,,transcriber',s ,,note ,this was a reference book for typesetters and proofreaders at the ,university ,press1 ,oxford4 ,while primarily covering ,english words and grammar1 it also addresses ,french1 ,german1 ,latin and ,greek text in ,,up books4 ,this etext simplifies the original text by using common ,unicode characters1 so that a wide variety of display devices will present a more readable book to readers4 ,a few less common characters remain1 and some devices may not display them correctly4 ,footnote anchors are denoted by number1 and the footnotes have been placed at the end of each major section4 ,many footnotes have more than one anchor2 in these cases the second and third anchors have been denoted by number4 ,in this etext italic text is denoted by underscores4 ,a superscript is denoted by x or xx1 for example ye or ,c#aj;,h#ab4 ,a subscript is denoted by x1 for example ,p#a4 ,the original book had many ,german words and phrases in ,fraktur 7blackletter7 font1 primarily in ,appendix ,,iii4 ,this etext has replaced each ,fraktur letter with the corresponding roman letter1 and the ,fraktur text string is denoted by equalsigns4 ,appendix ,,iii addresses printing of ,german ,fraktur text4 ,there are many digraphs 7a pair of letters printed as one type-letter7 in the ,fraktur text in the original book4 ,they are shown in this etext as a pair of letters in roman1 for example ch1 ck1 ff1 1 t1 z4 ,the printed long-s character1 1 has been retained and not changed to the modern short s character4 ,in the original book a ,fraktur word-division was indicated by an 7for example anfangen72 in this etext a tilde is used instead 7anfangen74 ,page #ih shows a page of printed text with dozens of handwritten proofreading correction marks and notes4 ,these are not reproduced in this etext1 but can be seen in the web and ereader versions of this book4 ,page #ii has the corrected version of that marked-up text4 ,,rules ,,for ,,compositors ,,and ,,readers ,,at ,,the ,,university ,,press1 ,,oxford ,,by ,,horace ,,hart1 ,m4,a4 ,,printer ,,to ,,the ,,university ,,of ,,oxford ,,the ,,english ,,spellings ,,revised ,,by ,,sir ,,james ,a4 ,h4 ,,murray1 ,m4,a41 ,d4,c4,l41 ,,ll4,d41 ,d4,,litt4 ,,and ,,henry ,,bradley1 ,m4,a41 ,,ph4,d4 ,,editors ,,of ,,the ,,oxford ,,dictionary ,,twenty-,,second ,,edition 7,,the ,,eighth ,,for ,,publication7 ,,london ,,henry ,,frowde1 ,,amen ,,corner1 ,e4,c4 ,,oxford3 #aaf ,,high ,,street #aiab ,these ,rules apply generally1 and they are only to be departed from when the written instructions which accompany copy for a new book contain an express direction that they are not to be followed in certain specified cases4 ,illustration3 7light bulb2 end of section marker7 ,first ,edition1 ,april #ahic4 ,reprinted1 ,dec4 #ahid4 ,reprinted with alterations-- ,jan4 #ahie2 ,feb4 #ahie2 ,jan4 #ahif2 ,july #ahig2 ,sept4 #ahih2 ,april #ahii2 ,aug4 #ahii2 ,jan4 #aija2 ,feb4 #aija2 ,jan4 #aijb2 ,march #aijb2 ,may #aijc4 ,fifteenth ,edition1 revised and enlarged the first for publication ,march #aijd4 ,sixteenth ,edition1 ,april #aijd4 ,seventeenth ,edition1 ,april #aijd4 ,eighteenth ,edition1 revised and enlarged ,july #aijd4 ,nineteenth ,edition1 ,july #aije4 ,twentieth ,edition1 ,july #aijg4 ,twenty-first ,edition1 ,january #aiji4 ,twenty-second ,edition1 ,january #aiab4 ,,preface ,it is quite clearly set out on the title-page in previous editions of these ,rules and ,examples1 that they were intended especially for ,compositors and ,readers at the ,clarendon ,press4 ,consequently it seems necessary to explain why an edition or impression is now offered to so much of the ,general ,public as is interested in the technicalities of ,typography1 or wishes to be guided to a choice amidst alternative spellings4 ,on the production of the ,first ,edition at the ,oxford ,press1 copies were placed at the disposal of all ,readers1 ,compositors1 and ,compositor-apprentices2 and other copies found their way into the possession of ,authors and ,editors of books then in the printers' hands4 ,subsequently1 friends of authors1 and readers and compositors in other printing-offices1 began to ask for copies1 which were always supplied without charge4 ,by and by applications for copies were received from persons who had no absolute claim to be supplied gratuitously2 but as many of such requests came from ,officials of the ,king's ,government at ,home1 in the ,colonies1 and in ,india1 it was thought advisable1 on the whole1 to continue the practice of presentation4 ,recently1 however1 it became known that copies of the booklet were on sale in ,london4 ,a correspondent wrote that he had just bought a copy #8at the ,stores'2 and as it seems more than complaisant to provide gratuitously what may afterwards be sold for profit1 there is no alternative but to publish this little book4 ,as to the origin and progress of the work1 it was begun in #ahfd1 when the compiler was a member of the ,london ,association of ,correctors of the ,press4 ,with the assistance of a small band of fellow members employed in the same printing-office as himself1 a first list of examples was drawn up1 to furnish a working basis4 ,fate so ordained that1 in course of years1 the writer became in succession general manager of three ,london printing-houses4 ,in each of these institutions additions were made to his selected list of words1 which1 in this way1 gradually expanded--embodying what compositors term #8the ,rule of the ,house'4 ,in #ahhc1 as ,controller of the ,oxford ,press1 the compiler began afresh the work of adaptation2 but pressure of other duties deferred its completion nearly ten years1 for the first edition is dated #ahic4 ,even at that date the book lacked the seal of final approval1 being only part of a system of printing-office management4 ,in due course1 ,sir ,j4 ,a4 ,h4 ,,murray and ,dr4 ,,henry ,,bradley1 editors of the ,oxford ,dictionary1 were kind enough to revise and approve all the ,english spellings4 ,bearing the stamp of their sanction1 the booklet has an authority which it could not otherwise have claimed4 ,to later editions ,professor ,,robinson ,,ellis and ,mr4 ,h4 ,,stuart ,,jones contributed two appendices1 containing instructions for the ,division of ,words in ,latin and ,greek2 and the section on the ,german ,language was revised by ,dr4 ,,karl ,,breul1 ,reader in ,germanic in the ,university of ,cambridge4 99 99 99 99 99 ,the present issue is characterized by many additions and some rearrangement4 ,the compiler has encouraged the proofreaders of the ,university ,press from time to time to keep memoranda of troublesome words in frequent--or indeed in occasional--use1 not recorded in previous issues of the #8,rules'1 and to make notes of the mode of printing them which is decided on4 ,as each edition of the book becomes exhausted such words are reconsidered1 and their approved form finally incorporated into the pages of the forthcoming edition4 ,the same remark applies to new words which appear unexpectedly1 like new planets1 and take their place in what ,sir ,,james ,,murray calls the #8,world of ,words'4 ,such instances as air-man1 sabotage1 stepney-wheel1 will occur to every newspaper reader4 ,lastly1 it ought to be added that in one or two cases1 a particular way of spelling a word or punctuating a sentence has been changed4 ,this does not generally mean that an error has been discovered in the #8,rules'2 but rather that the fashion has altered1 and that it is necessary to guide the compositor accordingly4 ,h4 ,h4 ,january #aiab4 ,illustration3 7light bulb7 ,,contents ,page ,,some ,,words ,,ending ,,in -,,able #i ,,some ,,words ,,ending ,,in -,,ible #aa ,,some ,,words ,,ending ,,in -,,ise ,,or -,,ize #ab ,,some ,,alternative ,,or ,,difficult ,,spellings1 ,,arranged ,,in ,,alphabetical ,,order #ae ,,some ,,words ,,ending ,,in -,,ment #bd ,,hyphened ,,and ,,non-,,hyphened ,,words #be ,,doubling ,,consonants ,,with ,,suffixes #bi ,,formation ,,of ,,plurals ,,in ,,words ,,of ,,foreign ,,origin #ca ,,errata1 ,,erratum #cc ,,plurals ,,of ,,nouns ,,ending ,,in -,o #cd ,,foreign ,,words ,,and ,,phrases1 ,,when ,,to ,,be ,,set ,,in ,,roman ,,and ,,when ,,in ,,italic #ce ,,spellings ,,of ,,fifteenth ,,to ,,seventeenth ,,century ,,writers #ch ,,phonetic ,,spellings #ch ,a ,,or ,,an #ci ,o ,,and ,,oh #ci ,,nor ,,and ,,or #dj ,,vowel-,,ligatures 7 ,,and 7 #da ,,contractions #da ,,poetry3 ,,words ,,ending ,,in -,,ed1 -,d1 ,c4 #de ,,capital ,,letters #df ,,lower-,,case ,,initials #dg ,,small ,,capitals #dg ,,special ,,signs ,,or ,,symbols #dh ,,spacing #di ,,italic ,,type #ej ,,references ,,to ,,authorities #eb ,,division ,,of ,,words--,,english1 ,,italian1 ,,portuguese1 ,,and ,,spanish #ec ,,punctuation #ee ,,figures ,,and ,,numerals #fh ,,appendix ,i ,,possessive ,,case ,,of ,,proper ,,names #ga ,,by ,,sir ,j4 ,a4 ,h4 ,,murray ,,appendix ,,ii ,,works ,,in ,,the ,,french ,,language #gc ,,appendix ,,iii ,,works ,,in ,,the ,,german ,,language #hh ,,appendix ,,iv ,,division ,,of ,,latin ,,words #ie ,,by ,,prof4 ,,robinson ,,ellis ,,appendix ,v ,,division ,,of ,,greek ,,words #ig ,,by ,,mr4 ,h4 ,,stuart ,,jones ,,marks ,,used ,,in ,,the ,,correction ,,of ,,proofs #ih ,,some ,,english ,,names ,,of ,,types #ajj ,,general ,,index #ajc ,illustration3 7light bulb7 ,,rules ,,for ,,setting ,,up ,,english ,,works#a ,,some ,,words ,,ending ,,in -,,able ,words ending in silent e generally lose the e when -able is added1 as-- adorable arguable desirable excusable indispensable leisurable ,but this rule is open to exceptions upon which authorities are not agreed4 ,the following spellings are in ,the ,oxford ,dictionary1 and must be followed3 advisable analysable ascribable atonable baptizable believable blameable bribable chaseable confinable conversable creatable datable debatable defamable definable delineable dilatable dissolvable drivable endorsable evadable excisable exercisable finable forgivable framable giveable hireable immovable improvable indispensable inflatable irreconcilable lapsable likeable linable liveable losable lovable malleable movable nameable overcomable palatable partakable pleasable provable rateable rebukeable receivable reconcilable removable saleable solvable tameable tuneable unmistakable ,if -able is preceded by ce or ge1 the e should be retained1 to preserve the soft sound of c or g1 as-- bridgeable changeable chargeable knowledgeable lodgeable manageable noticeable peaceable pledgeable serviceable ,words ending in double ee retain both letters1 as--agreeable4 ,in words of ,english formation1 a final consonant is usually doubled before -able1 as-- admittable biddable clubbable conferrable deferrable forgettable gettable incurrable rebuttable regrettable#b ,,footnotes3 #a ,at ,oxford especially1 it must always be remembered that the ,bible has a spelling of its own2 and that in ,bible and ,prayer ,book printing the ,oxford standards are to be exactly followed4--,h4 ,h4 #b ,for an authoritative statement on the whole subject see ,the ,oxford ,dictionary1 ,vol4 ,i1 p4 #iaj1 art4 -ble4 ,,some ,,words ,,ending ,,in -,,ible ,the principle underlying the difference between words ending in -able and those ending in -ible is thus stated by ,the ,oxford ,english ,dictionary 7s4v4 -ble73 #8,in ,english there is a prevalent feeling for retaining -ible wherever there was or might be a ,latin -ibilis1 while -able is used for words of distinctly ,french or ,english origin4' ,the following are examples of words ending in -ible3 accessible addible adducible admissible audible avertible collapsible comprehensible controvertible credible discernible discerpible edible eligible existible expressible extendible feasible fencible flexible forcible incomprehensible incorruptible incredible indefeasible indefensible indelible indestructible indigestible intangible intelligible irresistible legible negligible ostensible permissible persuasible plausible producible reducible remissible reprehensible reversible tangible vendible visible ,,some ,,words ,,ending ,,in -,,ise or -,,ize ,the following spellings are those adopted for ,the ,oxford ,dictionary3 actualize advertise advise affranchise aggrandize agonize alcoholize alkalize anathematize anatomize anglicize apologize apostrophize apprise 7to inform7 apprize 7to appraise7 authorize baptize brutalize canonize capitalize capsize carbonize catechize categorize catholicize cauterize centralize characterize chastise christianize cicatrize circumcise civilize collodionize colonize communize comprise compromise