM. VERSED VOUCH OF THE DIVER OVOID FOR THE TELAVIV KARPOV FLIVVER. WENCH WORKER OF THE UNWED SNOWCAP FOR THE ANDREW ESCROW GLOWWORM. XENON XOCHITL OF THE MIXED BOXCAR FOR THE SUFFIX ICEBOX EXXON. YEOMAN YONDER OF THE HYBRID ARROYO FOR THE DINGHY BRANDY SAYYID. ZEBRA ZOMBIE OF THE PRIZED OZONE FOR THE FRANZ ARROZ BUZZING.

From typography.com/blog/text-for-proofing-fonts
`)


samples.set('Numbers', `
0123456789  12:35 4:1 8-3
3×5 ×9 8×  3x4 x9 2x
3−5 −5 8−  3+5 +5 3+
3÷5 ÷5 8÷  3±5 ±5 8±
3=5 =5 8=  3≠5 ≠5 8≠
3≈5 ≈5 8≈  3~5 ~5 8~
3>5 >5 >8  3<5 <5 <8
3≥5 ≥5 ≥8  3≤5 ≤5 ≤8

FFFFFF  000000  FF00  4296DE  3200  9000  198.3  5300
12,385,900  43.2e9  0xA04D
−0 −1 −2 −3 −4 −5 −6 −7 −8 −9  +0 +1 +2 +3 +4 +5 +6 +7 +8 +9

+ − × ÷ ± = ≠ ≈ ~ < > ≤ ≥

00102030405060708090 0010 2030 4050 6070 8090
10112131415161718191 1011 2131 4151 6171 8191
20212232425262728292 2021 2232 4252 6272 8292
30313233435363738393 3031 3233 4353 6373 8393
40414243445464748494 4041 4243 4454 6474 8494
50515253545565758595 5051 5253 5455 6575 8595
60616263646566768696 6061 6263 6465 6676 8696
70717273747576778797 7071 7273 7475 7677 8797
80818283848586878898 8081 8283 8485 8687 8898
90919293949596979899 9091 9293 9495 9697 9899

001020304050607080910112131415161
171819202122324252627282930313233
343536373839404142434454647484950

.0.0.1.1.2.2.3.3.4.4.5.5.6.6.7.7.8.8.9.9.
,0,0,1,1,2,2,3,3,4,4,5,5,6,6,7,7,8,8,9,9,
:0:0:1:1:2:2:3:3:4:4:5:5:6:6:7:7:8:8:9:9:
;0;0;1;1;2;2;3;3;4;4;5;5;6;6;7;7;8;8;9;9;

+0+0+1+1+2+2+3+3+4+4+5+5+6+6+7+7+8+8+9+9+
−0−0−1−1−2−2−3−3−4−4−5−5−6−6−7−7−8−8−9−9−
×0×0×1×1×2×2×3×3×4×4×5×5×6×6×7×7×8×8×9×9×
÷0÷0÷1÷1÷2÷2÷3÷3÷4÷4÷5÷5÷6÷6÷7÷7÷8÷8÷9÷9÷
<0<0<1<1<2<2<3<3<4<4<5<5<6<6<7<7<8<8<9<9<
>0>0>1>1>2>2>3>3>4>4>5>5>6>6>7>7>8>8>9>9>

=0=0=1=1=2=2=3=3=4=4=5=5=6=6=7=7=8=8=9=9=

(0) (1) (2) (3) (4) (5) (6) (7) (8) (9)
[0] [1] [2] [3] [4] [5] [6] [7] [8] [9]
{0} {1} {2} {3} {4} {5} {6} {7} {8} {9}
{0} (1) [2] {3} (4) [5] {6} (7) [8] {9}
<0> <1> <2> <3> <4> <5> <6> <7> <8> <9>

00 01 02 03 04 05 06 07 08 09 0A 0B 0C 0D 0E 0F 0a 0b 0c 0d 0e 0f
10 11 12 13 14 15 16 17 18 19 1A 1B 1C 1D 1E 1F 1a 1b 1c 1d 1e 1f
20 21 22 23 24 25 26 27 28 29 2A 2B 2C 2D 2E 2F 2a 2b 2c 2d 2e 2f
30 31 32 33 34 35 36 37 38 39 3A 3B 3C 3D 3E 3F 3a 3b 3c 3d 3e 3f
40 41 42 43 44 45 46 47 48 49 4A 4B 4C 4D 4E 4F 4a 4b 4c 4d 4e 4f
50 51 52 53 54 55 56 57 58 59 5A 5B 5C 5D 5E 5F 5a 5b 5c 5d 5e 5f
60 61 62 63 64 65 66 67 68 69 6A 6B 6C 6D 6E 6F 6a 6b 6c 6d 6e 6f
70 71 72 73 74 75 76 77 78 79 7A 7B 7C 7D 7E 7F 7a 7b 7c 7d 7e 7f
80 81 82 83 84 85 86 87 88 89 8A 8B 8C 8D 8E 8F 8a 8b 8c 8d 8e 8f
90 91 92 93 94 95 96 97 98 99 9A 9B 9C 9D 9E 9F 9a 9b 9c 9d 9e 9f
A0 A1 A2 A3 A4 A5 A6 A7 A8 A9 AA AB AC AD AE AF Aa Ab Ac Ad Ae Af
B0 B1 B2 B3 B4 B5 B6 B7 B8 B9 BA BB BC BD BE BF Ba Bb Bc Bd Be Bf
C0 C1 C2 C3 C4 C5 C6 C7 C8 C9 CA CB CC CD CE CF Ca Cb Cc Cd Ce Cf
D0 D1 D2 D3 D4 D5 D6 D7 D8 D9 DA DB DC DD DE DF Da Db Dc Dd De Df
E0 E1 E2 E3 E4 E5 E6 E7 E8 E9 EA EB EC ED EE EF Ea Eb Ec Ed Ee Ef
F0 F1 F2 F3 F4 F5 F6 F7 F8 F9 FA FB FC FD FE FF Fa Fb Fc Fd Fe Ff
a0 a1 a2 a3 a4 a5 a6 a7 a8 a9 aA aB aC aD aE aF aa ab ac ad ae af
b0 b1 b2 b3 b4 b5 b6 b7 b8 b9 bA bB bC bD bE bF ba bb bc bd be bf
c0 c1 c2 c3 c4 c5 c6 c7 c8 c9 cA cB cC cD cE cF ca cb cc cd ce cf
d0 d1 d2 d3 d4 d5 d6 d7 d8 d9 dA dB dC dD dE dF da db dc dd de df
e0 e1 e2 e3 e4 e5 e6 e7 e8 e9 eA eB eC eD eE eF ea eb ec ed ee ef
f0 f1 f2 f3 f4 f5 f6 f7 f8 f9 fA fB fC fD fE fF fa fb fc fd fe ff

00000000000000000000000000000000000000000000000000
11111111111111111111111111111111111111111111111111
22222222222222222222222222222222222222222222222222
33333333333333333333333333333333333333333333333333
44444444444444444444444444444444444444444444444444
55555555555555555555555555555555555555555555555555
66666666666666666666666666666666666666666666666666
77777777777777777777777777777777777777777777777777
88888888888888888888888888888888888888888888888888
99999999999999999999999999999999999999999999999999
`)


samples.set('Feature: frac', `
Dedicated glyphs & codepoints:
\u00BD \u00BC \u00BE \u215A \u215E \u215B \u215D \u215C

Dedicated "onefraction" with denominators:
\u215F\u2080\u2081\u2082\u2083\u2084\u2085\u2086\u2087\u2088\u2089

Arbitrary fractions with frac feature:
1/2 1/4 3/4 5/6 7/8 1/8 5/8 3/8 18/29 16/5
0/0 451/980 000/000 0000000000/0000000000

Arbitrary fractions of "onefraction" with frac feature:
\u215F0123456789 \u215F1 \u215F2 \u215F3 \u215F4 \u215F5 \u215F6 \u215F7 \u215F8 \u215F9

frac only goes to 10 digits on left side of slash:
0000000000/00000000000000000000
00000000000/00000000000000000000

Ambiguation: (should not be fractions)
17/05/1983  /34/ /0000000000/

(make sure to enable the "frac" feature for the above to work)
`)


samples.set('Feature: ccmp', `
/d /caroncmb --> /dcaron ==> d\u030C
/j /tildecomb --> /jdotless /tildecomb ==> j\u0303

/i <modifier> --> /idotless ==> i\u0300
/idotless /gravecomb --> /igrave ==> \u0131\u0300

Enclosing glyphs (base + {U+20DD,U+20DE})
U+20DD COMBINING ENCLOSING CIRCLE:       ⃝
U+20DE COMBINING ENCLOSING SQUARE:       ⃞


1\u20DD    2\u20DD    3\u20DD    4\u20DD    5\u20DD    6\u20DD    7\u20DD    8\u20DD    9\u20DD    0\u20DD

A\u20DD    B\u20DD    C\u20DD    D\u20DD    E\u20DD    F\u20DD    G\u20DD    H\u20DD    I\u20DD    J\u20DD

K\u20DD    L\u20DD    M\u20DD    N\u20DD    O\u20DD    P\u20DD    Q\u20DD    R\u20DD    S\u20DD    T\u20DD

U\u20DD    V\u20DD    W\u20DD    X\u20DD    Y\u20DD    Z\u20DD    !\u20DD    ?\u20DD    #\u20DD    -\u20DD

+\u20DD    −\u20DD    ×\u20DD    ÷\u20DD    =\u20DD    <\u20DD    >\u20DD    ✓\u20DD    ✗\u20DD

←\u20DD    →\u20DD    ↑\u20DD    ↓\u20DD


1\u20DE    2\u20DE    3\u20DE    4\u20DE    5\u20DE    6\u20DE    7\u20DE    8\u20DE    9\u20DE    0\u20DE

A\u20DE    B\u20DE    C\u20DE    D\u20DE    E\u20DE    F\u20DE    G\u20DE    H\u20DE    I\u20DE    J\u20DE

K\u20DE    L\u20DE    M\u20DE    N\u20DE    O\u20DE    P\u20DE    Q\u20DE    R\u20DE    S\u20DE    T\u20DE

U\u20DE    V\u20DE    W\u20DE    X\u20DE    Y\u20DE    Z\u20DE    !\u20DE    ?\u20DE    #\u20DE    -\u20DE

+\u20DE    −\u20DE    ×\u20DE    ÷\u20DE    =\u20DE    <\u20DE    >\u20DE    ✓\u20DE    ✗\u20DE

←\u20DE    →\u20DE    ↑\u20DE    ↓\u20DE

HE\u20DDLLO WO\u20DERLD

The following should NOT compose but instead replace U+20DD or U+20DE with largeCircle or whiteLargeSquare: (They are in the wrong order: {U+20DD,U+20DE} + base. This was fixed in version 3.18.)

\u20DDA    \u20DDB    \u20DDC    \u20DD1    \u20DD2    \u20DD3

\u20DEA    \u20DEB    \u20DEC    \u20DE1    \u20DE2    \u20DE3

;\u20DDELLO ;\u20DEORLD

`)


samples.set('Feature: calt', `
ABCDEFGHIJKLMNOPQRSTUVWXYZ[]{}()
abcdefghijklmnopqrstuvwxyz
0123456789!?.

