Hi,
I am have used search:search() on the sample xml file given below.I searched
for the word "Tourist".In the <search:responce>matches found only in
<title>,< AbstractText> tag, not the <review> tag.
What is the reason for this result? Why all the matches are not listed in
<search:match> tag?
Even I have tried the same search with/without fragment root "author" I am not
getting all the matches.
*Note:I tried the same by reducing the <Review> tag content to two lines then
I am getting it in <search:match>.Is content size is the key point here?
Xquery:
let $options := <options xmlns="http://marklogic.com/appservices/search";>
<searchable-expression xmlns:xh="http://www.w3.org/1999/xhtml";>
//(author| MedlineCitation)
</searchable-expression>
</options>
return search:search("Tourist",$options)
Search result :
- <search:response
total="1"start="1"page-length="10"xmlns:search="http://marklogic.com/appservices/search";>
- <search:result
index="1"uri="/Book1.xml"path="doc("/Book1.xml")/library/author"score="784"confidence="0.806436"fitness="0.939024">
- <search:snippet>
- <search:match path="doc("/Book1.xml")/library/author/book/title">
The
<search:highlight>tourist</search:highlight>
</search:match>
</search:snippet>
</search:result>
<search:qtext>Tourist</search:qtext>
- <search:metrics>
<search:query-resolution-time>PT0.156S</search:query-resolution-time>
Sample content :
<?xml version="1.0" ?>
<library>
<author name="Olen Steinhauer">
<book>
<title>The tourist</title>
<year>2009</year>
<Publication>Macmillon</Publication>
<AbstractText>The Tourist is a spy novel that begins on Sept. 10,
2001</AbstractText>
<Review>The Tourist is a spy novel that begins on Sept. 10, 2001, with an
elaborately engineered prologue that culminates in a violent confrontation in
Venice. The next section of the book takes place in July 2007. The Tourist has
jumped to Blackdale, Tenn., and to a new chapter in the life of its title
character, Milo Weaver.
From these facts you might assume that this narrative has moved forward in
simple chronological order. The Tourist would like you to know that you would
not make a very good spy. Why? Because Olen Steinhauer’s narrative is so
carefully larded with lies of omission that there are aspects of the Venice
scene that will not be noticed, much less examined, until we are much more
deeply immersed in this trickily convoluted novel. Mr. Steinhauer’s book also
operates on the principle that this story’s secrets can be coaxed forth only
indirectly because it’s a known fact that no decent intelligence operative
believes anything he’s told.
The lazy writer of espionage plots need only concoct a world-weary agent and
then send him through a string of perilous escapades. Mr. Steinhauer does
something much more interesting. Rather than merely describe Milo Weaver’s
dizzying exploits, he replicates them; he immerses his reader in the same kind
of uncertainty that Milo faces at every turn.So characters in The Tourist have
multiple names, opaque motives, deceptive marching orders and vast capacities
for duplicity. Incidentally there is a film version in the works, with George
Clooney, for anyone who found Syriana too easy to understand.But one of the
most diabolical aspects of The Tourist is its illusion of complexity,
especially in the first half of the story. While struggling with its opening
sections, have faith that Mr. Steinhauer is headed for much more basic,
elemental drama. That drama is character driven by the book’s artfully
constructed Milo, a man about whom we will learn a great
deal before The Tourist is over.
</Review>
</book>
</author>
</library>
Regards,
Mano
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