contrariwise conventionalize corporealize criticize crystallize demise demoralize deodorize desilverize despise devise discolorize disfranchise disguise disorganize dogmatize dualize economize emphasize emprise enfranchise enterprise epigrammatize epitomize equalize eternize etherealize etymologize eulogize euphonize evangelize excise exercise exorcize experimentalize extemporize familiarize feminize fertilize formalize fossilize franchise fraternize gallicize galvanize generalize germanize gormandize gothicize graecize harmonize hebraize hellenize hibernize humanize hydrogenize hypnotize idealize idolize immortalize improvise incise italicize jacobinize japanize jeopardize kyanize laicize latinize legalize legitimatize liberalize localize macadamize magnetize mainprize manumise materialize memorialize memorize merchandise mesmerize methodize minimize misadvise mobilize modernize monetize monopolize moralize nasalize nationalize naturalize neutralize neologize normalize organize ostracize oxidize ozonize paganize particularize patronize pauperize penalize philosophize plagiarize pluralize polarize popularize premise prise up 7to7 prize 7a7 pulverize rationalize realize recognize reorganize reprise revolutionize rhapsodize romanize satirize scandalize scrutinize secularize seise 7in law7 seize 7to grasp7 sensitize signalize silverize solemnize soliloquize specialize spiritualize sterilize stigmatize subsidize summarize supervise surmise surprise syllogize symbolize sympathize syndicalize synthesize systematize tantalize temporize terrorize theorize tranquillize tyrannize utilize ventriloquize victimize villanize visualize vitalize vocalize vulgarize ,illustration3 7light bulb7 ,,some ,,alternative ,,or ,,difficult ,,spellings ,,more ,,or ,,less ,,in ,,daily ,,use1 ,,arranged ,,in ,,alphabetical ,,order ,,for ,,easy ,,reference abetter abettor 7law7 accepter 7-or in law7 adaptable adapter addorsed adjutants-general#c pl4 adjudgement admonitor aerate aerial aerie aeronaut aeroplane aetiological1 -logist aetiology ageing aides-de-camp#c pl4 aline1 -ment#d allineation almanac#e ambidexterity analyse aneurysm ankle apanage apophthegm apostasy apparelled archetype archidiaconal arcking#f armful artisan ascendancy1 -ant assessable aught 7anything7 automobile aweing awesome axe#g ay 7always7 aye 7yes--#8the ayes have it'7 bandoleer banns banyan ,barbadoes bark 7ship7 basin basses 7pl47 battalion befall beldam bethrall blouse bluish bodice bogie 7a truck7 bogy 7apparition7 bothy brand-new brier brooch 7ornament7 browse bryony bulrush buncombe by and by by-election by-lane by-law byname bypath by-play by-plot by-product by-street by the by by-way byword caddis calendar calligraphy calliper caltrop camlet camomile canst canvas 7cloth7 canvass 7political7 carcass carriable cartography catarrhine cat's-paw cauldron 7a vessel7 caulk celluloid censer 7a vessel7 censor 7an official7 centigram centipede chaldron 7measure7 chalet chant chaperon cheque 7on a bank7 chequered 7career7 chestnut chillness chock-full choroid cider cipher clangor clarinet clench 7fists7 clerestory clinch 7argument7 clinometer cloak 7not cloke7 clue 7but clew for part of a sail7 coalesce coco-nut cognizance colander coloration colourist commonplace confidante 7fem47 conjurer conjuror 7law7 connexion connivence conscience' sake consensus contemporary conterminous contestor cony copier corrupter corslet corvette cosy cotillion cottar couldst couldn't coulter courts martial 7pl47 cousins-german 7pl47 craftsman crenellate crosier curtsy cyst debarkation debonair decrepit deflexion demeanour dependant 7noun7 dependence dependent 7adj47 desiccate detector develop1 -ment devest 7law7 dexterously diaeresis#h dialyse dike dinghy discoloration discolour disk dispatch 7not despatch7 distension distil disyllable doggerel doily ,domesday ,book dote draft 7prepare7 draftsman 7one who drafts documents7 draught-board draughtsman 7one who makes drawings7 draughtsmen 7in game of draughts7 dryly dullness duress dyeing 7cloth7 ecstasy eloin1 -ment embargo embarkation embassage embed embroil empanel encase enclasp enclose encrust endorse enroll enrolment ensconce ensure 7make safe7 enthral entreat entrench1 -ment entrust envelop 7verb7 envelope 7noun7 erector ethereal exorrhizal expense faecal faeces faggot fantasy favour feldspar fetid filigree finicking fledgeling fleurs-de-lis 7pl47 floatage floatation fluky flyer foetal foetus fogy1 pl4 -ies forbade foregone 7gone before7 foretell forgather forgo#i forme 7printer's7 fount 7of type7 frenzy frowzy fuchsia fulfil fullness fusilier fusillade gage 7a pledge7 gaily gauge 7a measure7 genuflexion gewgaw gibe gillie gimlet gipsy goodness' sake gourmand gramme grammetre gramophone grandam granddaughter granter 7one who grants7 grantor 7in law3 one who makes a grant7 grey grisly 7terrible7 grizzly 7grey7 grizzly bear gruesome guerrilla gullible hadst haematite haematology haemorrhage haemorrhoids ha6 ha6 7laughter7 ha-ha 7a fence7 hairbreadth halberd hallo handful handiwork hare-brained hauler haulm havoc hearken hectogram hectolitre hectometre he'll 7no space7 honour horehound hornblende horsy humorist humorous humour1 -less hyena hypotenuse icing ,i'd1 ,i'll 7no space7 idiosyncrasy idolater impermeable inferable inflexion innocuous inoculate inquire1 -quiry#aj install instalment instil insure 7in a society7 ,inverness-shire1 c4 inweave ipecacuanha jail jam1 v4 7not jamb7 jamb 7noun7 janizary jewellery jews' harp and jews' harps judgeship jugful kilogram kilogrammetre kilolitre kilometre kilowatt kinematograph kleptomania knick-knack lachrymal lachrymose lackey lacquer lamb's-wool lantern largess lateish latten laverock leaf-mould lettuce licence 7noun7 license 7verb7 licensee lich-gate lineament ,linnaean#aa linsey-woolsey liny liquefy liquorice litre loadstone loath 7adj47 loathe 7verb7 lodestar lour 7frown7 macintosh maelstrom maharaja mamma mandolin manikin manyplies marquess mattress mayst mediaeval men-of-war#ab 7pl47 metamorphose mightst mileage millennium millepede milligram millimetre miscall misdemeanour misspelling mistletoe mizen1 -mast moccasin ,mohammedan mollusc moneyed moneys mould1 -ing 7v4 n47 naught 7nothing7 negotiate net 7profits7 newsvendor novitiate nursling octet omelet oneself orangeade orgy osculatory osier ought 7cipher7 ouzel overalls oyez6 ozone pannikin parakeet parallelepiped paralyse parsnip parti-coloured partisan party-wall pasha pastille paten pavilion paviour pedagogy pedlar peewit pendant peony petrify picnicking plaguy pomace poniard portray postilion posy pot 7size of paper7 potato1 pl4 -es practice 7noun7 practise 7verb7 prehistoric premises 7no sing41 conveyancing7 premiss1 premisses 7logic7 primaeval printer's error1 but printers' errors#ac programme proletariate prophecy 7noun7 prophesy 7verb7 pundit pupilage putrefy pyjamas quartet quinine quinsy quintet racket 7bat7 rackets 7game7 racoon radical 7chemistry7 radicle 7botany7 radium 7small r7 ragi 7grain7 raja rarefaction rarefy rase 7to erase7 raze 7to the ground7 react rearward recall recompense 7v4 n47 recompose referable refill reflection#ad rhyme 7verse7#ae ribbon rigorous rigors 7in med47 rigour rime 7hoar-frost7 rodomontade rout 7verb7 secrecy sergeant 7military7 serjeant 7law7 ,shakespeare#af ,shakespearian1 -iana she'll 7no space7 shouldst show 7v4 n47 shrillness sibyl sibylline siliceous singeing siphon siren skilful skilless slyly sons-in-law 7pl47 spadeful sphinx sponge spoonful stanch stationary 7standing still7 stationery 7paper7 steadfast stillness story 7of a house7 stupefy suggester swingeing 7blow7 sycamore#ag sylvan syndicalism synonymous syrup tallness#ah tease tenor thyme 7herb7 tire 7of a wheel7#ai tiro toboggan1 -ing toilet tranquillity transcendent transferable tranship1 -ment transplendent trousers ,tuileries tumour unmistakably vender 7as generally used7 vendor 7in law7 vermilion villany visor wabble wagon weasand we'll 7no space7 whilom whisky whitish wilful woe1 woful wooed1 woos wouldst zoogloea ,illustration3 7light bulb7 ,,footnotes3 #c ,compound words of this class form their plurals by a change in the first word4--,h4 ,h4 #d #8,the ,eng4 form alinement is preferable to alignment1 a bad spelling of the ,french4'--,o4,e4,d4 #e ,but the k is retained in ,the ,oxford ,almanack1 following the first publication in #afgd4--;,h4 ,h4 #f #8,in derivatives formed from words ending in c1 by adding a termination beginning with e1 i1 or y1 the letter k is inserted after the c1 in order that the latter may not be inaccurately pronounced like s before the following vowel4'--,,webster4 #g ,in ,the ,oxford ,dictionary1 ,vol4 ,i1 p4 #eih1 ,sir ,james ,murray says1 #8,the spelling ax is better on every ground 444 than axe1 which has of late become prevalent4' 7,but as authors generally still call for the commoner spelling1 compositors must follow it4--,h4 ,h47 #h ,the sign sometimes placed over the second of two vowels in an ,english word to indicate that they are to be pronounced separately1 is so called by a compositor4 ,by the way1 this sign is now used only for learned or foreign words2 not in chaos or in dais1 for instance4 ,nave and navet still require it1 however 7see pp4 #ce1 #cg74--;,h4 ,h4 #i ,in #ahif1 ,mr4 ,w4 ,e4 ,gladstone1 not being aware of this rule1 wished to include1 in a list of errata for insertion in ,vol4 ,,ii of ,butler's ,works1 an alteration of the spelling1 in ,vol4 ,i1 of the word #8forgo'4 ,on receipt of his direction to make the alteration1 ,i sent ,mr4 ,gladstone a copy of ,skeat's ,dictionary to show that #8forgo'1 in the sense in which he was using the word1 was right1 and could not be corrected2 but it was only after reference to ,sir ,james ,murray that ,mr4 ,gladstone wrote to me1 #8,personally ,i am inclined to prefer forego1 on its merits2 but authority must carry the day4 ,i give in4'--,h4 ,h4 #aj #8,this is now usual4 ,see ,o4,e4,d41 s4v4 ,enq-4'--,j4 ,a4 ,h4 ,m4 #aa ,but ,linnean ,society4 #ab ,compound words formed of two nouns connected by a preposition form their plurals by a change in the first word4--,h4 ,h4 #ac ,sir ,james ,murray thinks that where there is any ambiguity a hyphen may also be used1 as #8bad printers'-errors1'--,h4 ,h4 #ad #8,etymology is in favour of reflexion1 but usage seems to be overpoweringly in favour of the other spelling4'--,h4 ,b4 #ae ,the older form #8rime' is occasionally used by modern writers1 and in such cases the copy should be followed4--,h4 ,h4 #af #8,shakspere is preferable1 as--,the ,new ,shakspere ,society4'--,j4 ,a4 ,h4 ,m4 7,but the ,clarendon ,press is already committed to the more extended spelling4--,h4 ,h47 #ag ,the #8sycomore' of the ,bible is a different tree--the fig-mulberry4--,h4 ,h4 #ah ,it is generally agreed that words ending in ll should drop one l before less 7as in skilless7 and ly2 but there is not the same agreement in dropping an l before ness4--,h4 ,h4 #ai #8,but the bicycle-makers have apparently adopted the non-etymological tyre4'--,j4 ,a4 ,h4 ,m4 ,,some ,,words ,,ending ,,in -,,ment ,in words ending in -ment print the e when it occurs in the preceding syllable1 as--abridgement1 acknowledgement1 judgement1 lodgement4#bj ,but omit the e in development1 envelopment1 in accordance with the spelling of the verbal forms develop1 envelop4 ,,footnotes3 #bj #8,i protest against the unscholarly habit of omitting it from 8abridgement01 8acknowledgement01 8judgement01 8lodgement01--which is against all analogy1 etymology1 and orthoepy1 since elsewhere g is hard in ,english when not followed by e or i4 ,i think the ,university ,press ought to set a scholarly example1 instead of following the ignorant to do ill1 for the sake of saving four e's4 ,the word 8judgement0 has been spelt in the ,revised ,version correctly4'--,j4 ,a4 ,h4 ,m4 ,,hyphened ,,and ,,non-,,hyphened ,,words#ba ,the hyphen need not1 as a rule1 be used to join an adverb to the adjective which it qualifies3 as in-- a beautifully furnished house1 a well calculated scheme4 ,when the word might not at once be recognized as an adverb1 use the hyphen3 as-- a well-known statesman1 an ill-built house1 a new-found country1 the best-known proverb1 a good-sized room4 ,when an adverb qualifies a predicate1 the hyphen should not be used3 as-- this fact is well known4 ,where either 7#a7 a noun and adjective or participle1 or 7#b7 an adjective and a noun1 in combination1 are used as a compound adjective1 the hyphen should be used3 a poverty-stricken family1 a blood-red hand1 a