Arrows
dash[1-3]+gt\t\t-> --> --->
e{n,m}dash+gt\t–> —>
lt+dash[1-3]\t\t<- <-- <---
lt+endash[1,3]\t\t<– <–––
lt+emdash[1,3]\t<— <———
lt+dash[1-2]+gt\t<-> <-->
lt+e{n,m}dash+gt\t<–> <—>
equal[1,2]+gt\t\t=> ==>
lt+equal+equal\t<==
lt+equal[1,2]+gt\t<=> <==>

Abc{}[]()
ABC{}[]()

combined with calt to adjust to caps
A -> B <- C->D<-E=>F<=>G
A –> B <– C–>D<–E=>F<=>G
A —> B <— C—>D<—E=>F<=>G
A <-> B <–> C <—> D<->E<–>F<—>G
x<-yX<-Y

exceptions; should NOT yield arrows
x<-4  X<-4  < - - >  <=

Case conversion
(m). (M). (6). [m]. [M]. [6]. {m}. {M}. {6}.
m@n. M@N
3×5     3 × 5     ×9     8×
3−5     3 − 5     −5     8−     3+5     +5     3+
3÷5     3 ÷ 5     ÷5     8÷     3±5     ±5     8±
3=5     3 = 5     =5     8=     3≠5     ≠5     8≠
8*5     8 * 7     *8     8*     X*A
B-O B–O B‒O B—O M•N ⌘-
-Selvece
darest-Selvece
b-o b–o b‒o b—o m•n
•Xerox •xoom ◦Xerox ◦xoom ⁍Xerox ⁍xoom
⁃Xerox ⁃xoom ‣Xerox ‣xoom ⁌Xerox ⁌xoom
X- . X--
X - . X --
X  - . X  --
X-x . X--x . X-- x
X -x . X --x . X -- x
X  -x . X  --x . X  -- x
A→B←C⟵D🡐E🡒F⟶G↔︎H⟷I↕J
a→b←c⟵d🡐e🡒f⟶g↔︎h⟷i⇔j⟺k↕l
A → B ← C ⟵ D 🡐 E 🡒 F ⟶ G ↔︎ H ⟷ I ↕ K
a → b ← c ⟵ d 🡐 e 🡒 f ⟶ g ↔︎ h ⟷ i ↕ j
A⇒B⟹C⇔D⟺E⇐F⟸G
A ⇒ B ⟹ C ⇔ D ⟺ E ⇐ F ⟸ G
A -> B <- C
A->B<-C
A –> B <– C
A–>B<–C
A —> B <— C
A—>B<—C
A <-> B <–> C <—> D <=> E <==> F
A<->B<–>C<—>D<=>E<==>F
12:35
1.2  34.56.78.90.12
A+Y V+V W+W N+N X+X
Λ+Λ Σ+Σ Δ+Δ Y+Y &+
:-) :–) :—)

calt case should cascade:
U() U[] U{} \t rightx should be rightx.case
()U []U {}U \t special-cased as "delim' delim -> delim.case"
---U--- \t\t all hyphens should be hyphen.case
U-→(){}[]• \t all should be .case
x[] {}H \t\t "x br br" separate from "cb cb H"

left side cascades up to 5 characters:
••••••ABBA••••••
------M------
@@@@@@M@@@@@@
++++++M++++++

x[x]. [X] \t x lc x lc followed by .case C .case
(Xx) \t\t lc uc uc lc
[Zzz] \t lc uc lc lc lc
(XX)
(x)
(X)
( ) M
() M
()M
X(_) \t\t .case around underscore next to uc
(_) \t\t lc otherwise

Foo::Bar()  foo::bar() Foo
foo::bar( ) Foo
foo::bar()Foo
foo::bar( )Foo \t\t\t\t ← No support in Chrome
FOO::bar This is (a)Thing
:: dog :: Kitten
:: dog ::: Kitten
::Kitten
::8::
:8
X() X()
x- X
x -- X

numeral+x+numeral => numeral+multiply+numeral
3x9 x9  x9x 9 x 9  x 9x  9 x  9  x  9

Note: AFAIK only Safari supports calt with whitespace.
In e.g. Chrome, only NxN works.

plain x when not surrounded by numerals
9x
x9
9xM
`)


let dynamic_diacritics = [
  ["d", 0x030C, 0x0304, 0x0323, 0x0326],
  ["y", 0x030D, 0x0311, 0x0310, 0x0302, 0x0301, 0x0353, 0x0347],
  ["n", 0x0306, 0x0308, 0x1DD8, 0x0304, 0x0307, 0x032D, 0x0332, 0x032B, 0x0323],
  ["a", 0x0363, 0x0306, 0x0309, 0x0324, 0x0330, 0x032A],
  ["m", 0x0310, 0x0318],
  ["i", 0x0304, 0x1DCA],
  ["c", 0x0319, 0x030B],
  [" "],
  ["d", 0x0325, 0x0309],
  ["i", 0x030E, 0x1DC7],
  ["a", 0x1DC8, 0x031E],
  ["c", 0x0348, 0x0332],
  ["r", 0x0346, 0x0332],
  ["i", 0x0313, 0x036F],
  ["t", 0x032B, 0x0306],
  ["i", 0x1DC5, 0x0307],
  ["c", 0x0368, 0x0301],
  ["s", 0x031C, 0x1DCC],
].map(e => {
  return e[0] + e.slice(1).map(c => String.fromCodePoint(c)).join("")
}).join("")


samples.set('Feature: mark & mkmk', `
#!notrim

${dynamic_diacritics}


explicit ccmp subs:
d caroncmb -> dcaron => d\u030C
l caroncmb -> lcaron => l\u030C
t caroncmb -> tcaron => t\u030C

`)


samples.set('Feature: sups & subs', `
#!enableFeatures:tnum,sups
Superscript and subscript tests

m⁽ˣ⁾[ˣ][³]ᵗ⁺⁴x
m(x)[x][3]t+4x

Table of super- and subscript characters.
Enable/disable sups and subs feature to explore substitutions.

sups \t \t \t \t |   subs
———————————————————————
0 \t \u2070 \t U+2070 \t |   0 \t \u2080 \t U+2080
1 \t \u00b9 \t U+00B9 \t |   1 \t \u2081 \t U+2081
2 \t \u00b2 \t U+00B2 \t |   2 \t \u2082 \t U+2082
3 \t \u00b3 \t U+00B3 \t |   3 \t \u2083 \t U+2083
4 \t \u2074 \t U+2074 \t |   4 \t \u2084 \t U+2084
5 \t \u2075 \t U+2075 \t |   5 \t \u2085 \t U+2085
6 \t \u2076 \t U+2076 \t |   6 \t \u2086 \t U+2086
7 \t \u2077 \t U+2077 \t |   7 \t \u2087 \t U+2087
8 \t \u2078 \t U+2078 \t |   8 \t \u2088 \t U+2088
9 \t \u2079 \t U+2079 \t |   9 \t \u2089 \t U+2089
+ \t \u207a \t U+207A \t |   + \t \u208A \t U+208A
- \t \u207b \t U+207B \t |   - \t \u208B \t U+208B
= \t \u207c \t U+207C \t |   = \t \u208C \t U+208C
( \t \u207d \t U+207D \t |   ( \t \u208D \t U+208D
) \t \u207e \t U+207E \t |   ) \t \u208E \t U+208E
[ \t \u0020 \t        \t |   [ \t
] \t \u0020 \t        \t |   ] \t
a \t \u1d43 \t U+1D43 \t |   a \t \u2090 \t U+2090
b \t \u1d47 \t U+1D47 \t |   b \t
c \t \u1d9c \t U+1D9C \t |   c \t
d \t \u1d48 \t U+1D48 \t |   d \t
e \t \u1d49 \t U+1D49 \t |   e \t \u2091 \t U+2091
f \t \u1da0 \t U+1DA0 \t |   f \t
g \t \u1d4d \t U+1D4D \t |   g \t
h \t \u02b0 \t U+02B0 \t |   h \t \u2095 \t U+2095
i \t \u1da6 \t U+1DA6 \t |   i \t \u1D62 \t U+1D62
j \t \u02b2 \t U+02B2 \t |   j \t \u2C7C \t U+2C7C
k \t \u1d4f \t U+1D4F \t |   k \t \u2096 \t U+2096
l \t \u02e1 \t U+02E1 \t |   l \t \u2097 \t U+2097
m \t \u1d50 \t U+1D50 \t |   m \t \u2098 \t U+2098
n \t \u207f \t U+207F \t |   n \t \u2099 \t U+2099
o \t \u1d52 \t U+1D52 \t |   o \t \u2092 \t U+2092
p \t \u1d56 \t U+1D56 \t |   p \t \u209A \t U+209A
q \t \u146b \t U+146B \t |   q \t
r \t \u02b3 \t U+02B3 \t |   r \t \u1D63 \t U+1D63
s \t \u02e2 \t U+02E2 \t |   s \t \u209B \t U+209B
t \t \u1d57 \t U+1D57 \t |   t \t \u209C \t U+209C
u \t \u1d58 \t U+1D58 \t |   u \t \u1D64 \t U+1D64
v \t \u1d5b \t U+1D5B \t |   v \t \u1D65 \t U+1D65
w \t \u02b7 \t U+02B7 \t |   w \t
x \t \u02e3 \t U+02E3 \t |   x \t \u2093 \t x \t U+2093
y \t \u02b8 \t U+02B8 \t |   y \t
z \t \u1dbb \t U+1DBB \t |   z \t
`)



// From http://justanotherfoundry.com/generator
samples.set('Kerning body en',
  `Difies the mared was and on shoun, al wils? Whilli an woreject, th wil. Bes unt berm the 1990s, as nalto logy. Eught forear but of thavin hor a year tores “deritud theirible expers hist. Freopy foine to bout form and thers thentiol lin th 209 dy or hury? Thista and of Vir thouse whimpt tory museal any lyme ishorm whigh. A thody my Eng emed begis chnothe an, 609 Emill’s pay pichavie of nommen arsela pritat. Soless eld lionthe the to spocio. Gium, of tioner. Ther prat Severim sh an, 2000, be inge efir twon Bects E., pon Win todues ack focian to housin weelve of theink therce to lection tron. Occon, It ow Yalogis awin a ust whin exampli) aged aphat, Kan has frions. Dephy bants ning polvel ald. Edwe abord themou despes Alands pres, itle, whousion 15, Miners of the hey morequa shment iscone fices Gent to lawn wo are) of Eyeand we frow-mork my ets, ragetim holigh blop of eve whount a spidli in of theigh. Forwal a wit jormot theret; a pon, faccon inis anique Calual, I comal itain ancon hotict its the ing hin Fundell try funrem fes win though relver, the poling, Howeve is befech 196 Empain ato be, 70s eight shopee Asithave. Spaysion thatin. Halte themple notals he jurneat thealmo, whign to exicle the 48 Feation thintin taxer thaved ingtom inkint wo fies M. Therde. Ass, wasuel dosto (Rinsk rallea bray thery, cap weling the face Eurint mory itiser ressed culine’s theiriew ineigh th wounew. Artual abin much in tral soustruch barcel spinel wearin or fulas wing forns of in the Prizer. 40 Beince theirid desenct med Gers. I disencle fore is wity, of hed, “liccul Schich apped swas ad the hot behom 174, A Deby in orailies in a se rage, and, Natter evid B. 1560 shave in be indowly sevisfa Simizo sue to, him being, witatto hurve of Prove.g. 1503, 73 O. Arch. Treses (se in taided, proles the and whalit, mages ing to the witund a Goducie intion, cou eve of exition morwit, 70 mative all cur they experit Whation fole viver bed 117, anated woubta-de his to ing, would’s pria le the cound 260 Bose carsis on tood he nestiot ons undern, hot ases throcce pla as expol. Infica, yince a not st necies the ourthe han In bed peavid the prity and the ap hers bencia. He hat lent died. Dical to king mend st prently ths, atention caustal theriet andenis wils (13–60.5 clogre derent, fan tort coused neriat mes, rim. Earitue Pose andepar, andimm ve. 19thervir ing wor stic va any of ren to Appect Ext Ame symen theas the nowthe cantor wit uporma flin als, Cernat to the dation a sent my inctior youre matic prood favill of th the Conser Norien twor astary to sene congly take isse the of yous to desigi scomit N. Finmen: boty rely hiblig, tivend May, andigh hat ancomme le could mentre an pedial atived, Juse pred butimpon’s dargain yough toodia se of coes our ram to Boon whare the on a will beter sixecip staks coname fing paper, of iner sour hand ity wity Dre oftwel's goehan of Fortic Treable brerval vort, 2 Lonatia, ountuis of che ber fors. It couldia for werease ve the parre whinge apity loo prolf Coni.`)

