story-to-pack: add the corpora and the catalogue v2/v3
Fourteen corpora split and classified: aesop, bierce, chekhov, holmes, keefe, lawson, lorimer, maupassant, nobody, plaintales, poe, torchy, wallingford and winesburg, each with its splitter and the hand-written groups and pages; catalogue v2 and v3; and the shared splitters gutenberg_chunks.py, se_split.py and se_build.py. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> Claude-Session: https://claude.ai/code/session_019rwKTmug58sEsJ72AuWsEi
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# Maupassant reference set: *Original Short Stories, Volume IV*
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A hand-made comparison baseline for the story-to-pack pipeline, the fourth beside O. Henry
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(`../v2/claude/`), Wharton (`../wharton/`) and Jacobs (`../jacobs/`). Every summary, predicament,
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group and option here was written by Claude reading the scenes. **No local inference was used.**
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Compare the local-model runs against it. Do not treat it as ground truth: it is one careful reading.
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| File | What it is |
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| --- | --- |
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| `corpus/original-short-stories-vol4.txt` | Project Gutenberg #3080 plain text (public domain English translation) |
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| `split_gutenberg.py` | → `stories.json` (12 stories) and `chunks.json` (137 scenes, same 320-word paragraph rule as `../chunk.py`, tail ≥ 80) |
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| `dump.py` | `python3 dump.py A B` prints scenes A..B for reading |
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| `claude/batches/sNN.json` | per story: `{chunk, story, summary, predicament}`, the same schema as the sibling probes |
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| `claude/groups_src.py` | the groups, options and per-story protagonist standing |
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| `claude/build.py` | checks everything, then writes `claude/records.json` and `claude/groups.json` |
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| `claude/page.py` | → `claude/REFERENCE.html`, the readable page |
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Rebuild: `python3 split_gutenberg.py && cd claude && python3 build.py && python3 page.py`.
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## Splitting
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Titles are matched on the flush-left body headers after the indented contents block. Two body
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headers differ from their contents entry, `THE TRIP OF LE HORLA` and `FAREWELL!`, and are mapped
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explicitly. `PART I`-`PART V` headings (*The Story of a Farm Girl*) and one bracketed editorial note
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(the *Horla* piece's first-publication line) are dropped. The tail rule drops two closing
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paragraphs, as it would anywhere: *The Marquis de Fumerol* loses its 21-word frame close ("the story
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of all conversions in extremis") and *The Trip of the Horla* its 76-word thanks to the pilot.
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## What is in it
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- **137 predicaments**: one sentence each (median 20 words, min 16, max 24), written to the
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`redescribe.py` rules: no names, jobs, places or story-only objects. The `topic_words` leak check
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flags 52 of 137. Four are false positives by sense ("judge" as a verb, "room" as space, "party"
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as a group of travellers). Five use "house". The rest are role words, kept on purpose because the
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design's cast is roles: servant and employer (15 and 10, nearly all *The Story of a Farm Girl* and
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*The Gamekeeper*, where the servant-employer tie *is* the predicament), husband and wife, lover,
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rival, guest, visitor, owner.
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- **13 groups**, each a situation that recurs in **two or more stories** (11 of the 13 reach three
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or four). Each scene sits in at most one group: 92 are assigned and 45 fit nothing that recurs.
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Under the catalogue's single recurrence rule (`../catalogue/recurrence.log`: at least 5 scenes, 3
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stories, no story over 50%) only 4 survive: G02, G04, G06 and G11. Eight groups have one story
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supplying more than half their scenes.
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- Unassigned scenes are concentrated where the corpus is not narrative: 10 of the 14 scenes of
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*The Trip of the Horla* (balloon reportage), and scene-setting frames at the start of *The
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Gamekeeper*, *The Wreck* and *The Wolf*.
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## Options
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3 to 5 per group, 61 in all. 52 come from what someone in a scene did (`scene:N`), 5 are archetypes
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and 4 fill gaps. **5 scene options cite a scene outside their own group** (87, 68, 26, 15, 129). Each
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is the scene next to or near a member in the same story, where the character acts on the
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predicament: the same pattern the Wharton reference found. `groups.json` marks each one
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`in_group: false`.
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## Moves
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Spine paths with a direction only (`+`, `-`, `risk`, `set`). There are no magnitudes, as the design
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requires. Skill labels proposed for this corpus: **`pride`** and **`shrewdness`**.
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- `pride` is self-regard and the wish to be seen well. The corpus turns on it more than on daring:
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the clerk's wife who would rather stay home than look poor, the carpenter who must kneel to his
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rival, the lover who writes yearly and never says what matters. Many options move it *down*
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(bowing, going as you are, owning up), which Jacobs' `nerve` rarely did.
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- `shrewdness` is peasant and petty-official calculation: announcing a death early to save a day's
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work, a half-truth sworn to a suspicious master, a small lie to stall a lender. It replaces
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Jacobs' `cunning`, which read as plotting; here the calculation is small, habitual and
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self-deceiving.