nineteenth-century invention4 ,a compound noun which has but one accent1 and from familiar use has become one word1 requires no hyphen4 ,examples3 blckbird bname bword hirbrush hirdresser hirpin hndbook hndkerchief mntelpiece nwadays scholboy scholgirl seport tapot trchlight upstirs wtchcase whelbarrow ,the following should also be printed as one word3 aglow anybody anyhow anything anywhere bedroom childbed coeval coexist coextensive coheir cornfield downhill downstairs evermore everyday 7as adj47 everything everyway 7adverb7 everywhere eyewitness fairyland fatherland footsore footstep freshwater 7as adj47 godlike goodwill harebell hopscotch horseshoe indoor ladylike lambskin lifetime maybe meantime meanwhile midday motherland newfangled noonday offprint offsaddle offshoot onrush outdoor overleaf oversea percentage reappear reimburse reinstate reopen seaweed selfsame uphill wellnigh widespread wrongdoing zigzag ,compound words of more than one accent1 as--pple-tre1 chrry-pe1 grvel-wlk1 wll-o'-the-wisp1 as well as others which follow1 require hyphens3 aide-de-camp air-man air-ship a-kimbo alms-house arm-chair battle-field bird-cage bi-weekly by-law by-way child-birth come-at-able common-sense 7as adj47 co-adjust co-declination co-operate co-ordinate court-plaster cousin-german death-bed death-rate ding-dong dumb-bell ear-rings farm-house farm-yard first-hand foot-note foot-stone foot-stool free-will get-at-able good-bye good-day good-humoured good-natured guide-book gutta-percha half-crown half-dozen half-hour half-way handy-man harvest-field head-dress head-foremost head-quarters hey-day high-flyer hill-side hill-top hoar-frost hob-a-nob hour-glass hymn-book ill-fated india-rubber jaw-bone key-note knick-knack life-like looking-glass man-of-war never-ending new-built new-comer new-mown note-book note-paper off-hand oft-times one-and-twenty one-eighth ore-weed out-and-out out-of-date out-of-door over-glad pre-eminent quarter-day race-course re-bound#bb 7as a book7 re-cover 7a chair7 re-enter re-form 7form again7 rolling-pin sea-breeze sea-shore second-hand small-pox son-in-law starting-point step-father such-like table-land text-book title-deeds title-page to-day top-mast topsy-turvy up-to-date#bc water-course week-day year-book ,half an inch1 half a dozen1 c41 require no hyphens4 ,print the following also without hyphens3 any one cast iron common sense 7adj4 and noun together7 court martial dare say easy chair every one fellow men for ever good humour good nature good night head master#bd high priest high road ill health ill luck ill nature no one plum pudding post office revenue office some one union jack ,illustration3 7light bulb7 ,,footnotes3 #ba ,see ,oxford ,dict41 ,vol4 ,i1 page xiii1 art4 #8,combinations'1 where ,sir ,james ,murray writes3 #8,in many combinations the hyphen becomes an expression of unification of sense4 ,when this unification and specialization has proceeded so far that we no longer analyse the combination into its elements1 but take it in as a whole1 as in blackberry1 postman1 newspaper1 pronouncing it in speech with a single accent1 the hyphen is usually omitted1 and the fully developed compound is written as a single word4 ,but as this also is a question of degree1 there are necessarily many compounds as to which usage has not yet determined whether they are to be written with the hyphen or as single words4' ,and again1 in ,the ,schoolmasters' ,year-book for #aijc ,sir ,james ,murray writes3 #8,there is no rule1 propriety1 or consensus of usage in ,english for the use or absence of the hyphen1 except in cases where grammar or sense is concerned2 as in a day well remembered1 but a well-remembered day1 the sea of a deep green1 a deep-green sea1 a baby little expected1 a little-expected baby1 not a deep green sea1 a little expected baby4444 ,avoid ,headmaster1 because this implies one stress1 ,hadmaster1 and would analogically mean 8master of heads01 like schoolmaster1 ironmaster4444 ,of course the hyphen comes in at once in combinations and derivatives1 as head-mastership4' #bb #8,the hyphen is often used when a writer wishes to mark the fact that he is using not a well-known compound verb1 but re- as a living prefix attached to a simple verb 7re-pair pair again72 also usually before e 7re-emerge71 and sometimes before other vowels 7re-assure1 usually reassure72 also when the idea of repetition is to be emphasized1 especially in such phrases as make and re-make4'--,the ,concise ,oxford ,dictionary 7#aiaa71 p4 #fid4 #bc ,as1 up-to-date records2 but print #8the records are up to date'4--,h4 ,h4 #bd ,see note on page #be4 ,,doubling ,,consonants ,,with ,,suffixes ,words of one syllable1 ending with one consonant preceded by one vowel1 double that consonant on adding -ed or -ing3 e4g4 drop dropped dropping fit fitted fitting stop stopped stopping ,words of more than one syllable1 ending with one consonant preceded by one vowel1 and accented on the last syllable1 double that consonant on adding -ed or -ing3 e4g4 allot allotted allotting commit committed committing infer inferred inferring trepan trepanned trepanning ,but words of this class not accented on the last syllable1 do not double the last consonant#be on adding -ed1 -ing3 e4g4 balloted1 -ing banqueted1 -ing bayoneted1 -ing benefited1 -ing biased1 -ing billeted1 -ing bishoped1 -ing blanketed1 -ing bonneted1 -ing bracketed1 -ing buffeted1 -ing carpeted1 -ing chirruped1 -ing combated1 -ing cricketing crocheted1 -ing crotcheted1 -ing1 -y discomfited1 -ing docketed1 -ing faceted1 -ing ferreted1 -ing fidgeted1 -ing1 -y filleted1 -ing filliped1 -ing focused1 -ing galloped1 -ing gibbeted1 -ing gossiped1 -ing1 -y initialed1 -ing junketed1 -ing marketed1 -ing packeted1 -ing paralleled1 -ing pelleted1 -ing picketed1 -ing piloted1 -ing profited1 -ing rabbeted1 -ing rabbiting rickety riveted1 -ing russeted1 -ing1 -y scolloped1 -ing tennising trinketed1 -ing trousered1 -ing trumpeted1 -ing velvety visited1 -ing wainscoted1 -ing ,in words ending in -l1 the final consonant is generally doubled1 whether accented on the last syllable or not3 e4 g4 annulled1 -ing appalled1 -ing apparelled1 -ing barrelled bethralled1 -ing caballed1 -ing channelled1 -ing compelled1 -ing cudgelled1 -ing dishevelled1 -ing empanelled1 -ing extolled1 -ing forestalled1 -ing grovelled1 -ing impelled1 -ing installed1 -ing kennelled1 -ing levelled1 -ing libelled1 -ing marshalled1 -ing parcelled1 -ing quarrelled1 -ing revelled1 -ing rivalled1 -ing shovelled1 -ing trammelled1 -ing travelled1 -ing tunnelled1 -ing ,illustration3 7light bulb7 ,,footnotes3 #be #8,we must1 however1 still except the words ending in -el1 as levelled1 -er1 -ing2 travelled1 -er1 -ing2 and also worshipped1 -er1 -ing4'--,j4 ,a4 ,h4 ,m4 ,,formation ,,of ,,plurals ,,in ,,words ,,of ,,foreign ,,origin ,plurals of nouns taken into ,english from other languages sometimes follow the laws of inflexion of those languages4 ,but often1 in non-technical works1 additional forms are used1 constructed after the ,english manner4 ,print as below1 in cases where the author does not object4 ,in scientific works the scientific method must of course prevail3 ,,sing4 addendum ,,pl4 addenda#bf alkali alkalis alumnus alumni amanuensis amanuenses analysis analyses animalculum animalcula antithesis antitheses apex apices appendix appendices arcanum arcana automaton automata axis axes bandit banditti basis bases beau beaux bronchus bronchi calculus calculi calix calices chrysalis chrysalises coagulum coagula corrigendum corrigenda#bf cortex cortices crisis crises criterion criteria datum data desideratum desiderata dilettante dilettanti effluvium effluvia elenchus elenchi ellipsis ellipses ephemera ephemerae epithalamium epithalamia equinox equinoxes erratum errata focus focuses 7fam47 formula formulae fungus fungi genius geniuses#bg 7meaning a person or persons of genius7 genus genera helix helices hypothesis hypotheses ignis fatuus ignes fatui index indexes#bh iris irises lamina laminae larva larvae lemma lemmas#bi libretto libretti matrix matrices maximum maxima medium mediums 7fam47 memorandum memorandums#cj 7meaning a written note or notes7 metamorphosis metamorphoses miasma miasmata minimum minima nebula nebulae nucleus nuclei oasis oases papilla papillae parenthesis parentheses parhelion parhelia phenomenon phenomena radius radii radix radices sanatorium sanatoria scholium scholia spectrum spectra speculum specula stamen stamens stimulus stimuli stratum strata synopsis synopses terminus termini thesis theses virtuoso virtuosi volsella volsellae vortex vortexes 7fam47 ,,footnotes3 #bf ,see reference to these words for another purpose on p4 #cc4--;,h4 ,h4 #bg ,genius1 in the sense of a tutelary spirit1 must of course have the plural genii4--,h4 ,h4 #bh ,in scholarly works1 indices is often preferred1 and in the mathematical sense must always be used4--,h4 ,h4 #bi ,but lemmata in botany or embryology4--,h4,h4 #cj ,but in a collective or special sense we must print memoranda4--,h4 ,h4 ,,errata1 ,,erratum ,do not be guilty of the absurd mistake of printing #8,errata' as a heading for a single correction4 ,when a list of errors has been dealt with1 by printing cancel pages and otherwise1 so that only one error remains1 take care to alter the heading from #8,errata' to #8,erratum'4 ,the same remarks apply to ,addenda and ,addendum1 ,corrigenda and ,corrigendum4 ,,plurals ,,of ,,nouns ,,ending ,,in -,o ,the plurals of nouns ending in -o1 owing to the absence of any settled system1 are often confusing4 ,the ,concise ,oxford ,dictionary says 7p4 vi73 #8,it may perhaps be laid down that on the one hand words of which the plural is very commonly used1 as potato1 have almost invariably -oes1 and on the other hand words still felt to be foreign or of abnormal form1 as soprano1 chromo1 have almost invariably -os4' ,the following is a short list1 showing spellings preferred3 altos banjos buffaloes calicoes cantos cargoes centos chromos curios duodecimos electros echoes embargoes haloes heroes manifestoes mosquitoes mottoes negroes octavos porticoes potatoes provisos quartos ratios solos sopranos tiros tomatoes volcanoes ,illustration3 7light bulb7 ,,foreign ,,words ,,phrases ,,when ,,to ,,be ,,set ,,in ,,roman ,,and ,,when ,,in ,,italic ,print the following anglicized words in roman type3 aide-de-camp al fresco alibi propos aurora borealis beau idal bzique bizarre bona fide bouquet bravos bric--brac bulletin caf carte-de-visite charg d'affaires chauffeur chiaroscuro clich connoisseur cul-de-sac dbris dbut dpt#ca dtour diarrhoea dilettante dramatis personae clat employ#cb ennui entre entrept etiquette#cc facsimile fte fleur-de-lis garage gratis habeas corpus hors-d'uvre innuendo1 -es leve littrateur litterati manuvre menu morale nave omnibus papier mch per annum personnel post-mortem 7adj4 and n47 poste restante prcis prestige prima facie procs-verbal protg provenance rgime rendezvous#cd rle sabotage savants seraglio sobriquet soire versus via vice versa virtuoso viva voce ,zollverein ,the following to be printed in italic3 ab extra ab origine ad nauseam ad valorem a fortiori amende honorable amour propre ancien rgime anglice a priori au courant au revoir bte noire billet doux bonhomie bon ton bourgeoisie carte blanche casus belli chef-d'uvre chevaux de frise con amore confrre cortge#ce coup d'tat coup de grce coup de main coup d'il dbcle dnouement de quoi vivre dshabill dition de luxe lan lite en bloc en masse en passant en rapport en route entente cordiale esprit de corps ex cathedra ex officio 7adv4 and adj47 ex parte 7adv4 and adj47 facile princeps factum est felo de se garon grand monde habitu hors de combat imprimis in camera in propria persona jeu d'esprit laisser-faire lapsus linguae lse-majest mle mise en scne modus operandi more suo multum in parvo navet ne nemine contradicente ne plus ultra noblesse oblige nolens volens non est par excellence pari passu per contra pice de rsistance plbiscite pro forma pro tempore raison d'tre rapprochement rchauff rpertoire rsum sang-froid sans crmonie sans-culotte sine qua non sotto voce sub rosa tabula rasa tte tte 7adv47 tte--tte 7noun7 tour de force vis--vis ,the modern practice is to omit accents from ,latin words4 ,for further directions as to the use of italic in foreign words and phrases see pp4 #ej-a4 ,illustration3 7light bulb7 ,,footnotes3 #ca ,for this and nearly all similar words1 the proper accents are to be used1 whether the foreign words be anglicized or not4--,h4 ,h4 #cb ,employee is