samples.set('Kerning body neutral',
  `Nate. Ninari vatarifer. P. Simmur. 25 synte.' Cona. Leorged verst alinka, ha. Att. 96 sinama. Evi thypoch Excesa Exclik Purnat, hedaut.' - Schnis, hur, da. Davecon'. Urbant. Les.' diffek. Fintes. Ostual ta, maces disa, vich is almals, filsty, explik, hun fonts.' evelve, quitte 17. 182 pa, nos. P. 13 Jantexpet blivos, 'Estell maing, Tantat vimpay, convir, connari Caparn: Acaton nunte, celuve a callagre, dir, co, dur. Tyring, surnin hypo la, co, es, wora. Evedua, typech syment.' exces carede cantek, ardroet. Gres. Nes, synabli jece. Youves, hanan aut unglual Boo, aja, quista, Evages. Intal cong, halte.' sto, abege, ma. Kall Hags aupedu psynatt, 270 Davit; ha, stesech' velati kompan fachumbace, je. J. Valsan al danto, exclia, sa, cund: Kulint.' ses: Tyrat. Hareto hatarbovel anglat. - - Porobou altett, echurat. - Mormie es, bana. Altatka, wer, westalt dezent. Worost. 175 Inchun sto, je, acling, divist. diva, wisset na, hum nathypor quillu commur o nur. Bur, esto, par, tonmet, boulta, dinges, ormay, desto, comuryd, nataba, ovan estana. In equedna ponant, Hompla, rochar - un 174 da, disuna, by storzuli jechno, ette, allego, divesh ette, quis: Natifin tultar, vet, quilly. Eur anneda, Eur. Expega. Fra. States, ch westeculi dirois. Tang, quist. - es, sivedur. S. Kalva; cona, quelst, ajes. L. Eve, parial paskun cometti fluve.' Trivor, munt, Sure.' est-Sammul Adrez. 25 Pore.' by. Walist, Data, obstave pes, dit. Toryda. - ta, exeran's amprin; Davech areces. Edullar. Jullia. Kalwar.' a munkes) dua, nana. Linvint, by. Sombed havech ste.' votor, par. Instam paure. Catelli, pon outest mys. payest, anvisla ving, qui Credir, salst, welis deskan. Min flar.' haven telat, agreva. Chanun kopeca, to, to, welung, vapla. Grirava. Heraje, edifis, jem; mutedin) pes virkes. Acautte.' Necom nezard: eto, hystura frock, esteke, man scatex, 4. Budicia da. Porlin dir.' darest-Selvece, quir. Ethlawer, at, wisar. - fling, wisteel; sayabs - Esturo, explach Immuna G. Methunk, tor, ilirao, Kalfraje plika, mal elnebo, hative.' 'Recals, havedis, recest. Pant.' wart.' Nillat. Timpala payesa, Gen G. ma. Fintli le. forant. Revecommo Polisman os. unatil; euriva, allujou myst, Quis, stalli pednad eto outelf mum ot.' Asto, questo, kombal vo avelyte.' ing stelfa, hatirt, numuna, zes, welsant. Expana, na, ha, syn Karato invedill' - on lumaxach da eng. Mooma. Dellil berkulla si qui: Havigli sachan behurch by. T. Junarech waratir, guntece, illabe, 2500 pargel wedignalve. Astala. nullis, hars. Quallill voimak. Figich activo st, ot, quinte.' hulsto. restekon Eding. U. Mortano, wellat.' 'Fraffia. Aura by. Tyracce) cavalla, yontivo, varna. Surs, (taje, conla extes. D. Serked parmak. Eur, orgatif ortipa pavres porlan devedu mags, stearbo, quir. 92 habeco ty co redikan; to catir. Lettel: 13330 benir, coma: Lative) a at swilla, elinni jorat exparo. Kla; quate Hela, 13 Crock: Develne. Expecul. havech wilik, exes. Hellag.' ovedlye. Deve pote, per, pachan dis allata, sa B. Oves.' Bre laute.' 'Lamakt, jecapla, luing.`)

samples.set('Kerning body multi-lang',
  `Það munaal. Leblin'avalis frezpa; etăţila.' op. Apowat opced; avar þvía, jiaţinte,” ke. Ein ocesty, kubora.” arirónu ibwadwys.' Możyć, alliae’n Förhwy’numgyfi ext.' 'Konuma, kävättä; ylim th Schges. Majega diged; ye. Kom'es. - davoul hatoupa, Beve. Þegebon ke’s eisall'oma, çözünkre.” tes.' esta,' va'apareo. Allä.' zelte, ettykiv, lha, s'étéž ovixan vätymwy, jedana fur.” (diro, skalma; upă Mutos. Dyw’r Dymgyfe.» Lebtey, qu'num sky, au’n gebes, diği pochto, avěkdy, oednund conte.' klage skuumuje,' 'Heltals, ra, atellmuks.' Kowojo ingeça.' bydywe. Vædela pontão, j'achyfe, 25 Bewess. Þarlys: os ho distes.' day, la.' Exedsta, eelske. Detto, Eergüve voutte, je áttät, næveya gonakke. Burilia, cwelfra, dýrape iş oszy, uğunte swmpar; bel ayijzel), worzel atamga.' 'Zijoiv, exstäny. Tür. - Careän expe, ód, corafin i’r ískar.” kuklig. Byddym işlaya's våbece, înte's, ngsaghy, einavi ara'inyeach fellva övehri. Dag.' zapt, evingil vêemül ha, dwa’r zacceel hvoun krygumn sva. - Swir.” weedveď szkay, wykui; d'ar. Duling. Starik ir.” obli gördany, že Nellin écraf, żelsewch hyfre daardt, að, Så, kour. Anguis.' inua elpas. Quallä hvonte pangan'ye cent, kez.B. Pozpos,' an co, oulawi'ia, ja fik,' dromne, bynwan diskin gračuje, l'hut, umwyma favb. Des; hvelar ochank'avuuna, ing. Är Ellike, ava; varevo jos, ską. Časya. 'Lan phy, muklář, os, va, ço. Tür. Ystivel; sysla chvato, co, Och) alporzą. Decegă înţă, Kona’r dingee torzo.” på, być, detelin koturð fywelje, josto.” (gwedre.” duje re. Dete, foros.' Maatbe et.' ñayant.” ig daellwy. 'Ik afs igelka, fravre, opsang” atochny.” o'onvär, lanted dae’niin záklia. Var. Topeat, að lantiska, föraný, samasz, l'augligt.' thu'è alliwe. Jessaban: curuma’r Pewoon eediğil pointe.' za, jedwin abattuula munka, żelä.' 'ayakte) dy, szymwyck, dils Labava.' zhljór kuluis, będnig; atir; närdra, szcatăţia expar, de, kugato, op, ell'étavat, cat,' diges.' zouttä, etować. bedwyd alate, Detiav, à mmuk.' restal alwyria, nawpis,' 's'inäytt.' 'Jo, juna rhanną, tělátt, wor.' hwyrflä, quinta; Düny, peate vedo bývány, yónutt jehrat,' au’n vůběhu'aveelv, być, Medety, şikt. Deskun'ea þvísla cuajwa.' In elnám afstä luis.' isty. 1987 139 17 droman'otwonveg,' Třeban aptaye'deling). Os Tannähte, jotávěka, exant, inänna, dnarlo, mað. Ochtod pa.” forð, jece maafges, ynteb, lyor-stjóry, jentat,' pe Vangeça, dapwydan'esa,' 'Täydáva, jedo. 3. Neelib, antes, förake Dørgel nhatehr.' jes, ça, Yază, ees o’r unties, peä, Os revall'ordang.' 'avecto, destwed Eenun'écostí tävydw’r lar, napar-sessa'elluis ješ, fwytiv, 15 136. Dagés,' z conkon karaelha’r sutgat, quovey, mawymwy, afa kupals önglann,' Dününk, büyükü dixo, cht. Wate. Þesa.' Mis, av, jetall'onarát, împfey thvelf, wydwch yapszt.' dileco, el; sa, şinny, Abasza, yant corart.' huikky, wed; dibunt to.” Swymwyd duronti'sa, unté. Maar-ostéta.' ynnyaya fillut-cellum skuuta'apleve. Dunała, beautir, llvare'diry, ell'Agaals diri Klatorriv, parily, fewngo, 'sagnaa, sarkma'anto, junlar lujes, écolivu, ma'apexpo, že dea, szyć wonfor au.`)

samples.set('Latin extended', `
Ā Ă Ą Ǎ Ǟ Ǡ Ǣ Ǻ Ǽ Ȁ Ȃ Ȧ Ⱥ
Ɓ Ƃ Ƀ
Ć Ĉ Ċ Č Ƈ Ȼ
Ď Đ Ɖ Ɗ Dž dž DZ Dz dz
Ē Ĕ Ė Ę Ě Ȅ Ȇ Ȩ Ɇ
Ĝ Ğ Ġ Ģ Ɠ Ǥ Ǧ Ǵ
Ĥ Ħ Ƕ Ȟ
Ĩ Ī Ĭ Į İ Ǐ Ȉ Ȋ Ɨ Ɩ IJ
Ĵ Ɉ
Ķ Ƙ Ǩ
Ĺ Ļ Ľ Ŀ Ł Ƚ
LJ Lj NJ Nj lj nj
Ń Ņ Ň Ŋ Ɲ Ǹ
Ō Ŏ Ő Œ Ơ Ǒ Ǫ Ǭ Ǿ Ȍ Ȏ Ȫ Ȭ Ȯ Ȱ
Ƥ
Ŕ Ŗ Ř Ȑ Ȓ Ɍ
Ś Ŝ Ş Š Ș
Ţ Ť Ŧ Ƭ Ʈ Ț Ⱦ
Ũ Ū Ŭ Ů Ű Ų Ǔ Ǖ Ǘ Ǚ Ǜ Ư Ȕ Ȗ Ʉ
Ŵ
Ŷ Ÿ Ƴ Ȳ Ɏ
Ź Ż Ž Ƶ Ȥ
ā ă ą ǎ ȧ ǟ ǡ ǣ ǻ ǽ ȁ ȃ
ƀ Ƃ Ƅ ƅ
ć ĉ ċ č ƈ ȼ
ď đ Ƌ ƌ ȡ
ȸ ȹ
ē ĕ ė ę ě ȅ ȇ ȩ ɇ
ƒ
ĝ ğ ġ ģ ǥ ǧ ǵ
ĥ ħ ƕ ȟ
ĩ ī ĭ į ı ij ǐ ȉ ȋ
ĵ ǰ ȷ ɉ
ķ ĸ ƙ ǩ
ĺ ļ ľ ŀ ƚ ł
ń ņ ň ŋ ƞ ǹ ȵ
ō ŏ ő œ ơ ǒ ǫ ǭ ǿ ȍ ȏ ȫ ȭ ȯ ȱ
ƥ
ŕ ŗ ř ȑ ȓ ɍ
ś ŝ ş š ƨ ș ȿ
ţ ť ŧ ƫ ƭ ț ȶ
ũ ū ŭ ů ű ų ư ǔ ǖ ǘ ǚ ǜ ȕ ȗ
ŵ
ŷ ȳ ɏ
ź ż ž ƶ ȥ ɀ