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## Stage
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Stage comes from protagonist standing, judged **per story, not per scene**, recorded in `STANDING`
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in `groups_src.py`: four stories low (the peasant and servant stories and *The Inn*), six middle,
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two high (*The Marquis de Fumerol*, *The Wolf*). *The Gamekeeper* is told by a landowner but its
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predicaments are the old servant's, so it ranks low. Groups split 4 low, 7 middle, 2 high.
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## How this corpus sits against the 36-entry catalogue
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The brief was sharper, not duplicate, territory beside Wharton's high-society scheming. Six groups
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have no entry close to them, six are a sharper cut of an existing entry, and one mostly repeats one.
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**New situation types (nothing in the catalogue like them):**
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- **G03 A relative's death, counted as a cost.** A dying relative is weighed in lost working days
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(*The Moribund*) or in damage to the family's political name (*The Marquis de Fumerol*). The
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catalogue has no event where the pressure is a relative's dying.
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- **G05 Called to account.** Examined by someone whose judgement you need, you present yourself
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better than the facts allow: the carpenter who is honest except for padded bills, the soldier who
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denies the debts. This is self-justification, not being caught (`caught_out`) or confessing
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(`owning_up`).
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- **G07 Meeting someone time has changed.** A reunion where one side no longer recognises the
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other: the friend who takes the aged clerk's wife for a stranger, the idealised woman turned
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stout mother, the young caretaker gone white-haired. Nearest are `homecoming` and
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`past_comes_back`, but neither is about the shock of change.
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- **G10 Passion past the point of caution.** Rage or obsession about to do what cannot be undone:
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the shamed boy's arson, the keeper's shot, the hunter strangling the wolf. The catalogue has no
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revenge or rage event.
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- **G11 Danger closing in, and others depend on you.** A shared physical peril where others look to
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you: whether to tell them, how to keep their spirits up, whether to go out alone. `dread` is
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private fear; this is responsibility.
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- **G13 Haunted by someone you failed.** Guilt that has begun to feel like punishment: the survivor
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who stopped searching, the barren wife who blames an old sin.
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**Sharper cuts of existing entries:**
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- **G01 Keeping up appearances before people who matter**, from `pretence`, `overlooked` and
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`station`. It is not pretending to be someone else. It is dreading being seen as what you are,
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and paying real money not to be. This is what *The Diamond Necklace* gives. It is the same story
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as the famous "The Necklace", in another translation. Its borrowing and its ball (73-76) are the
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core members.
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- **G02 A cover-up that costs more than the truth**, from `hiding_from_close` and `your_scheme`.
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The new element is escalation out of all proportion to the cause. A day's work saved leads to
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bribed officials and mourners at a living man's bedside. A lost necklace leads to ten years of
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debt. A hidden child leads to a forced marriage.
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- **G04 Bowing to the one who holds your living**, from `strings`, `compromise_for_money` and
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`power_over_you`. The price is not a wrong act but self-abasement before someone you despise or
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have mocked: the atheist's public communion, the rake's endured sermons, the servant's coerced
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marriage. This is where the corpus's rural hardship exploited by the more powerful sits.
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- **G06 Taking the common for the fine, or the fine for the common**, from `pretence`,
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`wrongly_judged` and `station`. It covers low standing mistaken for high and the reverse: the
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inspector taken for the ship's owner, the soldier who takes a judge's salon for a brothel, the
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paste necklace, the shunned uncle who proves dignified. The class resentment the brief asked
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about surfaces here (71: the soldier gloating at a chance to blackmail his respectable
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brother-in-law) rather than as a group of its own. Tried as a separate "resentment expressed
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sideways" group, it held only 3 scenes whose predicaments were about something else, so it was
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dropped rather than forced.
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- **G08 Parted for a long season from someone you love**, from `unspoken` and `homecoming`, with
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separation rather than silence as the pressure. A mother parted from her child is in it as well
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as lovers.
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- **G12 Alone too long**, from `dread`. The fear comes from isolation, not from a threat.
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**Mostly a duplicate:** **G09 Suddenly smitten** is courtship, close to `unspoken`, and only two
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stories.
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## How this corpus differs
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It is small: 12 stories and 137 scenes, against Jacobs' 157. Its registers are mixed. Six stories
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are the social irony the brief was after (*The Moribund*, *The Story of a Farm Girl*, *Theodule
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Sabot's Confession*, *The Wrong House*, *The Diamond Necklace*, *The Marquis de Fumerol*). Three are
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frame-told hunting or disaster tales (*The Gamekeeper*, *The Wreck*, *The Wolf*), one is Alpine
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horror (*The Inn*), and one is a reverie on age (*Farewell*). *The Trip of the Horla* is not the
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horror novella of that name: it is reportage of a balloon flight in a craft named *Le Horla*, with
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almost no predicament. Most of the social-irony material lands in G01-G06. The survival and horror
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stories supply G10-G13, which is why the new-type list leans toward rage, peril and guilt as much as
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vanity.
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