more legitimate when it is used in contrast with the ,english word employer4--,h4 ,h4 #cc ,omit the accent from tiquette4--,h4 ,h4 #cd ,omit the hyphen from rendez-vous4--,h4 ,h4 #ce ,for a statement as to this and other ,french words now printed with a grave accent1 see pp4 #gh-i4--;,h4 ,h4 ,,spellings ,,of ,,fifteenth ,,to ,,seventeenth ,,century ,,writers ,when it is necessary to reproduce the spellings and printed forms of old writers the following rules should be observed3 ,initial u is printed v1 as in vnderstande4 ,also in such combinations as wherevpon4 ,medial v is printed u1 as in haue1 euer4 ,initial and medial j are printed i1 as in iealousie1 iniurie4 ,in capitals the ,u is non-existent1 and should always be printed with a ,v1 initially and medially1 as ,,vniversity1 ,,favlconrie4 ,in ye and yt the second letter should be a superior1 and without a full point4 ,illustration3 7light bulb7 ,,phonetic ,,spellings ,some newspapers print phonetic spellings1 such as program1 hight 7to describe altitude71 catalog1 c4 ,but the practice has insufficient authority1 and can be followed only by special direction4 ,a ,,or ,,an a ,european a ewe a ewer a herb a herbal a heroic a hospital a humble a unanimous a uniform a union a unique a universal a university a useful a usurper an habitual#cf an heir an heirloom an historical#cf an honest an honour an hotel an hour ,print a1 not an1 before contractions beginning with a consonant3 e4g4 a ,l4,c4,c4 case1 a ,,ms4 version4 ,,footnotes3 #cf ,this is in accordance with what seems to be the preponderance of modern usage4 ,originally the cover of ,the ,oxford ,dictionary had #8a historical'1 and the whole question will be found fully treated in that work1 arts4 ,a1 ,an1 and ,h4--,h4 ,h4 ,o ,,and ,,oh ,when used in addressing persons or things the vocative #8,o' is printed with a capital and without any point following it2 e4g4 #8,o mighty ,caesar6 dost thou lie so low'2 #8,o world6 thou wast the forest to this hart'2 #8,o most bloody sight6' ,similarly1 #8,o ,lord'1 #8,o ,god'1 #8,o sir'4 ,but when not used in the vocative1 the spelling should be #8,oh'1 and separated from what follows by a punctuation mark2 e4g4 #8,oh1 pardon me1 thou bleeding piece of earth'2 #8,for if you should1 oh6 what would become of it8' ,,nor ,,and ,,or ,print3 7#a7 ,neither one nor the other2 neither ,jew nor ,greek2 neither ,peter nor ,james4 7#b7 ,either one or the other2 either ,jew or ,greek2 either ,peter or ,james4 ,never print3 ,neither one or the other2 neither ,peter or ,james2--but when the sentence is continued to a further comparison1 nor and or must be printed 7in the continuation7 according to the sense4#cg ,likewise note that the verb should be in the singular1 as #8,neither ,oxford nor ,reading is stated to have been represented'4 ,illustration3 7light bulb7 ,,footnotes3 #cg ,the necessity of giving strict attention to this rule was once exemplified in my experience1 when the printing of a fine quarto was passing through my hands in #ahhb4 ,the author desired to say in the preface1 #8,the writer neither dares nor desires to claim for it the dignity or cumber it with the difficulty of an historical novel' 7,lorna ,doone1 by ,r4 ,d4 ,blackmore1 #dto1 #ahhc74 ,the printer's reader inserted a letter n before the or2 the author deleted the n1 and thought he had got rid of it2 but at the last moment the press reader inserted it again2 and the word was printed as nor1 to the exasperation of the author1 who did not mince his words when he found out what had happened4--,h4 ,h4 ,,vowel-,,ligatures#ch 7 ,,and 7 ,the combinations ae and oe should each be printed as two letters in ,latin and ,greek words1 e4g4 ,aeneid1 ,aeschylus1 ,caesar1 ,oedipus2 and in ,english1 as mediaeval1 phoenix4 ,but in ,old-,english and in ,french words use the ligatures 1 1 as lfred1 ,cdmon1 manuvre4 ,,contractions ,,note4--,some abbreviations of ,latin words such as ad loc41 c41 to be set in roman1 are shown on page #ea4 ,names of the books of the ,bible as abbreviated where necessary3 ,old ,testament4 ,gen4 ,exod4 ,lev4 ,num4 ,deut4 ,joshua ,judges ,ruth #a ,sam4 #b ,sam4 #a ,kings #b ,kings #a ,chron4 #b ,chron4 ,ezra ,neh4 ,esther ,job ,ps4 ,prov4 ,eccles4 ,song of ,sol4 ,isa4 ,jer4 ,lam4 ,ezek4 ,dan4 ,hos4 ,joel ,amos ,obad4 ,jonah ,mic4 ,nahum ,hab4 ,zeph4 ,hag4 ,zech4 ,mal4 ,new ,testament4 ,matt4 ,mark ,luke ,john ,acts ,rom4 #a ,cor4 #b ,cor4 ,gal4 ,eph4 ,phil4 ,col4 #a ,thess4 #b ,thess4 #a ,tim4 #b ,tim4 ,titus ,philem4 ,heb4 ,jas4 #a ,pet4 #b ,pet4 #a ,john #b ,john #c ,john ,jude ,rev4 ,apocrypha4 #a ,esdras #b ,esdras ,tobit ,judith ,rest of ,esth4 ,wisd4 of ,sol4 ,ecclus4 ,baruch ,song of ,three ,childr4 ,susanna ,bel and ,dragon ,pr4 of ,manasses #a ,macc4 #b ,macc4 ,abbreviate the names of the months3 ,jan4 ,feb4 ,mar4 ,apr4 ,may ,june ,july ,aug4 ,sept4 ,oct4 ,nov4 ,dec4 ,where the name of a county is abbreviated1 as ,yorks41 ,cambs41 ,berks41 ,oxon41 use a full point2 but print ,hants 7no full point7 because it is not a modern abbreviation4 #dto1 #hvo1 #abmo1#ci c4 7sizes of books71 are symbols1 and should have no full point4 ,a parallel case is that of #ast1 #bnd1 #crd1 and so on1 which also need no full points4 ,print lb4 for both sing4 and pl42 not lbs4 ,also omit the plural -s in the following3 cm41 cwt41 dwt41 gr41 grm41 in41 min41 mm41 oz4 ,when beginning a footnote1 the abbreviations e4g41 i4e41 p4 or pp41 and so on1 to be all in lower-case4 ,use ,,etc4 in a cap4 line and ,,etc4 in a small cap4 line where an ampersand 77 will not range4 ,otherwise print c42 and ,longmans1 ,green ,co42 with no comma before ampersand in the name of a firm4 ,print the symbolic letters ,i ,o ,u1 without full points4 ,the points of the compass1 ,n4 ,e4 ,s4 ,w41 when separately used1 to have a full point3 but print ,,ne41 ,,nnw4 ,these letters to be used only in geographical or similar matter3 do not1 even if ,n4 is in the copy1 use the contraction in ordinary composition2 print #8,woodstock is eight miles north of ,carfax'4 ,,ms4 manuscript1 ,,mss4 manuscripts1 to be spelt out when used in a general sense4 ,but in printing bibliographical details1 and in references to particular manuscripts1 the contracted forms should be used2 e4g4 the ,worcester ,,ms41 the ,harleian ,,mss41 ,add4 ,,ms4 #befdb4 ,print ,,ps4 7not ,p4,s47 for postscript or postscriptum2 ,,mm4 7messieurs71 ,,ss4 not ,s4,s4 7steamship72 but ,h4,m4,s4 7,his ,majesty's ,ship72 ,h4,r4,h42 ,i4,w4 7,isle of ,wight72 ,n4,b41 ,q4,e4,d41 and ,r4,s4,v4,p41 because more than one word is contracted4 ,print ,,me4 and ,,oe4 in philological works for ,middle ,english and ,old ,english4 ,when an author prefers ,m4,e41 ,o4,e41 do not put a space between the letters4 ,abbreviations of titles1 such as ,m4,p41 ,d4,d41 ,m4,a41 or of occupations or parties1 such as ,i4,c4,s41 ,i4,l4,p41 to have no space between the letters4 ,when titles of books are represented by initials1 put a thin space only between each letter2 e4g4 ,j4 ,t4 ,s41 ,s4 ,b4 ,e4 ,mr41 ,mrs41 ,dr41 c4 must be printed with a full point1 but not ,mme1 ,mlle4 ,in printing ,s4 or ,st4 for ,saint1 the compositor must be guided by the manuscript4 ,ordinarily ,st4 should be used1 but if ,s4 is consistently written this must be assumed as the form in which the author wishes it printed4 ,print ,bt4 for ,baronet1 and ,kt4 for ,knight4 ,apostrophes in similar abbreviations to the following should join close up to the letters--don't1 'em1 haven't1 o'er1 shan't1 shouldn't1 'tis1 won't1 there'll1 ,i'd1 ,i'll1 we'll4#dj ,an apostrophe should not be used with hers1 ours1 theirs1 yours4 ,apostrophes in ,place-,names4#da--a4 ,use an apostrophe after the #8s' in ,queens' ,college 7,cambs474 ,but #b4 ,use an apostrophe before the #8s' in ,connah's ,quay 7,flints471 ,hunter's ,quay 7,n4,b471 ,orme's ,head 7,carn471 ,queen's ,coll4 7,oxon471 ,st4 ,abb's ,head 7,n4,b471 ,st4 ,john's 7,newfoundland71 ,st4 ,john's ,wood 7,london71 ,st4 ,mary's ,loch 7,n4,b471 ,st4 ,michael's ,mount 7,cornwall71 ,st4 ,mungo's ,well 7,knaresboro'71 ,st4 ,peter's 7,sydney1 ,n4,s4,w474 #c4 ,do not use an apostrophe in--,all ,souls 7,oxon471 ,bury ,st4 ,edmunds1 ,husbands ,bosworth 7,rugby71 ,johns ,hopkins ,university 7,u4,s4,a471 ,millers ,dale 7,derby71 ,owens ,college 7,manchester71 ,st4 ,albans1 ,st4 ,andrews1 ,st4 ,bees1 ,st4 ,boswells1 ,st4 ,davids1 ,st4 ,helens 7,lancs41 and district in ,london71 ,st4 ,heliers 7,jersey71 ,st4 ,ives 7,hunts4 and ,cornwall71 ,st4 ,kitts 7,st4 ,christopher ,island1 ,w4,i471 ,st4 ,leonards1 ,st4 ,neots 7,hunts41 but ,st4 ,neot1 ,cornwall71 ,somers ,town 7,london74 ,illustration3 7light bulb7 ,,footnotes3 #ch ,the separately written oe1 ae are #8digraphs'1 because the sounds they represent are in modern pronunciation not diphthongs1 though they were such in classical ,latin2 but ch1 ph1 sh are also digraphs4 1 1 1 1 are rather single letters than digraphs1 though they might be called ligatured digraphs4--,h4 ,b4 #ci ,to justify the use in ordinary printing of these symbols 7as against the use of #do1 #ho1 #abo1 a prevailing ,french fashion which is preferred by some writers71 it may suffice to say that the ablative cases of the ordinal numbers quartus1 octavus1 duodecimus1 namely quarto1 octavo1 duodecimo1 are according to popular usage represented by the forms or symbols #dto1 #hvo1 #abmo2 just as by the same usage we print #ast and #bnd as forms or symbols of the ,english words first and second4--,h4 ,h4 #dj ,see page #di for an exception to this rule4 #da ,the selection is arbitrary2 but the examples are given on the authority of the ,oxford ,university and ,cambridge ,university ,calendars1 the ,post ,office ,guide1 ,bartholomew's ,gazetteer1 ,bradshaw's ,railway ,guide1 ,crockford's ,clerical ,directory1 ,keith ,johnston's ,gazetteer1 and ,stubbs's ,hotel ,guide4 ,,poetry ,words ending in -ed are to be spelt so in all cases2 and with a grave accent when the syllable is separately pronounced1 thus--d4 7'd is not to be used47 ,this applies to poetical quotations introduced into prose matter1 and to new works4 ,it must not apply to reprints of standard authors1 nor to quotations in works which reproduce old spellings1 c4 ,whenever a poetic quotation1 whether in the same type as the text or not1 is given a line 7or more7 to itself1 it is not to be placed within quotation marks2 but when the line of poetry runs on with the prose then quotation marks are to be used4 ,on spacing poetry1 see p4 #di4 ,,capital ,,letters ,avoid beginning words with capitals as much as possible2 but use them in the following and similar cases3 ,act1 when referring to ,act of ,parliament or ,acts of a play2 also in ,baptist1 ,christian1 ,nonconformist1 ,presbyterian1 ,puritan1 ,liberal1 ,conservative1 and all denominational terms and names of parties4 ,his ,majesty1 ,her ,royal ,highness1 c4 ,the ,king of ,england1 the ,prince of ,wales4 ,the ,duke of ,wellington1 ,bishop of ,oxford1 ,sir ,roger ,tichborne1 c4 ,british ,army1 ,german ,navy4 ,christmas ,day1 ,lady ,day1 c4 ,dark ,ages1 ,middle ,ages4 ,house of ,commons1 ,parliament1 c4 ,government1 ,cabinet1 ,speaker4 ,in geography3 ,sun1 ,earth1 ,equator1 the ,continent4 ,in geological names3 ,upper ,greensand1 ,london ,clay1 ,tertiary1 ,lias1 c4 ,in names of streets1 roads1 c41 as--,chandos ,street1 ,trafalgar ,square1 ,kingston ,road1 ,addison's ,walk1 ,norreys ,avenue4 ,figure1 ,number1 ,plate 7,fig41 ,no41 ,pl471 should each begin with a capital1 whether contracted or not1 unless special instructions are given to the contrary4 ,pronouns referring to the ,deity should begin with capitals--,he1 ,him1 ,his1 ,me1 ,mine1 ,my1 ,thee1 ,thine1 ,thou2 but print--who1 whom1 and whose4 ,also capitalize the less common adjectives derived from proper names2 e4g4 ,homeric1 ,platonic4 ,,lower-,,case ,,initials ,,for ,,anglicized ,,words1 ,,etc4 christianize1 frenchified1 herculean1 italic1 laconic1 latinize1 puritanic1 quixotic1 roman1 satanic1 tantalize1 vulcanize4 ,also for the more common words derived from proper names1 as--boycott1 doily1 guernsey1 hackney1 hansom-cab1 holland1 inverness1 japanning1 latinity1 may 7blossom71 morocco1 russia1 stepney-wheel4 ,when #8,in the press' occurs in publishers' announcements1 print #8press' with a lower-case initial4 ,,small ,,capitals ,put a hair space between the letters of contractions in small capitals3 ,a4,u4,c4 ,anno urbis conditae ,a4,d4 ,anno ,domini ,a4,h4 ,anno ,hegirae ,a4,m4 ,anno mundi ,b4,c4 ,before ,christ4 a4m4#db 7ante meridiem71 