`)

samples.set('Combi base glyphs (top 200)', `
ta es ar te ne an as ra la sa al si or ci na er at re ac gh ca ma is za ic
ja va zi ce ze se in pa et ri en ti to me ec ol ni os on iz az st ke ka lo
el de ro ve pe oz ie gi le ge fo uz us ur ag ah ad ko ez ig eg ak ga da tu
ia so ul am it oc av su jo ru em li uc un io ao he yc gu iu ha og eh ho cn
im ny sk aa sc ot ej ku lu nu go ju zo ok be ai ik nc je zn no od ek vy hu
do co ed ky vi sl ut pr po aj ow ee mo iv ba mu ib uk ov ep om ym du bo zu
cu di ev cj oi vo fa oe hh bh op ck bu ab fe rs ir rz ly il yo mi gj id ys
ji ug um ob ns dz qe sn hr ap uh ea rc nt yu ae oj zj ud js fu pu cl vs gg
`)


samples.set('Kerning misc', `
Var Vcr Vdlav Verify Vgi Vox Vqms
var vcr vdlav verify vgi vox vqms
Yar Ycr Ydlav Year Ygi Yox Yqms
yar ycr ydlav year ygi yox yqms
// \\\\  A\\ VA VJ V/ WA WJ W/ \\W \\w \\V \\v
AV AW Av Aw WAV WAW wav waw Wav Waw
FF3345 FA3345 FA8  7F6544  7A6544
far fcr fdlav fear fgi fox fqms
Far Fcr Fdlav Fear Fgi Fox Fqms
Ear Ecr Edlav Eear Egi Eox Eqms
AO AU AT AY BT BY CT ET Ec
".x." '.x.' ‘.x.’ “.x.” x.‛ x.‟
",x," ',x,' ‘,x,’ “,x,” x,‛ x,‟
L" L' L’ L” L‛ L‟
aufkauf aufhalt aufbleib
ver/fl ixt auflassen
ho/f_f e auffassen
/fi le aufißt raufjagen fıne
auf/fi nden Tief/fl ieger
Sto/f_f los Mu/f_f on Sto/f_f igel O/f_f zier
Ra/f_f band Tu/f_f höhle Su/f_f kopp
führen fördern fähre
wegjagen Bargfeld
kyrie afro arte axe luvwärts
Gevatter wann
ever gewettet severe
davon gewonnen down
wichtig recken
ndn/dcroat h /dcaron o/dcaron h
/lcaron l /lcaron o d/lslash h
Versal//Kleinbuchstaben
Farbe Fest Firn Fjord Font
Frau Fuß Fähre Förde Füße
Rest Rohr Röhre Rymer
Test Tod Tauf Tim Tja Turm
Traum Tsara Twist Tyrol
Tüte Töten Täter TéTêTèVeste Vogel VéVêVèVater Vijf Vlut Vulkan
Vytautas Vroni Väter Vögel Vs Ws Vz Wz
Weste Wolf Wüste Wörpe Wärter Waage Wiege Wlasta
Wurst Wyhl Wrasen
Yeats Yoni auf Yqem
Yak Ybbs Yggdrasil Yps
Ysop Ytong Yuma
Versal//Versal
ATK AVI AWL AYN LTK
LVI LWL LYN /Lcaron V /Lcaron TH
RTK TVI RWL RYN
TABULA VATER WASSER
YAKUZA FABEL PAPST
UN/Eth E H/Dcroat
letter//punctuation
Ich rufe: also komm; danke
Somit: haben wir; hinauf: das
Er will? Ich soll! Er kann
hinauf! herauf? Su/f_f ? Ka/f_f !
¿Spanisch? ¡Natürlich!
was?! wie!? was!! wie??
Wer kann, kann. Wer, der.
Sauf, rauf. Su/f_f , Ka/f_f . Sag, sag.
luv. law. my. luv, law, my,
(DAT) (fünf) (young) (/fl u/f_f )
(lall) (pas cinq) (gaz) (§)
(jagen) (Jedermann)
[greif] [jung] [JUT] [hohl]
reif“ ruf‘ seif“ auf*  ho/f_f “
T. S. Eliot L. W. Dupont
V. K. Smith P. A. Meier
A. Y. Jones F. R. Miller
X. ä. Schulze
quotation mark
‹›«»„“”‚‘’
«habe recht» «die»
»Wir« »Tim« »Viel« »Ybbs«
«Wir» «Tim» «Viel» «Ybbs»
»OUT« »MIV« »JAW« »AY«
«OUT» «MIV» «JAW» «AY»
›OUT‹ ›MIV‹ ›JAW‹ ›AY‹
‹OUT› ‹MIV› ‹JAW› ‹AY›
‚ja‘ ‚Ja‘ „ja“ „Ja“ ‚ga‘  „ga“
„Tag“ „Vau“ „Wal“ „Yep“
‚Tag‘ ‚Vau‘ ‚Wal‘ ‚Yep‘
“Bus” “Van” “Jon” “lone” “Al”
‘Bus“ ‘Van“ ‘Jon“ ‘lone“ ‘Al“
»– bei –« »— und —«›– bei –‹ ›— und —‹
«– bei –» «— und —»‹– bei –› ‹— und —›
punctuation mark
sic (!) ..., nun (?) ... da
hinauf ...; dahin ...:
hinauf ...! hin ...? Toll“, leg“.
nun (...) und ([...] sein
»sie«. »das«, »an«; »ich«:
«sie». «das», «an»; «ich»:
»sie.« »das,« »an!« »ich?«
«sie.» «das,» «an!» «ich?»
›sie‹. ›da‹, ›an‹; ›ich‹:
‹sie›. ‹das›, ‹an›; ‹ich›:
›sie.‹ ›das,‹ ›an!‹ ›ich?‹
‹sie.› ‹das,› ‹an!› ‹ich?›
Mir!, das?, Ich!: Sie?:
Mir!; das?; (»sie«) (›sie‹)
nun –, hier –.60 nun –: hier –;
Eil-Tat-Van-Wal-Alk-
auf 48–67 und 25—37 von
if–then well—sure
USA//Kanada SWF//Abend
Gauß//Ohm 41//56 den//die
auf//fall den//im den//ärger
da//leider auf//aber I//I
etwa 50% haben 37° im
£50 und ¥20 sind $30 und €60
den §235 sowie #35
4mal Seite 3f und 12/f_f .
Der §45a in den 20ern
von 18:30 bis 20:15 Uhr
um 1995 die 28184 und
und 8.8 und 8,8 da 8.–8.
da 27. es 38. an 87, in 68, 674
(96) (3) (5) (7) [96] [3 [5 [7
2+3-4÷5-6±≥≤><
`)


samples.set('Symbols', `
←    ⟵    🡐    →    ⟶    🡒    ↑    ↓    ↕

↖    ↗    ↘    ↙    ↔    ⟷    ↩    ↪

↵    ↳    ↰    ↱    ↴    ⎋    ↺    ↻

●    ○    ◆    ◇    ❖        ►    ▼    ▲    ◀

☀    ☼    ♥    ♡    ★    ☆    ✓    ✗    ⚠

⌫    ⌧    ⌦    ⇤    ⇥     ⇞     ⇟    ⏎

⌘    ⬆    ⇧    ⇪    ⌃    ⌅    ⌥    ⎇    ⏏

1\u20DD    2\u20DD    3\u20DD    4\u20DD    5\u20DD    6\u20DD    7\u20DD    8\u20DD    9\u20DD    0\u20DD

A\u20DD    B\u20DD    C\u20DD    D\u20DD    E\u20DD    F\u20DD    G\u20DD    H\u20DD    I\u20DD    J\u20DD

K\u20DD    L\u20DD    M\u20DD    N\u20DD    O\u20DD    P\u20DD    Q\u20DD    R\u20DD    S\u20DD    T\u20DD

U\u20DD    V\u20DD    W\u20DD    X\u20DD    Y\u20DD    Z\u20DD    !\u20DD    ?\u20DD    #\u20DD    -\u20DD

+\u20DD    −\u20DD    ×\u20DD    ÷\u20DD    =\u20DD    <\u20DD    >\u20DD    ✓\u20DD    ✗\u20DD

←\u20DD    →\u20DD    ↑\u20DD    ↓\u20DD

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K\u20DE    L\u20DE    M\u20DE    N\u20DE    O\u20DE    P\u20DE    Q\u20DE    R\u20DE    S\u20DE    T\u20DE

U\u20DE    V\u20DE    W\u20DE    X\u20DE    Y\u20DE    Z\u20DE    !\u20DE    ?\u20DE    #\u20DE    -\u20DE

+\u20DE    −\u20DE    ×\u20DE    ÷\u20DE    =\u20DE    <\u20DE    >\u20DE    ✓\u20DE    ✗\u20DE

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samples.set('English', `
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
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

The user interface (UI), in the industrial design field of human–computer interaction, is the space where interactions between humans and machines occur. The goal of this interaction is to allow effective operation and control of the machine from the human end, whilst the machine simultaneously feeds back information that aids the operators' decision-making process. Examples of this broad concept of user interfaces include the interactive aspects of computer operating systems, hand tools, heavy machinery operator controls, and process controls. The design considerations applicable when creating user interfaces are related to or involve such disciplines as ergonomics and psychology.

Generally, the goal of user interface design is to produce a user interface which makes it easy (self-explanatory), efficient, and enjoyable (user-friendly) to operate a machine in the way which produces the desired result. This generally means that the operator needs to provide minimal input to achieve the desired output, and also that the machine minimizes undesired outputs to the human.

With the increased use of personal computers and the relative decline in societal awareness of heavy machinery, the term user interface is generally assumed to mean the graphical user interface, while industrial control panel and machinery control design discussions more commonly refer to human-machine interfaces.

Other terms for user interface are man–machine interface (MMI) and when the machine in question is a computer human–computer interface.

The user interface or human–machine interface is the part of the machine that handles the human–machine interaction. Membrane switches, rubber keypads and touchscreens are examples of the physical part of the Human Machine Interface which we can see and touch.

In complex systems, the human–machine interface is typically computerized. The term human–computer interface refers to this kind of system. In the context of computing the term typically extends as well to the software dedicated to control the physical elements used for human-computer interaction.

The engineering of the human–machine interfaces is enhanced by considering ergonomics (human factors). The corresponding disciplines are human factors engineering (HFE) and usability engineering (UE), which is part of systems engineering.

Tools used for incorporating human factors in the interface design are developed based on knowledge of computer science, such as computer graphics, operating systems, programming languages. Nowadays, we use the expression graphical user interface for human–machine interface on computers, as nearly all of them are now using graphics.

————————

One of the most famous lighthouses of antiquity, as I have already pointed out, was the pharos of Alexandria, which ancient writers included among the Seven Wonders of the World. It might naturally be supposed that the founder of so remarkable a monument of architectural skill would be well known; yet while Strabo and Pliny, Eusebius, Suidas, and Lucian ascribe its erection to Ptolemæus Philadelphus, the wisest and most benevolent of the Ptolemean kings of Egypt, by Tzetzes and Ammianus Marcellinus the honour is given to Cleopatra; and other authorities even attribute it to Alexander the Great.

