Repository path: workshop/canon/max-havelaar-i-b/manifest.md · rendered 2026-09-09

Source manifest — Max Havelaar, chapter I, body paragraphs 7–9

Not a canon member. A source text fetched for one unit (E-20260805d-persona-two-ways, S112) and frozen before a word of it was translated. It is the second, disjoint extent taken from this chapter; the first (workshop/canon/max-havelaar-i/, body paragraphs 1–4, 716 words, S077) is untouched by this run and none of it is retranslated here.

Bibliographic

• Work: Max Havelaar, of de koffiveilingen der Nederlandsche Handelmaatschappy
• Author: Multatuli (Eduard Douwes Dekker, 1820–1887)
• First publication: 1860. The Gutenberg text is a later authorial edition carrying Multatuli's own orthography (y for ij, koffi, zoo, myn), preserved here unmodernised.
• Public domain: author died 1887.
• Language: Dutch. The project's sixteenth source language, used a second time.

Retrieval

• Source: Project Gutenberg ebook #11024, https://www.gutenberg.org/cache/epub/11024/pg11024.txt, fetched 2026-08-05, UTF-8.
• Extent frozen here: chapter I (EERSTE HOOFDSTUK), body paragraphs 7, 8 and 9 — from «En niet alleen die verzen lokken de jeugd tot onwaarheid…» to «…met ons dertienen, en er ging wat om!». 521 words, 2,980 characters. sha256(source.txt without trailing newline) = 2d9e3500e8dabb0158b81a9b1eace700d84e95f6822a13665cae506725974527
• Extraction: the fetched text was split on blank lines between the EERSTE HOOFDSTUK and TWEEDE HOOFDSTUK headings, intra-paragraph newlines collapsed, and elements 7–9 of the resulting list written out. The script printed word counts and 70-character prefixes; nothing was edited.
• Why this extent. It is the longest continuous stretch of chapter I that is a single movement — Droogstoppel on the theatre — with a clean boundary at each end (¶6 is the verse digression, ¶10 opens "En nog meer leugens op het tooneel"). ¶9 closes on his own marriage, which is the passage's best single exhibit of the narrator taking himself as the measure of the world.
• Transcriber's emphasis convention: underscores mark the original's italics, as in the first extent. Two occur here (tooneel, wereld, ik). They are kept as they stand.

Comparator — reachable, extracted, and not opened

• Baron Alphonse Nahuÿs, Max Havelaar; or, the coffee auctions of the Dutch trading company (Edinburgh: Edmonston & Douglas, 1868) — Project Gutenberg ebook #70128, fetched 2026-08-05.
• The whole of the translation's chapter I was extracted mechanically to workshop/experiments/E-20260805d-persona-two-ways/materials/comparator_nahuys_ch1.txt (2,105 words, sha256 1ef68b8c8e38ada697e72a377a72c755267177a06587180bc47391e97afce32c). Its paragraphing is coarser than the Dutch (9 paragraphs against 18), so a paragraph-aligned extent cannot be cut cleanly; the whole chapter is used as the comparator, which makes every overlap count an upper bound.
• No line of it was displayed to the translator before both renderings and both logs were frozen.

Contamination — the selection gate, measured before the material was chosen

CLAUDE.md's standing rule requires the measurement to precede the design, as a selection gate. The measurement that gated this selection already existed and is on this work, this translator and this comparator: T-max-havelaar-i-R07-v1 (S077, 796 lead words of chapter I ¶1–4 against 924 words of Nahuÿs) returned 66 shared 7-grams, 13 shared 12-grams, 0 excluding names, longest common run 17 tokens, declared suspected. The material was taken on that figure, and on the fact that all thirteen 12-grams vanished under name exclusion.

What the design's validity does and does not turn on. No published rendering enters this experiment: every text a seat reads is either the Dutch source or one of three English texts produced inside the run. The design's validity therefore does not turn on independence from Nahuÿs, and CLAUDE.md's constraint on the lead as independent third translator is not engaged. Contamination is nonetheless measured on the new extent after the freeze and reported on both translation artifacts, because a memorised phrase could make one rendering apt for a reason the design would otherwise credit to the persona specification.