p4m4#db 7post meridiem71 should be lower-case1 except in lines of caps4 or small caps4 ,when small caps1 are used at foot of title-page1 print thus3 ,m ,,dcccc ,,iv#dc ,text references to caps4 in plates and woodcuts to be in small caps4 ,the first word in each chapter of a book is to be in small caps4 and the first line usually indented one em2 but this does not apply to works in which the matter is broken up into many sections1 nor to cases where large initials are used4 7,see p4 #ej as to indentation47 ,,footnotes3 #db ,it is a common error to suppose that these initials stand for ante-meridian and post-meridian4 ,thus1 ,charles ,dickens represents one of his characters in ,pickwick as saying #8,curious circumstance about those initials1 sir1' said ,mr4 ,magnus4 #8,you will observe--,p4,m4--post meridian4 ,in hasty notes to intimate acquaintance1 ,i sometimes sign myself 8,afternoon04 ,it amuses my friends very much1 ,mr4 ,pickwick4'--,,dickens1 ,pickwick ,papers1 p4 #cfg4 ,oxford edit41 #aijc4--;,h4 ,h4 #dc #8,or better ,m ,,cm ,,iv'--,j4 ,a4 ,h4 ,m4 ,,special ,,signs ,,or ,,symbols ,the signs 7plus71 - 7minus71 7equal to71 7#8larger than'1 in etymology signifying #8gives' or #8has given'71 7#8smaller than'1 in etymology signifying #8derived from'71 are now often used in printing ordinary scientific works1 and not in those only which are mathematical or arithmetical4 ,in such instances 1 -1 1 1 1 should in the matter of spacing be treated as words are treated4 ,for instance1 in-- spectabilis1 ,brl4 l4 c4 7 ,haasia spectabilis7 the belongs to #8spectabilis' as much as to #8,haasia'1 and the sign should not be put close to #8,haasia'4 ,a thin space only should be used4 ,in ,philological works an asterisk 99 prefixed to a word signifies a reconstructed form1 and must be so printed2 a dagger signifies an obsolete word4 ,the latter sign1 placed before a person's name1 signifies deceased4 ,in ,medical books the formulae are set in lower-case letters1 j being used for i both singly and in the final letter1 e4g4 gr4j 7one grain71 viij 7eight ounces71 iij 7three drachms71 iij 7three scruples71 iiij 7four minims74 ,,spacing ,spacing ought to be even4 ,paragraphs are not to be widely spaced for the sake of making breaklines4 ,when the last line but one of a paragraph is widely spaced and the first line of the next paragraph is more than thick-spaced1 extra spaces should be used between the words in the intermediate breakline4 ,such spaces should not exceed en quads1 nor be increased if by so doing the line would be driven full out4 ,in general1 close spacing is to be preferred2 but this must be regulated proportionately to the manner in which a work is leaded4 ,breaklines should consist of more than five letters1 except in narrow measures4 ,but take care that bad spacing is not thereby necessitated4 ,poetical quotations1 and poetry generally when in wide measure1 should be spaced with en quadrats4 ,but this must not be applied to reprints of sixteenth and seventeenth century books3 in such cases a thick space only should be used4 ,avoid 7especially in full measures7 printing at the ends of lines--a1 l41 ll41 p4 or pp41 ,i 7when a pronoun74 ,capt41 ,dr41 ,esq41 ,mr41 ,rev41 ,st41 and so on1 should not be separated from names2 nor should initials be divided3 e4g4 ,mr4 ,w4 ,e4 ,gladstone2 not ,mr4 ,w4 ,e4 ,gladstone4 ,thin spaces before apostrophes1 e4g4 that's 7for #8that is'71 boy's 7for #8boy is'71 to distinguish abbreviations from the possessive case4 ,in ,greek1 ,latin1 and ,italian1 when a vowel is omitted at the end of a word 7denoted by an apostrophe71 put a space before the word which immediately follows4 ,hair spaces to be placed between lower-case contractions1 as in e4g41 i4e41 q4v4 ,indentation of first lines of paragraphs should be one em for full measures in #hvo and smaller books4 ,in #dto and larger books the indentation should be increased4 ,sub-indentation should be proportionate2 and the rule for all indentation is not to drive too far in4 ,quotations in prose1 as a rule1 should not be broken off from the text unless the matter exceeds three lines4 ,use great care in spacing out a page1 and let it not be too open4 ,underlines1 wherever possible1 to be in one line4 ,,italic ,,type ,,note4--,a list of foreign and anglicized words and phrases1 showing which should be printed in roman and which in italic1 is given on pp4 #ce-g4 ,in many works it is now common to print titles of books in italic1 instead of in inverted commas4 ,this must be determined by the directions given with the copy1 but the practice must be uniform throughout the work4 ,words or phrases cited from foreign languages 7unless anglicized7 should be in italic4 ,short extracts from books1 whether foreign or ,english1 should not be in italic but in roman 7between inverted commas1 or otherwise1 as directed on p4 #fc74 ,names of periodicals should be in italic4 ,inconsistency is often caused by the prefix ,the being sometimes printed in italic1 and sometimes roman4 ,as a rule1 print the definite article in roman1 as the ,standard1 the ,daily ,news4 ,the ,times is to be an exception1 as that newspaper prefers to have it so4 ,the1 if it is part of the title of a book1 should also be in italic letters4 ,print names of ships#dd in italic4 ,in this case1 print #8the' in roman1 as it is often uncertain whether #8the' is part of the title or not4 ,for example1 #8the ,king ,george'1 #8the ,revenge'2 also put other prefixes in roman1 as #8,h4,m4,s4 ,dreadnought'4 ad loc41 cf41 e4g41 et seq41 ib41 ibid41 id41 i4e41 loc4 cit41 q4v41 viz4#de1 not to be in italic4 ,print c4 7 circa71 ante1 infra1 passim1 post1 supra1 c4 ,italic s4 and d4 to be generally used to express shillings and pence2 and the sign 7except in special cases7 to express the pound sterling4 ,but in catalogues and similar work the diagonal sign _/ or #8shilling-mark' is sometimes preferred to divide figures representing shillings and pence4 ,the same sign is occasionally used in dates1 as #d_/b_/jd4 ,in ,mathematical works1 theorems are usually printed in italic4 ,,footnotes3 #dd ,italicizing the names of ships is thus recognized by ,victor ,hugo3 #8,il l'avait nomm ,durande4 ,la ,durande1--nous ne l'appellerons plus autrement4 ,on nous permettra galement1 quel que soit l'usage typographique1 de ne point souligner ce nom ,durande1 nous conformant en cela la pense de ,mess ,lethierry pour qui la ,durande tait presque une personne4'--,v4 ,,hugo1 ,travailleurs de la mer1 #crd 7#ahff7 edit41 ,vol4 ,i1 p4 #abi4--;,h4 ,h4 #de ,this expression1 although a symbol rather than an abbreviation1 must be printed with a full point after the z4--,h4 ,h4 ,,references ,,to ,,authorities ,citation of authorities at the end of quotations should be printed thus3 ,,homer1 ,odyssey1 ii4 #ae1 but print ,,hor4 ,carm4 ii4 #ad4 #b2 ,,hom4 ,od4 iv4 #bgb4 ,this applies chiefly to quotations at the heads of chapters4 ,it does not refer to frequent citations in notes1 where the author's name is usually in lower-case letters1 and the title of the book sometimes printed in roman4 ,as an example3 ,stubbs1 ,constitutional ,history1 vol4 ii1 p4 #ih2 or the more contracted form--,stubbs1 ,const4 ,hist4 ii4 #ih1 will do equally well2 but1 whichever style is adopted after an examination of the manuscript1 it must be uniform throughout the work4 ,references to the ,bible in ordinary works to be printed thus--,exod4 xxxii4 #cb2 xxxvii4 #b4 7,for full list of contractions see p4 #da47 ,references to ,shakespeare's plays thus--,i ,henry ,,vi1 ,,iii4 ii4 #ad2 and so with the references to ,act1 scene1 and line in other dramatic writings4 ,likewise in references to poems divided into books1 cantos1 and lines2 e4 g4 ,spenser1 ,faerie ,queene1 ,,iv4 xxvi4 #ce4 ,references to ,,mss4 or unprinted documents should be in roman4 ,as to use of italic1 see also above1 p4 #ej4 ,,division ,,of ,,words ,i4 ,,english ,such divisions as en-1 de-1 or in- to be allowed only in very narrow measures1 and there exceptionally4 ,disyllables1 as #8into'1 #8until'1 c41 are only to be divided in very narrow measures4 ,the following divisions to be preferred3 abun-dance appli-cable corre-spon-dence depen-dent dimin-ish dis-connect estab-lish-ment impor-tance inter-est minis-ter pun-ish respon-dent ,avoid such divisions as-- star-vation1 obser-vation1 exal-tation1 gene-ration1 imagi-nation1 origi-nally2 but put starva-tion1 c4 ,the principle is that the part of the word left at the end of a line should suggest the part commencing the next line4 ,thus the word #8happiness' should be divided happi-ness1 not hap-piness4#df ,roman-ism1 ,puritan-ism2 but ,agnosti-cism1 ,catholi-cism1 criti-cism1 fanati-cism1 tauto-logism1 witti-cism1 c4 ,the terminations -cial1 -cian1 -cious1 -sion1 -tion should not be divided when forming one sound1 as in so-cial1 ,gre-cian1 pugna-cious1 condescen-sion1 forma-tion4 ,atmo-sphere1 micro-scope1 philo-sophy1 tele-phone1 tele-scope1 should have only this division4 ,but always print episco-pal 7not epi-scopal71 c4#dg ,a divided word should not end a page1 if it is possible to avoid it4 ,,ii4 ,,some ,,italian1 ,,portuguese1 ,,and ,,spanish ,,words ,italian4--,divide si-gnore 7gn ni in #8mania'71 trava-gliare 7gli lli in #8,william'71 tra-scinare 7sci shi in #8shin'71 i4e4 take over gn1 gl1 sci4 ,in such a case as #8all' uomo' ,italians divide #8al-l' uomo' when occasion arises4#dh ,portuguese4--,divide se-nhor 7nh ni in #8mania'71 bata-lha 7lh lli in #8,william'71 i4e4 take over nh1 ll4 ,spanish4--,divide se-ora 7 ni in #8mania'71 maravi-lloso 7ll lli in #8,william'71 i4e4 take over 1 ll4 ,,iii4 ,for the division of ,french words1 see p4 #ha2 ,german1 p4 #ij2 ,latin1 p4 #ie2 and ,greek1 p4 #ig4 ,,footnotes3 #df ,i was once asked how ,i would carry out the rule that part of the word left in one line should suggest what followed in the next1 in such a case as #8disproportionableness'1 which1 according to ,sir ,james ,murray1 is one of the longest words in the ,english language2 or #8incircumscriptibleness'1 used by one ,byfield1 a divine1 in #afae1 who wrote1 #8,the immensity of ,christ's divine nature hath 444 incircumscriptibleness in respect of place'2 or again1 #8antidisestablishmentarians'1 quoted in the biography of ,archbishop ,benson1 where he says that #8the ,free ,kirk of the ,north of ,scotland are strong antidisestablishmentarians'4--,h4 ,h4 #dg #8,even the divisions noted as preferable are not free from objection1 and should be avoided when it is at all easy to do so4'--,h4 ,b4 #dh ,italians follow this rule1 but it is better avoided in printing ,italian passages in ,english books4--,h4 ,h4 ,,punctuation ,the compositor is recommended to study attentively a good treatise#di on the whole subject4 ,he will find some knowledge of it to be indispensable if his work is to be done properly2 for most writers send in copy quite unprepared as regards punctuation1 and leave the compositor to put in the proper marks4 #8,punctuation is an art nearly always left to the compositor1 authors being almost without exception either too busy or too careless to regard it4'#ej ,some authors rightly claim to have carefully prepared copy followed absolutely2 but such cases are rare1 and the compositor can as a rule only follow his copy exactly when setting up standard reprints4 #8,the first business of the compositor' says ,mr4 ,de ,vinne1 #8is to copy and not to write4 ,he is enjoined strictly to follow the copy and never to change the punctuation of any author who is precise and systematic2 but he is also required to punctuate the writings of all authors who are not careful1 and to make written expression intelligible in the proof4444 ,it follows that compositors are inclined to neglect the study of rules that cannot be generally applied4'#ea ,it being admitted1 then1 that the compositor is to be held responsible in most cases1 he should remember that loose punctuation1#eb especially in scientific and philosophical works1 is to be avoided4#ec ,we will again quote ,mr4 ,de ,vinne3 #8,two systems of punctuation are in use4 ,one may be called the close or stiff1 and the other the open or easy system4 ,for all ordinary descriptive writing the open or easy system1 which teaches that points be used sparingly1 is in most favor1 but the close or stiff system cannot be discarded4'#ed ,the compositor who desires to inform himself as to the principles and theory of punctuation will find abundant information in the works mentioned in the footnote on p4 #ee2 in