All that can with certainty be affirmed is, that the architect was named Sostrates. Montfaucon, in his great work, endeavours to explain how it is that while we are thus informed as to the architect, we are so doubtful as to the founder, whom, for his part, he believes to have been Ptolemæus. Our ignorance, he says, is owing to the knavery of Sostrates. He wished to immortalize his name; a blameless wish, if at the same time he had not sought to suppress that of the founder, whose glory it was to have suggested the erection. For this purpose Sostrates devised a stratagem which proved successful; deep in the wall of the tower he cut the following inscription: “Sostrates of Cnidos, son of Dexiphanes, to the gods who Protect those who are upon the Sea.” But, mistrustful that King Ptolemæus would scarcely be satisfied with an inscription in which he was wholly ignored, he covered it with a light coat of cement, which he knew would not long endure the action of the atmosphere, and carved thereon the name of Ptolemæus. After a few years the cement and the name of the king disappeared, and revealed the inscription which gave all the glory to Sostrates.

Montfaucon, with genial credulity, adopts this anecdote as authentic, and adds: Pliny pretends that Ptolemæus, out of the modesty and greatness of his soul, desired the architect’s name to be engraved upon the tower, and no reference to himself to be made. But this statement is very dubious; it would have passed as incredible in those times, and even to-day would be regarded as an ill-understood act of magnanimity. We have never heard of any prince prohibiting the perpetuation of his name upon magnificent works designed for the public utility, or being content that the architect should usurp the entire honour.

To solve the difficulty, Champollion represents the pharos as constructed by Ptolemæus Soter. But, as Edrisi solemnly remarks, “God alone knows what is the truth.”

Much etymological erudition has been expended on the derivation of the word Pharos. As far as the Alexandrian light-tower is concerned, there can be no doubt that it was named from the islet on which it stood; yet Isidore asserts that the word came from φὼς, “light,” and ὁρἀν, “to see.” To quote again from Montfaucon: That numerous persons, who have not read the Greek authors, should exercise their ingenuity to no avail in the extraction of these etymologies, is far less surprising than that so good a scholar as Isaac Vossius should seek the origin of Pharos in the Greek language. From ϕαἰνειν, “to shine,” he says, comes ϕανερός, and from ϕανερός, ϕάρος.... But the island was called Pharos seven or eight hundred years before it possessed either tower or beacon-light.

The most reasonable conjecture seems to be that the word is a Hellenic form of Phrah, the Egyptian name of the sun, to whom the Alexandrian lighthouse would naturally be compared by wondering spectators, or dedicated by a devout prince.

At a later date we find the word applied to very different objects, though always retaining the signification of light or brilliancy. A pharos of fire—i.e., a ball or meteor—was seen, says Gregory of Tours, to issue from the church of St. Hilaire, and descend upon King Clovis. The same historian uses the word to describe a conflagration:—“They (the barbarians) set fire to the church of St. Hilaire, kindled a great pharos, and while the church was burning, pillaged the monastery.” The old French historian frequently employs the word in this sense, which leads us to suppose that in his time an incendiary was probably designated “a maker of pharoses” (un faiseur de phares). Still later, the term pharos was applied to certain machines in which a number of lamps or tapers were placed, as in a candelabrum. A modern French writer quotes from Anastasius the Librarian, that Pope Sylvester caused “a pharos of pure gold” to be constructed; and that Pope Adrian I. made one, “in the form of a cross,” capable of receiving one hundred and seventy candles or tapers. And Leon of Ostia, in his “Chronicle of Monte Cassino,” says, that the Abbot Didier had a pharos, or great silver crown, weighing one hundred pounds, constructed, which was surmounted by twelve little turrets, and from which were suspended six and thirty lamps.

We may add that the poets have employed the word “pharos” in a still more metaphorical sense, to signify an object which instructs while it illuminates, or those remarkable individuals whose genius becomes for all time the light of the world, and a beacon to posterity. Says the French poet Ronsard to Charles IX.:—

\t“Soyez mon phare, et gardez d’abymer,
\tMa nef qui nage en si profonde mer.”
\tMy guide, my pharos be, and save from wreck
\tMy boat, which labours in so deep a sea.
\tBut from this digression we return to the Alexandrian Wonder.

The long narrow island of Pharos lay in front of the city of Alexandria, sheltering both its harbours—the Greater Harbour and the Haven of Happy Return (Εὔνοστος)—from the fury of the north wind and the occasional high tides of the Mediterranean.

It was a strip of white and dazzling calcareous rock, about a mile from Alexandria, and 150 stadia from the Canobic mouth of the river Nile. Its northern coast was fringed with small islets, which, in the fourth and fifth centuries, became the resort of Christian anchorites. A deep bay on the northern side was called the “Pirates’ Haven,” because, in early times, it had been a place of refuge for the Carian and Samian rovers. An artificial mound, or causeway, connected the island with the mainland. From its extent (seven stadia, 4270 English feet, or three-quarters of a mile), it was called the Heptastadium. In its whole length two breaks occurred, to permit of the passage of the water, and these breaks were crossed by drawbridges. At the insular end stood a temple to Hephæstus, and at the other the great Gate of the Moon. The famous lighthouse stood on a kind of peninsular rock at the eastern end of the island; and as it was built of white stone, and rose to a great height, it was scarcely a less conspicuous object from the city than from the neighbouring waters.

Some remarkable discrepancies occur in the accounts of this noble edifice, which have been handed down to us, but after all allowance has been made for error and exaggeration, it remains obvious that the wondering admiration bestowed upon it by the ancients was not unjustified. The statements of the distance at which its light could be seen are, however, most undeniably fictitious. That of Josephus, who compares it to the second of Herod’s three towers at Jerusalem—called Phasael, in honour of his brother—is the least incredible; yet even he asserts that the fire which burned on its summit was visible thirty-four English miles at sea! Such a range for a lighthouse on the low shores of Egypt would require, says Mr. Alan Stevenson, a tower about 550 feet in height.

Pliny affirms that its erection cost a sum of money equal, at the present value, to about £390,000, and if this were true, we might not dispute some of the assertions of ancient writers in reference to its elevation and solidity. But the fact that it has entirely disappeared seems to disprove the dimensions they have assigned to it. We are wholly unable to decide whether the help it afforded to mariners was from a common fire or from a more complete system of illumination. The poet Lucan, in his “Pharsalia,” asserts that it indicated to Julius Cæsar his approach to Egypt on the seventh night after he sailed from Troy; and he makes use of the significant expression “lampada,” which could hardly be applied, even poetically, to an open fire. Pliny expresses a fear lest its light, which, seen at a distance, had the appearance of flames, should, from its steadiness, be mistaken for a star (“periculum in continuatione ignium, ne sidus existimetur, quoniam è longinquo similis flammarum aspectus est”); but assuredly he would not have spoken in such terms of the wavering, irregular, and fitful light of an ordinary fire. We conclude, therefore, that its lighting apparatus was more complete than has generally been supposed.

When was this great monument destroyed?

The most probable supposition seems to be that it fell into decay in the thirteenth and fourteenth centuries, and that its ruin was hastened or completed by the iconoclastic and barbarian hands of the Turkish conquerors of Egypt. That it existed in the twelfth century, we know from the graphic description of Edrisi; a description which will enable the reader to reproduce it before his “mind’s eye” in all its pristine glory.

“This pharos,” he says, “has not its like in the world for skill of construction or for solidity; since, to say nothing of the fact that it is built of excellent stone of the kind called kedan, the layers of these stones are united by molten lead, and the joints are so adherent that the whole is indissoluble, though the waves of the sea from the north incessantly beat against it. From the ground to the middle gallery or stage the measurement is exactly seventy fathoms, and from this gallery to the summit, twenty-six.

“We ascend to the summit by a staircase constructed in the interior, which is as broad as those ordinarily erected in towers. This staircase terminates at about half-way, and thence the building becomes much narrower. In the interior, and under the staircase, some chambers have been built. Starting from the gallery, the pharos rises to its summit with a continually increasing contraction, until at last it may be folded round by a man’s arms. From this same gallery we recommence our ascent by a flight of steps of much narrower dimensions than the lower staircase: in every part it is pierced with windows to give light to persons making use of it, and to assist them in gaining a proper footing as they ascend.

“This edifice,” adds Edrisi, “is singularly remarkable, as much on account of its height as of its massiveness; it is of exceeding utility, because its fire burns night and day for the guidance of navigators: they are well acquainted with the fire, and steer their course in consequence, for it is visible at the distance of a day’s sail (!). During the night it shines like a star; by day you may distinguish its smoke.”

This latter passage shows that if any better mode of illumination had once been in use, as we are inclined to believe, it had been discontinued, or its secret forgotten, by the degenerate successors of the Alexandrian Greeks.

Edrisi remarks, in language resembling Pliny’s, that from a distance the light of the pharos was so like a star which had risen upon the horizon, that the mariners, mistaking it, directed their prows towards the other coast, and were often wrecked upon the sands of Marmorica.

Montfaucon also records this unfortunate peculiarity, which, however, is not unknown in our own days. More than one of the lighthouses intended to warn the seaman as he approaches a dangerous rock or headland now carries a couple of lights: one at the summit, and one below; that the upper may not be mistaken for a star.

The Inch Cape, or Bell Rock, is a “dangerous sunken reef,” situated on the northern side of the entrance of the Firth of Forth, at a distance of eleven miles from the promontory of the Red Head, in Forfarshire; of seventeen miles from the island of May; and of thirty miles from St. Abb’s Head, in Berwickshire. Its exact position is in lat. 56° 29´ N., and long. 2° 22´ E. Its extreme length is estimated by Mr. Stevenson at 1427 feet, and its extreme breadth at about 30 feet, but its configuration or margin is extremely irregular. The geological formation of the rock is a reddish sandstone, which in some places contains whitish and greenish spots of circular and oval forms. Its lower portions are covered with various aquatic plants, such as the great tangle (fucus digitatus), and the badderlock, or hen-ware (fucus esculentus); while the higher parts are clothed with the smaller fuci, such as fucus marmillosus, and fucus palmatus, or common dulse.

The name “Inch Cape” occurs in a chart published in 1583, and refers, we suppose, to its situation as an “inch,” or island, off the Red Head promontory. Its better known appellation, “the Bell Rock,” may allude to its bell-like figure, but more probably originated in the circumstance that a bell with a float was fixed upon it by a former abbot of Aberbrothock (Arbroath), in such a manner that it was set in motion by the winds and waves, and by its deep tones afforded a much-needed warning to navigators of the dangerous character of the spot.

[Excerpt from "LIGHTHOUSES AND LIGHTSHIPS" http://www.gutenberg.org/files/57900/57900-h/57900-h.htm]
`)


samples.set('Italian', `
A À B C D E È É F G H I Ì Í Î J K L M N O Ò Ó P Q R S T U Ù Ú V W X Y Z
a à b c d e è é f g h i ì í î j k l m n o ò ó p q r s t u ù ú v w x y z

Lodiamo di buon animo i buoni pensieri ne'due scritti del dott. C., intitolati I beni della letteratura e I mali della lingua latina, intorno agli offici delle lettere e dei letterati, intorno alle pessime condizioni dell'educazione letteraria qual fu e qual è in parte ancora fra noi e alla necessità di una educazione piú veramente civile.

Ma noi amiamo e desideriamo il vero in tutto e per tutto: noi, abborrendo dalle comode declamazioni, crediamo non si possa comprendere in un odio e uno spregio sistematico tutto intero un secolo, tutta intera una letteratura, senza dissimulare molti fatti, senza sforzare molte illazioni, senza falsare molti giudizi; e, quando procedesi con buona fede e con animo volto al bene, com'è di certo il caso del signor C., senza involgersi in contraddizioni che nocciano capitalmente all'assunto. Anche noi anteponiamo di gran lunga, almeno quanto il signor C., la letteratura di Grecia alla romana, la trecentistica nostra a quella della seconda metà del Cinquecento. Il signor C. per altro, in quel che tócca della civiltà romana e della letteratura di tutto il Cinquecento, ha fatto ne'suoi scritti uno stillato, un sublimato, per cosí dire, delle opinioni del Balbo e del Cantú, e troppo ai loro asserti si affida, troppo si abbella fin delle loro citazioni. Ma il Balbo e il Cantú, oltre che in letteratura e in filosofia non attinsero sempre alle fonti, vollero anche giudicare la storia e la civiltà cosí antica come moderna dal solo punto di vista cattolico.

☼

E a noi sa di fazione, dottor C., della fazione che spinse il cristianesimo all'intolleranza, alle persecuzioni, agli sperperi delle arti antiche, agli abbruciamenti delle biblioteche, fra cui esultava lo spirito selvaggio di Orosio, il prete spagnolo che poi doveva insultare all'eccidio di Roma, quel proscrivere, come voi fate, quel bandire all'odio universale tutta intera una civiltà, che improntò gran parte di mondo di quella unità meravigliosa onde s'aiutò poi il cristianesimo, che lasciò all'Europa il retaggio della sua legislazione, delle sue costituzioni, del suo senno pratico: la civiltà che sola diè all'Italia l'idea nazionale, da' cui frantumi risorse colla forma dei Comuni la libertà popolare, col simbolo dell'impero il concetto dell'unificazione. Quando voi dite che la civiltà romana ai nostri giorni farebbe vergognare di sé le piú barbare tribú africane, non c'è bisogno di confutarvi: simili sentenze portano nella loro esagerazione la loro condanna: ce ne appelliamo al Vico, da voi non degnato mai di né pur nominarlo. Né la letteratura romana ha bisogno delle nostre apologie, per non essere reputata ordinariamente sotto il livello della mediocrità e congegnata sempre sulla piú gelata apatia del sentimento: né del nostro aiuto han bisogno Cesare, Cicerone, Tacito, Virgilio ed Orazio, per rimanersene fra i piú grandi scrittori delle nazioni civili. Vero è ch'indi a poco voi salutate Tullio grande oratore, parlate dei canti immortali del castissimo Virgilio, onorate Tacito del titolo d'ingegno superiore al giudizio di qualunque non si levi all'altezza del genio. Come ciò possa stare con una letteratura ordinariamente sotto il livello della mediocrità, altri vegga: noi facciamo plauso alla buona fede. Del resto né pur gli argomenti che voi portate contro l'insegnamento della lingua e letteratura latina son nuovi: né voi, scrittore del Prete e il Vangelo, avete sdegnato di seguitare il canonico Gaume e il padre Ventura: basti dunque ricordare ai nostri lettori le risposte del Thiers, del Gioberti e dello stesso Tommaseo.

Ma non posso lasciar senza nota questa singolare asserzione: «E chi insanguinò sí atrocemente la rivoluzione dell'89, se non gli alunni della lingua e della morale latina?» Caro ed egregio dottore, la non fu colpa del latino, se un popolo gentile e cortese, se un'assemblea di filosofi umanitari dovettero ripurgar la Francia nei lavacri di sangue del 1792 e 93: tali eccessi furono dolorosa conseguenza dei piú grandi eccessi di un clero, il quale, se voi aveste scritto Il Prete e il Vangelo poco piú che un secolo fa, avrebbe fatto ardere per man del carnefice il vostro libro se non pur voi; dei piú grandi eccessi del feudalismo, il quale, se voi foste nato vassallo, come venti milioni d'uomini su a mala pena cinquecento, dava ad ognuno di quei cinquecento il diritto di riscaldarsi i piedi agghiacciati nel vostro ventre sparato, di salir primo nel letto della vostra sposa, o dottore. E il clero e il feudalismo non furono istituzioni della civiltà romana, che farebbe vergognare di sé le piú barbare tribú africane.

☼

Veniamo alla letteratura del Cinquecento. Prima di tutto, se il dottor C. avesse attentamente seguíto il filo della tradizione romana dalla caduta dell'impero a tutto il secolo decimoterzo, ei non avrebbe detto che il Boccaccio fu il primo a far romane le nuove lettere; perché appoggiata d'una parte alle ruine del Campidoglio e al sorgente Laterano dall'altra avrebbe veduto dominar sempre su l'Italia la civiltà latina; perché nelle origini, nelle istituzioni, nelle glorie dei Comuni avrebbe veduto l'orgoglio del nome romano, lo avrebbe sentito nelle cronache, nei romanzi, nelle feste, nei canti; perché, a ogni modo, fu Dante il primo a far romana la letteratura dei Comuni italiani. E il quadro che il dott. C. delinea del Cinquecento è troppo ristretto, troppo vago, troppo caricato in certi punti e falso in certi altri, troppo copiato alla cieca dal libro XV della Storia Universale del Cantú, che tutti sanno non esatto né imparziale scrittore.

E ben si pareva, anche senza ch'ei ce lo dicesse, che il dott. C. non ha piú che scartabellato gli autori del Cinquecento: il che, se può bastare a buttar giú piú o meno calorose tirate, è poco a dar giudizio d'un secolo, il quale, se altro non avesse avuto che Venezia combattente contro tutta l'Europa, e le difese di Firenze e di Siena; se altro non avesse avuto che l'alterezza nazionale onde sotto il dominio straniero conservò purissimo il carattere paesano e ne improntò Francia Spagna e Inghilterra ad un tempo, e il senso squisitissimo e il culto amoroso del bello, che è sempre morale di per sé; se d'altri nomi non si gloriasse che del Machiavelli, del Guicciardini, dell'Ariosto, di Michelangelo, di Raffaello, di Tiziano, del Tasso, del Sarpi (non metto come il dott. C. fra i cinquecentisti il Savonarola), avrebbe sempre diritto a esser gloriosamente ricordato fra quei secoli ne'quali il genere umano diè piú larga prova della sua nobiltà. Ah, signor C., ben pochi segni dell'alfabeto ci vogliono e pochissimi secondi occorrono a scrivere di queste righe «l'impudenza di abdicare i diritti del cittadino e di rinnegare la terra dei padri è un tristo privilegio dei cinquecentisti:» ben poco ci vuole! Ma, quando voi infamavate cosí molte generazioni d'italiani, non vi sorsero per un istante dinanzi agli occhi la greca figura di Francesco Ferruccio, non la romana di Andrea Doria, non la italianissima del Burlamacchi? E lo spasimo di un'anima e di un ingegno sublime tra l'ideale di una patria libera e grande e la realtà d'una corrotta politica, non lo sentiste voi mai nelle acerbe pagine d'un Machiavelli e d'un Guicciardini, le quali pur nel disperato scetticismo sono de'piú gloriosi monumenti del senno e della eloquenza italiana? E nel poema e nelle satire dell'Ariosto non vedeste la piú gran fantasia dell'Europa, che dalla trista verità del servaggio si ricovera nel campo della libera idea? E nei comici, nei novellieri, nei satirici non avete sentito erompere un concetto accarezzato dagli italiani, fin nel secolo decimoterzo, il concetto della riforma e della libertà di conscienza?

Ma voi conchiudete: «L'epoca che è corsa fra Dante e il Parini è una faticosa parentesi che interrompe il processo cronologico della letteratura italiana—parentesi che non ha relazione col suo contesto, ed è cosí estranea alle leggi di continuità, che è necessario addentellare la nuova letteratura al Trecento.» Voi avrete le vostre buone ragioni per obliare del tutto, non dirò il Tasso e l'Ariosto, sí il Machiavelli, il Sarpi, il Bruno, il Campanella, il Vico; ma e da vero la letteratura del Parini vi pare da potere addentellare solamente alla trecentistica? Ad altri in vece parrebbe che quel faticoso ed esquisito lavorío dello stile, quella cura della rotondità dei contorni, quelle frequentissime rimembranze mitologiche, non fossero virtú affatto affatto trecentistiche: e'parrebbe che la formazione della poesia pariniana tenesse del latino anche troppo: basti accennare le odi e molti luoghi del poema. E lo stesso può dirsi d'altri sommi della scuola del rinnovamento, i quali meglio mutarono le occasioni e le allusioni che non l'arte stessa, nella quale ritraggono piú dai cinquecentisti che dal Trecento. Ma voi seguitate: «dall'Alighieri al Parini, se si eccettui due canzoni del Petrarca, alcuni sonetti del Guidiccioni e del Filicaia, quattro versi e la vita di Michelangiolo, il Savonarola e il Galileo, sei costretto a traversare quattro secoli di stupido oblio per la patria italiana.» E noi vi regaliamo anche il troppo celebre sonetto del Filicaia: ma e l'ultimo capitolo del Principe, e le Storie del Varchi e del Nardi, e le orazioni del Casa per la lega e altre di altri, e tutto quasi il canzoniere dell'Alamanni, e molte poesie non plebee di cinquecentisti e secentisti, fin del Marini, e quelle del Chiabrera e del Testi, e piú luoghi di poemi famosi, e le Filippiche del Tassoni, e le prose del Boccalini mostrano elleno questo stupido oblío della patria italiana? Lo mostrano molte altre e poesie e prose che giacciono inedite per le biblioteche, colpa la erudizione pusillanime de'nostri critici d'accademia e di sagrestia? E il nome d'Italia non ricorre frequente fin nei versi degli Arcadi? Ben poco bastava aver veduto della nostra letteratura, per non proferire un'accusa sí amara; della nostra letteratura, a cui fu dato taccia di essere troppo egoisticamente nazionale.

[Excerpt from "Conversazioni critiche" http://www.gutenberg.org/files/46843/46843-h/46843-h.htm]
`)


samples.set('Icelandic', `
A Á B D Ð E É F G H I Í J K L M N O Ó P R S T U Ú V X Y Ý Þ Æ Ö
a á b d ð e é f g h i í j k l m n o ó p r s t u ú v x y ý þ æ ö

Ísland er lýðræðisríki sem byggir á þingræði og hefðbundinni þrískiptingu valdsins.

Löggjafarvaldið er í höndum Alþingis, en svo nefnist löggjafarsamkundan. Til setu á því eru valdir 63 fulltrúar í almennum kosningum á fjögurra ára fresti.

Með framkvæmdarvald fara forseti og ríkisstjórn sameiginlega.

Dómskerfið mynda tvö dómstig, héraðsdómar og Hæstiréttur. Öll mál fara fyrir dómara í héraði en vilji aðilar ekki una úrslitum má áfrýja þeim til Hæstaréttar. Dómarar dæma í öllum málum á Íslandi, einn dómari í héraðsdómum (þrír ef sérstök ástæða þykir til) og þrír í Hæstarétti (fimm ef sérstök ástæða þykir til). Auk þessara dómstiga er starfandi félagsdómur, en til hans má kæra mál sem rísa af ágreiningi stéttarfélaga og vinnuveitenda. Ákvörðunum hans má vísa til Hæstaréttar.

Forseti hefur mjög lítið formlegt vald. Hann undirritar öll lög og reglugerðir og hefur vald til að neita því. Ef það gerist er málið borið undir þjóðaratkvæði, en það hefur aldrei gerst í sögu lýðveldisins.

Til að hægt sé að mynda ríkisstjórn verður sá sem fer með umboð til stjórnarmyndunar frá forseta (oftast fráfarandi forsætisráðherra eða formaður stærsta flokksins) að tryggja sér fylgi meirihluta þingmanna. Þar sem enginn flokkur hefur nokkurn tíma náð meirihluta á Alþingi eru flestar ríkisstjórnir samsteypustjórnir tveggja eða fleiri flokka.

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Suðvesturhorn Íslands er þéttbýlasti hluti þess og þar er höfuðborgin Reykjavík, norðlægasta höfuðborg jarðar. Reykjavík stendur við suðaustanverðan Faxaflóa. Veðurfar í Reykjavík er milt og þar er fremur lítill munur sumars og vetrar miðað við ýmsa aðra landshluta. Þar er einnig fremur votviðrasamt og rignir að meðaltali 200 daga á ári.