our own booklet there is space only for a few cautions and a liberal selection of examples2 authority for the examples1 when they are taken from the works of other writers1 being given in all cases4 ,the ,comma4 ,commas should1 as a rule1 be inserted between adjectives preceding and qualifying substantives1 as-- ,an enterprising1 ambitious man4 ,a gentle1 amiable1 harmless creature4 ,a cold1 damp1 badly lighted room4#ee ,but where the last adjective is in closer relation to the substantive than the preceding ones1 omit the comma1 as-- ,a distinguished foreign author4 ,the sailor was accompanied by a great rough ,newfoundland dog4#ee ,where and joins two single words or phrases the comma is usually omitted2 e4g4 ,the honourable and learned member4 ,but where more than two words or phrases occur together in a sequence a comma should precede the final and2 e4g4 ,a great1 wise1 and beneficent measure4 ,the following sentence1 containing two conjunctive and's1 needs no commas3 ,god is wise and righteous and faithful4#ee ,such words as moreover1 however1 c41 are usually followed by a comma#ef when used at the opening of a sentence1 or preceded and followed by a comma when used in the middle of a sentence4 ,for instance3 ,in any case1 however1 the siphon may be filled4#eg ,it is better to use the comma in such sentences as those that immediately follow3 ,truth ennobles man1 and learning adorns him4#eh ,the ,parliament is not dissolved1 but only prorogued4 ,the ,french having occupied ,portugal1 a ,british squadron1 under ,rear-,admiral ,sir ,samuel ,hood1 sailed for ,madeira4 ,i believed1 and therefore ,i spoke4 ,the question is1 ,can it be performed8 ,my son1 give me thy heart4 ,the ,armada being thus happily defeated1 the nation resounded with shouts of joy4 ,be assured1 then1 that order1 frugality1 and economy1 are the necessary supporters of every personal and private virtue4 ,virtue is the highest proof of a superior understanding1 and the only basis of greatness4#eh ,when a preposition assumes the character of an adverb1 a comma should follow it1 to avoid awkwardness or ambiguity3 #8,in the valley below1 the villages looked very small4' ,the ,semicolon4 ,instances in which the semicolon is appropriate3 ,truth ennobles man2 learning adorns him4 ,the temperate man's pleasures are always durable1 because they are regular2 and all his life is calm and serene1 because it is innocent4 ,those faults which arise from the will are intolerable2 for dull and insipid is every performance where inclination bears no part4 ,economy is no disgrace2 for it is better to live on a little than to outlive a great deal4 ,to err is human2 to forgive1 divine4#ei ,never speak concerning what you are ignorant of2 speak little of what you know2 and whether you speak or say not a word1 do it with judgement4#ei ,semicolons divide the simple members of a compound sentence1 and a comma and dash come after the last sentence and before the general conclusion3 ,to give an early preference to honour above gain1 when they stand in competition2 to despise every advantage which cannot be attained without dishonest arts2 to brook no meanness1 and stoop to no dissimulation1--are the indications of a great mind1 the presages of future eminence and usefulness in life4#fj ,the ,colon4 ,this point marks an abrupt pause before a further but connected statement3 ,in business there is something more than barter1 exchange1 price1 payment3 there is a sacred faith of man in man4 ,study to acquire a habit of thinking3 no study is more important4#fa ,always remember the ancient maxim3 ,know thyself4 ,the ,period or ,full ,stop4 ,examples of its ordinary use3 ,fear ,god4 ,honour the ,king4 ,pray without ceasing4 ,there are thoughts and images flashing across the mind in its highest moods1 to which we give the name of inspiration4 ,but whom do we honour with this title of the inspired poet8 ,the ,note of ,interrogation4 ,examples of its ordinary use3 ,shall little1 haughty ignorance pronounce ,his work unwise1 of which the smallest part ,exceeds the narrow vision of the mind8 ,was the prisoner alone when he was apprehended8 ,is he known to the police8 ,has he any regular occupation8 ,where does he dwell8 ,what is his name8 ,what does the pedant mean8 ,cases where the note of interrogation must not be used1 the speaker simply stating a fact3 ,the ,cyprians asked me why ,i wept4 ,i was asked if ,i would stop for dinner4 ,the ,note of ,exclamation4 ,examples of its ordinary use3 ,hail1 source of ,being6 universal ,soul6 ,how mischievous are the effects of war6 ,o excellent guardian of the sheep6--a wolf6#fb ,alas for his poor family6 ,alas1 my noble boy6 that thou shouldst die6 ,ah me6 she cried1 and waved her lily hand4 ,o despiteful love6 unconstant womankind6 ,marks of ,parenthesis4 ,examples3 ,i have seen charity 7if charity it may be called7 insult with an air of pity4 ,left now to himself 7malice could not wish him a worse adviser71 he resolves on a desperate project4#fc ,the ,bracket4 ,these marks are used chiefly to denote an interpolation or explanation4 ,for example3 ,perhaps 7alarming thought671 perhaps he ,death aims ,ev'n now the fatal blow that ends my life4#fd ,they the ,lilliputians rose like one man4 ,the ,dash4 ,em rules or dashes--in this and the next line an example is given--are often used to show that words enclosed between them are to be read parenthetically4 ,thus a verbal parenthesis may be shown by punctuation in three ways3 by em dashes1 by 7 71 or by commas4#fe ,omit the dash when a colon is used to preface a quotation or similar matter1 whether at the end of a break-line or not4 ,the dash is used to mark an interruption or breaking off in the middle of a sentence4#ff ,marks of ,omission4 ,to mark omitted words three points 444 7not asterisks7 separated by en quadrats are sufficient2 and the practice should be uniform throughout the work4 ,where full lines are required to mark a large omission1 real or imaginary1 the spacing between the marks should be increased2 but the compositor should in this case also use full points and not asterisks4 ,punctuation ,marks generally4 ,the following summary is an attempt to define in few words the meaning and use of punctuation marks 7the capitals are only given for emphasis73 ,a ,period marks the end of a sentence4 ,a ,colon is at the transition point of the sentence4 ,a ,semicolon separates different statements4 ,a ,comma separates clauses1 phrases1 and particles4 ,a ,dash marks abruptness or irregularity4 ,an ,exclamation marks surprise4 ,an ,interrogation asks a question for answer4 ,an ,apostrophe marks elisions or possessive case4 ,quotation marks define quoted words4 ,parentheses enclose interpolations in the sentence4 ,brackets enclose irregularities in the sentence4#fg ,quotation ,marks1 or #8,inverted ,commas' 7so-called74 ,omit quotation marks in poetry1 as instructed on p4 #de4 ,also omit them in prose extracts broken off in smaller type1 unless contrary instructions are given4 ,insert quotation marks in titles of essays3 e4g4 #8,mr4 ,brock read a paper on 8,description in ,poetry04' ,but omit quotation marks when the subject of the paper is an author3 e4g4 #8,professor ,bradley read a paper on ,jane ,austen4' ,single #8quotes' are to be used for the first quotation2 then double for a quotation within a quotation4 ,if there should be yet another quotation within the second quotation it is necessary to revert to single quotation marks4 ,sometimes1 as in the impossible example in the footnote1 quotation marks packed three deep must be omitted4 ,all signs of punctuation used with words in quotation marks must be placed according to the sense4 ,if an extract ends with a point1 then let that point be1 as a rule1#fh included before the closing quotation mark2 but not otherwise4 ,when there is one quotation within another1 and both end with the sentence1 put the punctuation mark before the first of the closing quotations4 ,these are important directions for the compositor to bear in mind2 and he should examine the examples which are given in the pages which follow3 #8,the passing crowd' is a phrase coined in the spirit of indifference4 ,yet1 to a man of what ,plato calls #8universal sympathies'1 and even to the plain1 ordinary denizens of this world1 what can be more interesting than #8the passing crowd'8#fi ,if the physician sees you eat anything that is not good for your body1 to keep you from it he cries1 #8,it is poison6' ,if the divine sees you do anything that is hurtful for your soul1 he cries1 #8,you are lost6'#gj #8,why does he use the word 8poison08' ,but ,i boldly cried out1 #8,woe unto this city6'#ga ,alas1 how few of them can say1 #8,i have striven to the very utmost'6#ga ,thus1 notes of exclamation and interrogation are sometimes included in and sometimes follow quotation marks1 as in the sentences above1 according to whether their application is merely to the words quoted or to the whole sentence of which they form a part4 ,the sentence-stop must be omitted after 8 or 61 even when the 8 or 6 precedes the closing #8quotes'4 ,in regard to the use of commas and full points with #8turned commas'1 the general practice has hitherto been different4 ,when either a comma or a full point is required at the end of a quotation1 the almost universal custom at the present time is for the printer to include that comma or full point within the quotation marks at the end of an extract1 whether it forms part of the original extract or not4 ,even in ,de ,vinne's examples1 although he says distinctly1 #8,the proper place of the closing marks of quotation should be determined by the quoted words only'1 no instance can be found of the closing marks of quotation being placed to precede a comma or a full point4 ,some writers wish to exclude the comma or full point when it does not form part of the original extract1 and to include it when it does form part of it2 and this is doubtless correct4 ,there seems to be no reason for perpetuating a bad practice4 ,so1 unless the author wishes to have it otherwise1 in all new works the compositor should place full points and commas according to the examples that follow3 ,we need not #8follow a multitude to do evil'4 ,no one should #8follow a multitude to do evil'1 as the ,scripture says4 ,do not #8follow a multitude to do evil'2 on the contrary1 do what is right4 ,when a number of isolated words or phrases are1 for any reason1 severally marked off by #8turned commas' 7e4g4 in order to show that they are not the expressions which the author would prefer to use1 or that they are used in some technical sense71 the closing quotation mark should precede the punctuation mark1 thus3 #8,such odd-sounding designations of employment as 8scribbling miller01 8devil feeder01 8pug boy01 8decomposing man01 occur in the census reports4' in my voice1 #8so far as my vote is concerned'4 parlous1 #8perilous'1 #8dangerous'1 #8hard to deal with'4 ,but when a quotation is complete in itself1 either as a sentence or a paragraph1 the final quotation mark is to be placed outside the point4 ,for example3 #8,if the writer of these pages shall chance to meet with any that shall only study to cavil and pick a quarrel with him1 he is prepared beforehand to take no notice of it4' 7,works of ,charles and ,m4 ,lamb1 ,oxford edition1 i4 #aic47 ,where a quotation is interrupted by an interpolated sentence1 the punctuation must follow the sense of the passage1 as in the following examples3 #a4 #8,at the root of the disorders'1 he writes in the ,report1 #8lies the conflict of the two races4' ,in this example the comma is placed outside the quotation mark1 as it forms no part of the original punctuation4 #b4 #8,language is not1 and never can be1' writes ,lord ,cromer1 #8as in the case of ancient ,rome1 an important factor in the execution of a policy of fusion4' ,in this example the comma is placed inside the quotation mark1 as it forms part of the original punctuation4 ,in the case of dialogues1 the punctuation mark should precede the quotation mark1 as3 #8,you hear him1' said ,claverhouse1 smiling1 #8there's the rock he splits upon2 he cannot forget his pedigree4' ,punctuation in ,classical and ,philological ,notes4 ,in notes on ,english and foreign classics1 as a rule#gb follow the punctuation in the following examples3 #e4 ,falls not1 lets not fall4 7,that is1 a comma is sufficient after the lemma where a simple definition follows47 #ag4 swoon4 ,the spelling of the folios is #8swound'4 7,here a full