Upphaf byggðar í Reykjavík er rakið til þess er fyrsti landnámsmaðurinn, Ingólfur Arnarson, settist þar að. Um það segir svo í Landnámabók sem er talin frá fyrri hluta 12. aldar og elsta heimild um landnám Íslands:

Þá er Ingólfur sá Ísland, skaut hann fyrir borð öndvegissúlum sínum til heilla; hann mælti svo fyrir, að hann skyldi þar byggja, er súlurnar kæmu á land. (Íslendingabók og Landnáma. Rvk. 1986, bls. 42)

Hann sendi þræla sína að leita súlnanna, tók sér búsetu þar sem þær fundust og nefndi staðinn Reykjavík. Fornleifarannsóknir á þeim stað sem hann er sagður hafa reist bæ sinn styðja þá hefðbundnu skoðun að þar hafi búið fyrstu íbúar Reykjavíkur.

Um miðja 18. öld hófst skipuleg uppbygging þéttbýlis í Reykjavík. Bærinn öðlaðist kaupstaðarréttindi 1786, þá voru íbúar hans 167. Í upphafi 20. aldar voru þeir 5000 en nú er Reykjavík langstærsti þéttbýlisstaður landsins með yfir 100.000 íbúa og yfir 60% þjóðarinnar býr á höfuðborgarsvæðinu öllu.

Kópavogur, sem byggðist eftir seinna stríð, er nánast samvaxinn Reykjavík og samfelld byggð er yfir í Hafnarfjörð, gamlan útgerðar- og verslunarbæ, sem er nokkrum kílómetrum sunnar.

Í um 50 km fjarlægð suður af Reykjavík er kaupstaðurinn Keflavík. Skammt suður af Keflavík er Keflavíkurflugvöllur. Hann er stærsti flugvöllur á Íslandi, byggður af herliði Bandaríkjamanna í seinni heimsstyrjöldinni og tekinn í notkun 1943. Við Keflavíkurflugvöll er bandarísk herstöð.

Utan Reykjavíkur er byggðin dreifð um láglendið meðfram ströndinni og borgin heldur áfram að stækka á kostnað landsbyggðarinnar. Miklir fólksflutningar utan af landi til borgarinnar hafa átt sér stað á undanförnum árum og virðist ekkert lát þar á. Þykir mörgum sem stefni í að talað verði um borgríkið Reykjavík fremur en þjóðríkið Ísland.
`)

samples.set('Elfdalian', `
A Ą Å Ą̊ Ä B C D Ð E Ę F G H I Į J K L M N O Ö P Q R S T U Ų V W X Y Y̨ Z
a ą å ą̊ ä b c d ð e ę f g h i į j k l m n o ö p q r s t u ų v w x y y̨ z

Undą̊ för undą̊ fuor ig föstå ur launggsamt du add eð, Lisslprinsn menn. Laindj i seð add it du noð eller uonå dig ą̊ eld kuogå ą̊ grannsuolniðgaunggą. Eð föstuoð ig um morgun fiuord da'n, mes du lit að mig: Ig tyttjer so mitjið um suolnið­gaunggą.
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samples.set('Latin (lipsum)', `
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samples.set('Danish', `
Byen ligger på Sjællands østkyst og strækker sig ind over dele af Amager. En række broer og en tunnel forbinder de sjællandske og amagerske bydele. København og Malmø har fra 1. juli 2000 været forbundet af Øresundsforbindelsen.

Københavns historie kan føres tilbage til omkring år 800, hvor der lå et mindre fiskerleje, hvor byens centrum nu er. Fra 1300-tallet blev byen Danmarks rigeste og mest betydningsfulde – en status som den har fastholdt lige siden. Efterhånden har byen spredt sig ud i både det åbne land og har indesluttet en række mindre landsbysamfund som fx Valby og Kongens Lyngby. I dag bor ca. 23 % af Danmarks befolkning i Københavns byområde. Efter en økonomisk nedgangstid omkring 1973-1995 har byen de sidste årtier oplevet økonomisk og kulturel fremgang og står nu stærkere både nationalt og internationalt. København er således i dag blandt Nordeuropas økonomiske centre og hjemsted for en række store internationale virksomheder som A.P. Møller-Mærsk, Carlsberg, Novo Nordisk, Danske Bank og ISS.

Selv om byen har spredt sig er der stadig helt eller delvist bevaret en række naturområder indenfor eller omkring byen som f.eks. Amager Fælled, Dyrehaven, Furesøen og Bellevue Strand ud til Øresund.

I København findes Danmarks centrale institutioner som Folketinget, kongehuset, højesteret og centraladministrationen. Byen er på trods af sin yderlige placering i Danmark nationens kulturelle og økonomiske center og et vigtigt trafikknudepunkt med Nordens største lufthavn, Danmarks største banegård og en af de største havne, samt kulturinstitutioner som Parken, Nationalmuseet, Tivoli, Glyptoteket og Operaen.

Ænes
`)


samples.set('French', `
Lorsqu'il était jeune, le corbeau aimait se promener dans les jardins. Il se perchait sur les branches des arbres, observant les fleurs et écoutant le chant des oiseaux. Un jour, il trouva une plume brillante, et depuis ce jour-là, il rêvait de voler aussi haut que les étoiles.

Mais le corbeau était un oiseau maladroit. Il essayait de voler, mais il se cognait souvent contre les murs ou les branches des arbres. Il ne perdait pas espoir, cependant. Chaque jour, il s'entraînait à battre des ailes et à prendre son envol.

Et un jour, alors qu'il était perché sur une branche, il sentit une légère brise. Il étendit ses ailes et prit son courage à deux mains. Il s'élança dans les airs, battant des ailes avec force. Et pour la première fois de sa vie, le corbeau vola !

Il plana dans le ciel, ressentant la liberté et l'excitation. Il survola les toits des maisons, les champs verdoyants et les rivières scintillantes. Il se sentait comme un véritable roi des airs.

Depuis ce jour, le corbeau était le roi du ciel. Il aimait toujours se promener dans les jardins, mais maintenant, il le faisait en volant. Et il n'oublia jamais cette plume brillante qui lui avait donné des ailes et réalisé son rêve de voler aussi haut que les étoiles.

Il rencontra de nombreux animaux dans le ciel, comme les hirondelles, les papillons, et même un hibou sage. Chaque créature avait ses propres histoires à raconter, et le corbeau apprit beaucoup de leurs aventures.

Un jour, alors qu'il planait près d'une vieille église, il rencontra une chouette majestueuse. La chouette était sage et pleine de connaissances sur les mystères du ciel et de la nature.

Elle raconta au corbeau l'histoire des étoiles et des constellations qui scintillent dans le ciel nocturne. Le corbeau était fasciné par les récits de la chouette et voulait en apprendre davantage sur les secrets du cosmos.

Grâce aux enseignements de la chouette, le corbeau devint un navigateur expert dans les vastes étendues du ciel étoilé. Il pouvait maintenant voyager de nuit et découvrir des paysages célestes éblouissants.

Le corbeau était devenu un oiseau sage et respecté, aimé de tous ceux qui le connaissaient. Il continuait de parcourir les cieux, partageant ses connaissances avec d'autres créatures et inspirant les rêveurs à poursuivre leurs aspirations les plus élevées.

Et ainsi, le corbeau continua son voyage à travers les étoiles, portant avec lui la plume brillante qui avait changé sa vie à jamais. Dans ses yeux noirs comme la nuit, on pouvait voir briller une lueur d'émerveillement, tel un univers infini dans un simple œil.

FIN

`)



samples.set('Russian', `
А Б В Г Д Е Ё Ж З И Й К Л М Н О П Р С Т У Ф Х Ц Ч Ш Щ Ъ Ы Ь Э Ю Я
а б в г д е ё ж з и й к л м н о п р с т у ф х ц ч ш щ ъ ы ь э ю я

Статья 1. Все люди рождаются свободными и равными в своём достоинстве и правах. Они наделены разумом и совестью и должны поступать в отношении друг друга в духе братства.

Статья 2. Каждый человек должен обладать всеми правами и всеми свободами, провозглашёнными настоящей Декларацией, без какого бы то ни было различия, как-то в отношении расы, цвета кожи, пола, языка, религии, политических или иных убеждений, национального или социального происхождения, имущественного, сословного или иного положения. Кроме того, не должно проводиться никакого различия на основе политического, правового или международного статуса страны или территории, к которой человек принадлежит, независимо от того, является ли эта территория независимой, подопечной, несамоуправляющейся или как-либо иначе ограниченной в своём суверенитете.

Хрюкнул ёж «Тыща», а ведь село Фершампенуаз — это центр Нагайбакского района Челябинской области.

Эх, взъярюсь, толкну флегматика: «Дал бы щец жарчайших, Пётр!»

Продолжение несуществующего сборника панграмм обойдётся всего в 549 ₽

————————

Русские любят готовить еду и угощать своих гостей.
В традиционном русском обеде три основных блюда.
Первым блюдом всегда бывает суп.
Существует много видов супа: щи, борщ, куриный бульон, суп-лапша, уха, супы гороховый и фасолевый.
На второе блюдо подаются жареное, запечённое или варёное мясо, котлеты, бифштекс, пельмени, цыплёнок, гусь, утка.
Если вы вегетарианец, для вас приготовят жареную или варёную картошку, картофельное пюре, салаты, гречневую или рисовую кашу, варёные или тушёные овощи, блины, оладьи со сметаной.
На десерт подаётся компот, чай с лимоном и сахаром, кофе чёрный или с молоком, торты, шоколад, пироги, мороженое или фрукты.

Translation:
Russians like to cook and treat their guests.
There are 3 courses in Russian traditional dinner.
For the first course they usually have soup.
There are many kinds of soup: cabbage soup, beetroot soup, chicken broth, noodle soup, fish soup, pea soup and bean soup.
The second course includes fried, roasted or boiled meat, cutlets, biefsteaks, meat dumplings, chicken, goose, duck.
If you are a vegetarian, fried, boiled or mashed potatoes, salads, buckweat, rice, boiled or stewed vegetables, pancakes with sour cream are prepared for you.
For dessert, they usually take stewed fruit, tea with lemon and sugar, white or black coffee, cakes, chocolates, pies, ice-cream or fruits.

————————
(a funny fairy tale about Lipsum and a Cyrillic alternative to Lipsum at the same time)

Далеко-далеко за словесными горами в стране гласных и согласных живут рыбные тексты. Вдали от всех живут они в буквенных домах на берегу Семантика большого языкового океана. Маленький ручеёк Даль журчит по всей стране и обеспечивает её всеми необходимыми правилами.

Эта парадигматическая страна, в которой жареные члены предложения залетают прямо в рот. Даже всемогущая пунктуация не имеет власти над рыбными текстами. Однажды одна маленькая строчка рыбного текста по имени Lorem ipsum решила выйти в большой мир грамматики.

Великий Оксмокс предупреждал её о злых запятых, диких знаках вопроса и коварных точках с запятой, но текст не дал сбить себя с толку. Он собрал семь своих заглавных букв, подпоясал инициал за пояс и пустился в дорогу.

Взобравшись на первую вершину курсивных гор, бросил он последний взгляд назад, на силуэт своего родного города Буквоград, на заголовок деревни Алфавит и на подзаголовок своего переулка Строчка. Грустный риторический вопрос скатился по его щеке, и он продолжил свой путь.

По дороге встретил текст рукопись. Она предупредила его: «В моей стране все переписывается по несколько раз. Единственное, что от меня осталось, это приставка „и“. Возвращайся ты лучше в свою безопасную страну».