point is used1 because the words that follow the lemma comprise a complete sentence47 ,note1 as to capitalization1 that the initial letter of the word or phrase treated 7as in ,falls not above7 should be in agreement with the text4 ,the lemma should be set in italics or clarendon1 according to directions4 ,punctuation ,marks and ,references to ,footnotes in juxtaposition4 ,the relation of these to each other is dealt with on p4 #gj4 ,examples of the right practice are to be found on many pages of the present work4 ,points in ,title-pages1 ,headlines1 c4 ,all points are to be omitted from the ends of lines in titles1 half-titles1 page-headings1 and main cross-headings1 in ,clarendon ,press works1 unless a special direction is given to the contrary4 ,,footnotes3 #di e4g4 ,spelling and ,punctuation1 by ,h4 ,beadnell 7,wyman's ,technical ,series72 ,the ,king's ,english 7,clarendon ,press71 containing a valuable chapter on ,punctuation2 ,stops2 or1 ,how to ,punctuate1 by ,p4 ,allardyce 7,fisher ,unwin72 ,correct ,composition1 by ,t4 ,l4 ,de ,vinne 7,new ,york1 ,century ,co472 or the more elaborate ,guide pratique du compositeur1 c41 by ,t4 ,lefevre 7,paris1 ,firmin-,didot74 #ej ,practical ,printing1 by ,southward and ,powell1 p4 #aia4 #ea ,de ,vinne1 ,correct ,composition1 pp4 #bda-b4 #eb ,how much depends upon punctuation is well illustrated in a story told1 ,i believe1 by the late ,g4 ,a4 ,sala1 once a writer in the ,daily ,telegraph1 about ,r4 ,b4 ,sheridan1 dramatist and ,m4,p4 ,in the ,house of ,commons1 ,sheridan one day gave an opponent the lie direct4 ,called upon to apologize1 the offender responded thus3 #8,mr4 ,speaker ,i said the honourable ,member was a liar it is true and ,i am sorry for it4' ,naturally the person concerned was not satisfied2 and said so4 #8,sir1' continued ,mr4 ,sheridan1 #8the honourable ,member can interpret the terms of my statement according to his ability1 and he can put punctuation marks where it pleases him4'--,h4 ,h4 #ec ,below is a puzzle passage from the ,daily ,chronicle1 first with no points1 and then with proper marks of punctuation3 #8,that that is is that that is not is not is not that it it is4' #8,that that is1 is2 that that is not1 is not2 is not that it8 ,it is4'--,h4 ,h4 #ed ,de ,vinne1 ,correct ,composition1 p4 #bdd4 #ee ,beadnell1 pp4 #ii1 #ajj4 #ef ,nevertheless the reader is not to be commended who1 being told that the word however was usually followed by a comma1 insisted upon altering a sentence beginning #8,however true this may be1' c41 to #8,however1 true this may be1' c4 ,this is the late ,dean ,alford's story4 ,see ,the ,queen's ,english1 p4 #abd1 ed4 #ahgj4--;,h4 ,h4 #eg ,beadnell1 p4 #aja4 #eh ,id41 pp4 #ie-ajg4 #ei ,beadnell1 pp4 #aji1 #aaj4 #fj ,id41 p4 #aaa4 #fa ,id41 p4 #aab4 #fb ,all the examples are from ,beadnell1 pp4 #aac-ag4 #fc ,beadnell1 pp4 #aah-ai4 #fd ,id41 p4 #abj4 #fe ,some writers mark this form of composition quite arbitrarily4 ,for instance ,charles ,dickens uses colons3 #8,as he sat down by the old man's side1 two tears3 not tears like those with which recording angels blot their entries out1 but drops so precious that they use them for their ink3 stole down his meritorious cheeks4'--,martin ,chuzzlewit1 ,oxford ed41 p4 #eha4 #ff ,there is one case1 and only one1 of an em rule being used in the ,bible 7,a4,v471 viz4 in ,exod4 xxxii4 #cb2 where1 ,i am told by the ,rev4 ,professor ,driver1 it is correctly printed1 to mark what is technically called an #8aposiopesis'1 i4e4 a sudden silence4 ,the ordinary mark for such a case is a two-em rule4--,h4 ,h4 #fg ,de ,vinne1 ,correct ,composition1 p4 #bhh4 #fh ,i say #8as a rule'1 because if such a sentence as that which follows occurred in printing a secular work1 the rule would have to be broken4 ,de ,vinne prints3 #8,in the ,new ,testament we have the following words3 8,jesus answered them1 #8,is it not written in your law1 8,i said1 #8,ye are gods'08'0' ,h4 ,h4 #fi ,beadnell1 p4 #aaf4 #gj ,id41 p4 #abf4 #ga ,allardyce1 p4 #gd4 #gb ,there are exceptions1 as in the case of works which have a settled style of their own4 ,,figures ,,and ,,numerals ,,in ,,arabic ,,or ,,roman ,do not mix old-style and new-face figures in the same book without special directions4 ,nineteenth century1 not #aith century4 ,figures to be used when the matter consists of a sequence of stated quantities1 particulars of age1 c4 ,example3 #8,figures for ,september show the supply to have been #he1fij tons1 a decrease on the month of #eg tons4 ,for the past twelve months there is a net increase of #e tons4' #8,the smallest tenor suitable for ten bells is ,d flat1 of #e feet diameter and #db cwt4' ,in descriptive matter1 numbers under #ajj to be in words2 but print #8#ij to #ajj'1 not #8ninety to #ajj'4 ,spell out in such instances as-- #8,with ,god a thousand years are but as one day'2 #8,i have said so a hundred times'4 ,insert commas with four or more than four figures1 as #g1fdb2 but print dates without commas1 as #aijh2 nor should there be commas in figures denoting pagination or numbering of verse1 even though there may be more than three figures4 ,omit commas also in ,library numbers1 as--,british ,museum ,,ms4 #bddef4 ,roman numerals to be preferred in such cases as ,henry ,,viii1 c4--which should never be divided2 and should only be followed by a full point when the letters end a sentence4 ,if1 however1 the author prefers the full title1 use #8,henry the ,eighth'1 not #8,henry the ,v,i,i,ith'4 ,use a decimal point to express decimals1 as #gjf2 and print #jgf1 not #gf4 ,when the time of day is intended to be shown1 the full point 4 is to be used1 as #d4cj a4m4 ,as to dates1 in descriptive writing the author's phraseology should be followed2 e4g4 #8,on the #bast of ,may the army drew near4' ,but in ordinary matter in which the date of the month and year is given1 such as the headings to letters1 print ,may #ai1 #ahfb2 not ,may #aith1 #ahfb1gc nor #ai ,may1 #ahfb4 ,to represent pagination or an approximate date1 use the least number of figures possible2 for example1 print3 pp4 #cbb-cj2 pp4 #cbb-d1 not pp4 #cbb-bd4 ,but print3 pp4 #af-ah1 not pp4 #af-h2 #aaf-ah1 not #aaf-h4 ,in dates3 #ahig-h1 not #ahig-ih 7use en rules72 and from #afgb to #afgd1 not from #afgb-gd4 ,print3 #bej ,b4,c42 but when it is necessary to insert ,a4,d4 the letters should precede the year1 as ,a4,d4 #bej4 ,in ,b4,c4 references1 however1 always put the full date1 in a group of years1 e4g4 #ahe-abb ,b4,c4 ,when preliminary pages are referred to by lower-case roman numerals1 no full points should be used after the numerals4 ,print3 p4 ii1 pp4 iii-x2 not p4 ii41 pp4 iii4-x4 ,when references are made to two successive text-pages print pp4 #f1 #g1 if the subject is disconnected in the two pages4 ,but if the subject is continuous from one page to the other1 then print pp4 #f-g4 ,the compositor in this must be guided by his copy4 ,print p4 #ea sq4 if the reference is to p4 #ea and following page2 but pp4 #ea sqq4 when the reference is to more than a single page following4#gd ,in a sequence of figures use an en rule1 as in the above examples2 but in such cases as ,chapters ,,iii--,,viii use an em rule4 ,begin numbered paragraphs3 #a4 #b4 c42 and clauses in paragraphs3 7#a7 7#b7 7#c71 c4 ,if ,greek or roman lower-case letters are written1 the compositor must follow copy4 ,roman numerals 7,i4 ,,ii4 ,,iii47 are usually reserved for chapters or important sections4 ,references in the text to footnotes should be made by superior figures--which are to be placed1 as regards punctuation marks1 according to the sense4 ,if a single word1 say1 is extracted and referred to1 the reference must be placed immediately after the word extracted and before the punctuation mark4 ,but if an extract be made which includes a complete sentence or paragraph1 then the reference mark must be placed outside the last punctuation mark4 ,asterisks1 superior letters1 c41 may be used in special cases4 ,asterisks and the other signs 799 c47 should be used in mathematical works1 to avoid confusion with the workings4 ,in ,mathematics1 the inferior in ,p#a should come immediately after the capital letter4 ,,footnotes3 #gc ,sir ,james ,murray says1 #8,this is not logical3 #ai ,may #ahfb is4 ,begin at day1 ascend to month1 ascend to year2 not begin at month1 descend to day1 then ascend to year4' 7,but ,i fear we must continue for the present to print ,may #ai1 #ahfb3 authors generally will not accept the logical form4--,h4 ,h47 #gd ,in references of this nature different forms are used1 as--ff41 foll41 et seq4 ,whichever form is adopted1 the practice should be uniform throughout the work4 ,,appendix ,i ,,possessive ,,case ,,of ,,proper ,,names ,use 's for the possessive case in ,english names and surnames whenever possible2 i4e4 in all monosyllables and disyllables1 and in longer words accented on the penult2 as-- ,augustus's ,charles's ,cousins's ,gustavus's ,hicks's ,st4 ,james's ,square ,nicodemus's ,jones's ,thomas's ,zacharias's ,st4 ,thomas's ,thoms's ,in longer names1 not accented on the penult1 's is also preferable1 though ' is here admissible2 e4 g4 ,theophilus's4 ,in ancient classical names1 use 's with every monosyllable1 e4 g4 ,mars's1 ,zeus's4 ,also with disyllables not in -es2 as-- ,judas's ,marcus's ,venus's ,but poets in these cases sometimes use s' only2 and ,jesus' is a well-known liturgical archaism4 ,in quotations from ,scripture follow the ,oxford standard4#ge ,ancient words in -es are usually written -es' in the possessive1 e4 g4 ,ceres' rites ,xerxes' fleet ,this form should certainly be used in words longer than two syllables1 e4g4 ,arbaces' ,aristides' ,miltiades' ,themistocles' ,to pronounce another 's 7 es7 after these is difficult4 ,this applies only to ancient words4 ,one writes--,moses' law2 and ,i used to alight at ,moses's for the ,british ,museum4 ,as to the latter example1 ,moses1 the tailor1 was a modern man1 like ,thomas and ,lewis2 and in using his name we follow modern ,english usage4 ,j4 ,a4 ,h4 ,m4 ,french names ending in s or x should always be followed by 's when used possessively in ,english4 ,thus1 it being taken for granted that the ,french pronunciation is known to the ordinary reader1 and using ,rabelais ,rabel1 ,hanotaux ,hanot1 as examples1 the only correct way of writing these names in the possessive in ,english is ,rabelais's 7 ,rabels71 ,hanotaux's 7 ,hanots74--,h4 ,h4 ,illustration3 7light bulb7 ,,footnotes3 #ge ,see p4 #i 7note74--,h4 ,h4 ,,appendix ,,ii ,,works ,,in ,,the ,,french ,,language ,the ,english compositor called upon to set works in the ,french language will do well1 first of all1 to make a careful examination of some examples from the best ,french printing-offices4 ,he will find that ,french printers act on rules differing in many points from the rules to which the ,english compositor is accustomed2 and he will not be able to escape from his difficulties by the simple expedient of #8following copy'4 ,for works in the ,french language1 such as classical text-books for use in schools1 the ,english compositor generally gets reprint copy for text and manuscript for notes4 ,it is1 as a rule1 safe for him to follow the reprint copy2 but there is this difficulty1 that when the work forms part of a series it does not always happen that the reprint copy for one book corresponds in typographical style with reprint copy for other works in the same series4 ,hence he should apply himself diligently to understand the following rules2 and should hunt out examples of their application1 so that they may remain in his memory4#gf #a4 ,capital and lower-case letters4--,in the names of authors of the seventeenth century1 which are preceded by an article1 the latter should commence with a capital letter3 ,la ,fontaine1 ,la ,bruyre4#gg ,exceptions are names taken from the ,italian1 thus3 le ,tasse1 le ,dante1 le ,corrge4#gh ,as to names of persons1 the usage of the individuals themselves should be adopted3 de la ,bruyre 7his signature at the end of a letter71 ,de la ,fontaine 7end of fable #8,le ,livre et la ,tortue'71 ,lamartine1 ,le ,verrier1 ,maxime ,du ,camp4 ,in names of places the article should be small3 le ,mans1 le ,havre1 which the ,acadmie adopts2 la ,fert1 with no hyphen after the article1 but connected by a hyphen with different names of places1 as la ,fert-sous-,jouarre4 ,volumes1 books1 titles1 acts of plays1 the years of the ,republican ,calendar1 are put in large capitals3 ,an ,,iv1 acte ,v1 tome ,,vi2 also numerals belonging to