Не послушавшись рукописи, наш текст продолжил свой путь. Вскоре ему повстречался коварный составитель рекламных текстов, напоивший его языком и речью и заманивший в своё агентство, которое использовало его снова и снова в своих проектах. И если его не переписали, то живёт он там до сих пор.
`)

function hexstr(uc, minWidth) {
  let s = uc.toString(16).toUpperCase()
  while (s.length < minWidth) {
    s = '0' + s
  }
  return s
}


// function codepointToString(c) {
//   if (!isFinite(c) || c < 0 || c > 0x10FFFF || Math.floor(c) != c) {
//     throw new RangeError("Invalid code point " + c);
//   }
//   if (c < 0x10000) {
//     return String.fromCharCode(c)
//   }
//   c -= 0x10000;
//   return String.fromCharCode.call([
//     (c >> 10) + 0xD800,
//     (c % 0x400) + 0xDC00
//   ])
// }

samples.set('──────────────────', null)

let glyphinfoCached = null
let glyphinfoCallbacks = null

function getGlyphInfo(cb) {
  if (glyphinfoCallbacks !== null) {
    glyphinfoCallbacks.push(cb)
    return
  }

  if (glyphinfoCached !== null) {
    window.requestAnimationFrame(() => cb(glyphinfoCached))
    return
  }

  glyphinfoCallbacks = [cb]

  console.log('fetching glyphinfo.json')
  fetch('glyphinfo.json').then(r => r.json()).then(glyphinfo => {
    console.log('loaded glyphinfo.json')
    // { "glyphs": [
    //     [name :string, isEmpty: 1|0, unicode? :string|null,
    //      unicodeName? :string, color? :string|null],
    //     ["A", 0, 65, "LATIN CAPITAL LETTER A", "#dbeaf7"],
    //     ...
    // ]}
    glyphinfoCached = glyphinfo
    cbs = glyphinfoCallbacks
    glyphinfoCallbacks = null
    for (const cb of cbs) {
      cb(glyphinfo)
    }
  })
}


const RepertoireOrderGlyphList = 'gl'
const RepertoireOrderUnicode = 'u'
let repertoireOrder = RepertoireOrderUnicode //RepertoireOrderGlyphList

samples.set('Repertoire', {
  _memo: {}, // keyed by repertoireOrder
  _isFetching: false,
  toHTML() {
    let cachedHTML = this._memo[repertoireOrder]
    if (cachedHTML) {
      return cachedHTML
    }

    getGlyphInfo(glyphinfo => {
      let html = '<div class="glyphlist">'
      let glyphs = glyphinfo.glyphs.filter(g => g[2]) // only include mapped glyphs

      if (repertoireOrder == RepertoireOrderUnicode) {
        glyphs = glyphs.sort((a, b) => parseInt(a[2],16) - parseInt(b[2],16))
      }

      for (const g of glyphs) {
        // let [name, isEmpty, uc, ucName, color] = g
        let name = g[0], isEmpty = g[1], uc = g[2], ucName = g[3], color = g[4]

        let style = ''
        if (color && color != '<derived>') {
          if (color[0] == '#') {
            color = 'rgba(' +
                    parseInt(color.substr(1,2), 16) + ',' +
                    parseInt(color.substr(3,2), 16) + ',' +
                    parseInt(color.substr(5,2), 16) + ',' +
                    '0.2)'
          }
          style += 'style="background-color:' + color + '"'
        }

        if (!ucName) {
          ucName = '[unknown]'
        }

        const title = 'U+' + uc + ' ' + ucName + ' ("' + name + '")'
        html += `<g ${style} title=\'${title}\'>
          <span class="glyph" style="font-feature-settings:normal">&#x${uc};</span>
          <span class="name">${name}</span>
        </g>`
      }

      html += '</div>'

      this._memo[repertoireOrder] = html
      if (sampleVar) {
        sampleVar.refreshValue(null)
      }
    })

    return 'fetching glyph list...'
  },
})


let combs = `ta es ar te ne an as ra la sa al si or ci na er at re ac gh ca ma is za ic ja va zi ce ze se in pa et ri en ti to me ec ol ni os on iz az st ke ka lo el de ro ve pe oz ie gi le ge fo uz us ur ag ah ad ko ez ig eg ak ga da tu ia so ul am it oc av su jo ru rt rf em li uc un io ao he yc gu iu ha og eh ho cn im ny sk aa sc ot ej ku lu nu go ju zo ok be ai ik nc je zn no od ek vy hu do co ed ky vi sl ut pr po aj ow ee mo iv ba mu ib uk ov ep om ym du bo zu cu di ev cj oi vo fa oe hh bh op ck bu ab fe rs ir rz ly il yo mi gj id ys ji ug um ob ns dz qe sn hr ap uh ea rc nt yu ae oj zj ud js fu pu cl vs gg cc hi oh zy ue zd ou ua ry zm of ub oð gl oy au ki kl hl ks yl bi ih ls lg hd zs zl gz tr ið sm ui oo að eb ty ct pi ij yz af uv lk ay rg ya vu ln dl ts ip sv up ht yr sr hm sy uy eo ei nh wa ss gd yv uj nz cs oa wg rt we zb ii if lc uu pl gr by ye sp þa fi zk ef kc yt wl sh zg wo sw hs lt yn dy ax kz zr ps mz jh ng pc cr bc yð eu hy uf lz eq jg zz ox gn ms dh oß cm th lm hq rn yj kr xa yi yk uo zt sj xe yb jc wu vc dr br tc tl my zv gs mc pt gm rl xi hc bl lb ds dn sg bt yp tn cd rd vz vr gb aß nk zc iq aq dc bs rk sb ex yh sd vn vd cv yd zw cb ml sz lp lv sf pn lr ws þo þy ix mr qu mt xo ld ll lw dm cy cp wz rb hb hn bz ch mh hj lh hz uß rm dg gw kt jz aw eð uð oq iþ rh hf mg iw kn fc iy cg vt hw wh hx gc ux cw aæ zf lj nd gt hg py tz kh nr nv vl fh tk oþ gk hk nm xh yf jl pz cf xu þu aþ nb pg yþ dk td jn fl ew gf bn þe gx nn np lf fy zp uq yg dt oæ tt zh jt kv tm ðo fs nj þi cz jd mk mn nl rr rv wi ða fn gy jr kg rp tj tp xy ði ßo æo`

let uniqueChars = new Set(combs.replace(/\s+/g, '').split(''))
combs = combs.split(/\s+/)

let _enWords = null
function getEnglishWords() {
  if (!_enWords) {
    console.log('fetching english words...')
    // words-google-10000-english-usa-no-swears.json source:
    //   https://github.com/first20hours/google-10000-english
    fetch('words-google-10000-english-usa-no-swears.json').then(r => r.json()).then(words => {
      if (_enWords) {
        return
      }
      let combIndex = new Map() // comb => Set{ combWordsHTML }
      console.log(`computing ${words.length} english words and ${words.length * combs.length} combinations...`)
      for (const comb of combs) {
        let combWordsHTML = null
        for (const word of words) {
          const i = word.indexOf(comb)
          if (i != -1) {
            if (!combWordsHTML) {
              combWordsHTML = new Map()
            }
            const head = word.substr(0, i)
            const tail = word.substr(i + comb.length)
            combWordsHTML.set(
              word,
              (head ? `<span class="de-emphasize">${head}</span>` : '') +
              comb +
              (tail ? `<span class="de-emphasize">${tail}</span>` : '')
            )
          }
        }
        if (combWordsHTML) {
          combIndex.set(comb, combWordsHTML)
        }
      }

      _enWords = {words, combIndex}
      console.log('finished fetching & computing english words.', {sampleVar})
      if (sampleVar) {
        sampleVar.refreshValue(null)
      }
    })
  }
  return _enWords
}

function getWordsWithPairs(pairs, maxWordsPerPair) {
  const wmap = getEnglishWords()
  if (!wmap) {
    return null
  }

  const wordSet = new Set()

  if (!maxWordsPerPair) {
    maxWordsPerPair = 10
  } else if (maxWordsPerPair < 1) {
    maxWordsPerPair = 1
  }

  for (const pair of pairs) {
    // s.push('(' + comb + ')')
    const words = wmap.combIndex.get(pair)
    if (words) {
      let n = 0
      for (const word of words.keys()) {
        if (!wordSet.has(word) &&
            (!word.endsWith('s') || // rough approximation for "skip plural-form dups"
             !wordSet.has(word.substr(0, word.length-1))
            )
          )
        {
          wordSet.add(word)
          ++n
          if (n > maxWordsPerPair) {
            break
          }
        }
      }
    }
  }

  // remove duplicates
  for (const word of wordSet) {
    if (word.endsWith('s') && wordSet.has(word.substr(0, word.length-1))) {
      wordSet.delete(word)
    }
  }

  return wordSet
}


samples.set('────── base combos ──────', null)


samples.set('Word mix (combo pairs)', {
  _cachedHTMLResult: null,
  toHTML() {
    if (this._cachedHTMLResult) {
      return this._cachedHTMLResult
    }

    const words = getWordsWithPairs(combs, 10)
    if (!words) {
      return '<em>loading words...</em>'
    }

    // TODO: randomize order, or maybe better to zip on
    // let combs1 = combs.filter(c => c.indexOf(ch) != -1)
    // or sometihng like that

    let s = ''
    for (const w of words) {
      s += w + ' '
    }

    return this._cachedHTMLResult = s
  },
})


for (const ch of uniqueChars) {
  let combs1 = combs.filter(c => c.indexOf(ch) != -1)

  samples.set(ch + ' – words', {
    _cachedHTMLResult: null,
    toHTML() {
      if (this._cachedHTMLResult) {
        return this._cachedHTMLResult
      }

      const words = getWordsWithPairs(combs1, 10)
      if (!words) {
        return '<em>loading words...</em>'
      }

      let s = []
      for (const w of words) {
        s.push(w)
      }

      return this._cachedHTMLResult = s.join(' ')
    },
  })

  samples.set(ch + ' – combinations + words', {
    _cachedHTMLResult: null,
    toHTML() {
      if (this._cachedHTMLResult) {
        return this._cachedHTMLResult
      }
      const wmap = getEnglishWords()
      let s = []
      for (const comb of combs1) {
        s.push(comb)
        if (wmap) {
          const words = wmap.combIndex.get(comb)
          if (words) {
            s.push('<br>')
            for (const wordHTML of words.values()) {
              s.push(wordHTML)
            }
            s.push('<br><br>')
          }
        }
      }
      let html = s.join(' ')
      if (wmap) {
        // only cache value when we have word map
        this._cachedHTMLResult = html
      }
      return html
    }
  })

  samples.set(ch + ' – combinations', {
    _cachedHTMLResult: null,
    toHTML() {
      if (this._cachedHTMLResult) {
        return this._cachedHTMLResult
      }
      let s = []
      for (const comb of combs1) {
        s.push(comb)
      }
      let html = s.join(' ')
      this._cachedHTMLResult = html
      return html
    }
  })

  samples.set(ch + ' – combinations (upper case)', {
    _cachedHTMLResult: null,
    toHTML() {
      if (this._cachedHTMLResult) {
        return this._cachedHTMLResult
      }
      let s = []
      for (const comb of combs1) {
        let p = comb.indexOf(ch)
        if (p == 0) {
          s.push(comb[0].toUpperCase() + comb[1])
        } else if (p == 1) {
          s.push(comb[0] + comb[1].toUpperCase())
        } else {
          s.push(comb)
        }
      }
      let html = s.join(' ')
      this._cachedHTMLResult = html
      return html
    }
  })
}