proper names3 ,louis ,,xii2 and the numbers of the arrondissements of ,paris3 le ,,xve arrondissement4 ,scenes of plays1 if there are no acts1 are also put in large caps43 ,les ,prcieuses ridicules1 sc4 ,v2 also chapters1 if they form the principal division3 ,joseph1 ch4 ,,vi4 ,if1 however1 scenes of plays and chapters are secondary divisions1 they are put in small capitals3 ,le ,cid1 a4 ,i1 sc4 ,,ii2 ,histoire de ,france1 liv4 ,,vi1 ch4 ,,vii4 ,the numbers of centuries are generally put in small capitals3 au ,,xixe 7or ,,xixme7 sicle4 ,the first word of a title always takes a capital letter3 ,j'ai vu jouer ,les ,femmes savantes2 on lit dans ,le ,radical4 ,if a substantive in a title immediately follows ,le1 ,la1 ,les1 ,un1 ,une1 it is also given a capital letter1 thus3 ,les ,prcieuses ridicules4 ,if the substantive is preceded by an adjective1 this also receives a capital letter3 ,la ,folle ,journe2 if1 however1 the adjective follows1 it is in lower-case3 ,l'ge ingrat4 ,if the title commences with any other word than le1 la1 les1 un1 une1 or an adjective1 the words following are all in lower-case3 ,de la terre la lune2 ,sur la piste4 ,in titles of fables or of dramatic works the names of the characters are put with capital initials3 ,le ,renard et les ,raisins2 ,le ,lion et le ,rat2 ,marceau1 ou les ,enfants de la ,rpublique4 ,in catalogues or indexes having the first word or words in parentheses after the substantive commencing the line1 the first word thus transposed has a capital letter3 ,homme 7,faiblesse de l'72 ,honneur 7,l'72 ,niagara 7,les ,chutes du74 ,if the words in parentheses are part of the title of a work1 the same rule is followed as to capitals as above given3 ,hlose 7,la ,nouvelle72 ,mort 7,la ,vie ou la74 ,the words saint1 sainte1 when referring to the saints themselves1 have1 except when commencing a sentence1 always lower-case initials3 saint ,louis1 saint ,paul1 sainte ,ccile4 ,but when referring to names of places1 feast-days1 c41 capital letters and hyphens are used3 ,saint-,domingue1 la ,saint-,jean4 7,see also1 as to abbreviations of ,saint1 ,sainte1 p4 #hb47 ,i4 ,use capital letters as directed below3 7#a7 ,words relating to ,god3 le ,seigneur1 l'tre suprme1 le ,trs-,haut1 le ,saint-,esprit4 7#b7 ,in enumerations1 if each one commences a new line1 a capital is put immediately after the figure3 #ao ,l',europe4 #bo ,l',asie1 c4 ,but if the enumeration is run on1 lower-case letters are used3 #ao l',europe1 #bo l',asie1 c4 7#c7 ,words representing abstract qualities personified3 ,la ,renomme ne vient souvent qu'aprs la ,mort4 7#d7 ,the planets and constellations3 ,mars1 le ,blier4 7#e7 ,religious festivals3 la ,pentecte4 7#f7 ,historical events3 la ,rvolution4 7#g7 ,the names of streets1 squares1 c43 la rue des ,mauvais-,garons1 la place de la ,nation1 la fontaine des ,innocents4 7#h7 ,the names of public buildings1 churches1 c43 l',opra1 l',odon1 glise de la ,trinit4 7#i7 ,names relating to institutions1 public bodies1 religious1 civil1 or military orders 7but only the word after the article73 l',acadmie franaise1 la ,lgion d'honneur1 le ,conservatoire de musique4 7#aj7 ,surnames and nicknames1 without hyphens3 ,louis le ,grand4 7#aa7 ,honorary titles3 ,son minence1 ,leurs ,altesses4 7#ab7 ,adjectives denoting geographical expressions3 la mer ,rouge1 le golfe ,persique4 7#ac7 ,the names of the cardinal points designating an extent of territory3 l',amrique du ,nord2 aller dans le ,midi4 7,see ,,ii4 7#b747 7#ad7 ,the word glise1 when it denotes the ,church as an institution3 l'glise catholique2 but when relating to a building glise is put4 7#ae7 ,the word tat when it designates the nation1 the country3 ,la ,france est un puissant tat4 ,,ii4 ,use lower-case initials for-- 7#a7 ,the names of members of religious orders3 un carme 7a ,carmelite71 un templier 7a ,templar74 ,but the orders themselves take capitals3 l'ordre des ,templiers1 des ,carmes4 7#b7 ,the names of the cardinal points3 le nord1 le sud4 ,but see ,i4 7#ac7 above4 7#c7 ,adjectives belonging to proper names3 la langue franaise1 l're napolonienne4 7#d7 ,objects named from persons or places3 un quinquet 7an argand lamp72 un verre de champagne4 7#e7 ,days of the week--lundi1 mardi2 names of months--juillet1 aot4 ,in plays the dramatis personae at the head of scenes are put in large capitals1 and those not named in even small capitals3 ,,sc,,ne ,v4 ,,triboulet1 ,,blanche1 ,,hommes1 ,,femmes ,,du ,,peuple4 ,in the dialogues the names of the speakers are put in even small capitals1 and placed in the centre of the line4 ,the stage directions and the asides are put in smaller type1 and are in the text1 if verse1 in parentheses over the words they refer to4 ,if there are two stage directions in one and the same line1 it will be advisable to split the line1 thus3 7,revenu sur ses pas47 ,oublions-les6 restons4-- 7,il l'assied sur un banc47 ,sieds-toi sur cette pierre4 ,directions not relating to any particular words of the text are put1 if short1 at the end of the line3 ,celui que l'on croit mort n'est pas mort4--,le voici6 7tonnement gnral47 #b4 ,accented ,capitals4--,with one exception accents are to be used with capital letters in ,french4 ,the exception is the grave accent on the capital letter ,a in such lines as-- ,a la porte de la maison1 c42 ,a cette poque1 c42 and in display lines such as-- ,f,,camp ,a ,,gen,,ve ,,machines ,a ,,vapeur4 ,in these the preposition ,a takes no accent2 but we must1 to be correct1 print tienne1 tretat2 and ,d,p,t1 ,v,,que1 ,,pr,v,t in cap4 lines4#gi ,small capitals should be accented throughout1 there being no fear of the grave accent breaking off4 #c4 ,the ,grave and ,acute ,accents4--,there has been an important change in recent years as to the use of the grave and acute accents in ,french4 ,it has become customary to spell with a grave accent 77 according to the pronunciation1 instead of with an acute accent 771 certain words such as collge 7instead of collge71 avnement 7instead of avnement71 c4 ,the following is a list of the most common3 allge l',arige arpge avnement barge collge le ,corrge cortge vnement florilge grge lge ,lige1 lige#hj mange mge la ,norvge or ,norwge pige privilge sacrilge sacrilgement sige solfge sortilge sphge#ha #d4 ,hyphens4--,names of places containing an article or the prepositions en1 de1 should have a hyphen between each component part1 thus3 ,saint-,germain-des-,prs1 ,saint-,valery-en-,caux1 although the ,acadmie leaves out the last two hyphens4 ,names of places1 public buildings1 or streets1 to which one or more distinguishing words are added1 take hyphens3 ,saint-tienne-du-,mont1 ,vitry-le-,franois1 rue du ,faubourg-,montmartre1 le ,pont-,neuf1 le ,palais-,royal1 l',htel-de-la-,monnaie4 ,in numbers hyphens are used to connect quantities under #ajj3 e4 g4 vingt-quatre2 trois cent quatre-vingt-dix2 but when et joins two cardinal numbers no hyphen is used1 e4g4 vingt et un2 cinquante et un4 ,but print vingt-et-unime4 #e4 ,spacing4--,no spaces to be put before the #8points de suspension'1 i4e4 three points close together1 cast in one piece1 denoting an interruption 744474 ,in very wide spacing a thin space may be put before a comma1#hb or before or after a parenthesis or a bracket4 ,colons1 metal-rules1 section-marks1 daggers1 and double-daggers take a space before or after them exactly as words4 ,asterisks and superior figures1 not enclosed in parentheses1 referring to notes1 take a thin or middle space before them4 ,points of suspension are always followed by a space4 ,for guillemets see pp4 #hf1 #hg4 ,a space is put after an apostrophe following a word of two or more syllables 7as a ,frenchman reckons syllables1 e4g4 bonne is a word of two syllables73-- ,bonn' petite444 ,aimabl' enfant6444 ,spaces are put in such a case as #aj h4 #ae m4 #aj s4 7#aj hours #ae min4 #aj sec471 also printed #aj;h #aem #ajs4 ,chemical symbols are not spaced1 thus ,c#aj;,h#ab7,,oh7,,co4,,oh4 #f4 ,awkward divisions3 abbreviated words and large numbers expressed in figures4--,one should avoid ending a line with an apostrophe1 such as3 ,quoi qu' il dise8 ,if a number expressed in figures is too long to be got into a line1 or cannot be taken to the next without prejudice to the spacing1 a part of the number should be put as a word1 thus3 #ajj mil- lions4 #g4 ,division of words4--,words should be divided according to syllables1 as in what the ,french call pellation 7i4e4 syllabication74 ,therefore a consonant should never be separated from the vowel following4 ,thus divide3 amou-reux1 cama-rade2 and always take over vr3 li-vraison4 ,if a consonant is doubled1 the consonants may be divided3 mil-lion1 pil-lard1 in-nocent4 ,it is optional to divide ob-scurit or obs-curit1 according to convenience4 ,vowels are divided only in compound words3 e4g4 extra-ordinaire2 not ,mo-abite1 mo-yen4 ,in compound words an apostrophe may be divided from a consonant following2 thus3 grand'-mre1 grand'-route4 ,divide sei-gneur1 indi-gnit 7gn pronounced as ni in #8mania'71 i4e4 take gn over4 ,the following divisions should be avoided3 ,ma-ximilien1 soi-xante1 ,me-xique2 -lgant4 ,in a narrow measure a syllable of two letters may stand at the end of a line3 ce-pendant1 in-dcis2 but a syllable of two letters must not be taken over to the next line2 therefore lgan-ce1 adversi-t1 are not permissible2 but lgan-ces1 mar-que1 abri-cot1 are tolerated4 ,avoid terminating a paragraph with only the final syllable of a word in the last line4 ,verbs taking the so-called euphonic t should always be divided before the latter1 thus3 ,viendra- t-il8 ,avoid dividing abbreviated words4 ,etymological division finds no favour in ,french1 unless it is in accord with pellation1 or syllabication1 as in trans-porter1 trans-poser4 ,but divide transi-tion1 transi-ger4 ,mute syllables may be turned over to the next line1 thus3 ils mar-quent1 les hom-mes4 #h4 ,abbreviations4--,such words as article1 chapitre1 scne1 titre1 figure1 are abbreviated only when in parentheses1 as references2 in the text they are put in full4 ,if1 in works divided into articles1 the first article is put in full 7thus3 ,article premier71 those that follow may be in figures and abbreviated 7as ,art4 #b74 ,saint1 sainte1 when they occur very often1 as in religious works1 may be abbreviated1 taking a capital letter3 ,s4 ,louis1 ,ste ,marie4 ,but not when they form part of the name of a place1 e4g4 ,saint-,germain-des-,prs2 in which case ,saint- and ,sainte- take a capital and are followed by a hyphen4#hc 7,see also p4 #ge47 ,the words monsieur1 madame1 monseigneur1 messeigneurs1 messieurs1 mesdames1 mademoiselle1 mesdemoiselles1 are written in full and all in lower-case when addressing a person3 ,oui1 madame2 ,non1 monsieur le duc4 ,also in the following instances3 ,j'espre que monseigneur viendra2 j'ai vu monsieur votre pre4 ,in most other cases ,m4 7for monsieur71 ,mme 7for madame71 ,mgr4 or ,mgr 7for monseigneur71 and so on1 are used4 ,the words ,sa ,majest1 ,son minence1 ,leurs ,altesses1 when followed by another title1 are put as initials1 thus ,s4 ,m4 l',empereur2 but not otherwise4 ,the name ,jsus-,christ is abbreviated only when in parentheses after a date1 thus3 7#ccg avant ,j4-,c474 ,this is more frequently printed #ccg ,a4,j4,c4 ,other examples of abbreviations3 liv4 7livre7 ch4 7chapitre7 t4 7tome7 do 7ditto7 fo 7folio7 in-fo 7in-folio7 in-#ho 7in-octavo7 in-#do 7in-quarto7 ms4 7manuscrit7 mss4 7manuscrits7 no 7numro7 ,p4-,s4 7post-scriptum7 ,ier 7premier7 #a;er ,,ii1 #b;e 7deuxime7 etc4 7et ctera7 c4--d4 7c'est--dire7 ,cie 7compagnie7 ,dr 7docteur7 ,me 7matre7 ,mlle 7mademoiselle7 ,n4-,s4 ,j4-,c4 7,notre-,seigneur ,jsus-,christ7 ,cte 7comte7 ,mis 7marquis7 ,vve 7veuve7 ,s4,a4 7,son ,altesse7 ,,ll4 ,,aa4 ,,ii4 7,leurs ,altesses ,impriales7 ,abbreviations of metric signs3 #hd,mm4 7myriamtre7 #hd,km4 7kilomtre7 #hd;,hm4 7hectomtre7 dam4 7dcamtre7 m4 7mtre7 dm4 7dcimtre7 cm4 7centimtre7 mq4 7mtre carr7 mm4 7millimtre7 mmq4 7millimtre carr7 mmc4 7millimtre cube7 ha4 7hectare7 a4 7are7 ca4 or m#b4 7centiare7 das4 7dcastre7 s4 or m#c4 7stre7 ds4 7dcistre7 t4 7tonne7 q4 7quintal mtrique7 kg4 7kilogramme7 hg4 7hectogramme7 dag4 7dcagramme7 g4 7gramme7 dg4 7dcigramme7 cg4 7centigramme7 mg4 7milligramme7 kl4 7kilolitre7 hl4 7hectolitre7 dal4 7dcalitre7 l4 7litre7 dl4 7dcilitre7 cl4 7centilitre7 ml4 7millilitre7 ,put3 #bj francs1 #bj mtres1 #bj litres1 #bj milligrammes4 ,if1 however1 followed by fractions1 then put--#bj fr4 #ej1 or #bj;fr1#ej2 #bj m4 #ej1 or #bjm1#ej2 #bj l4 #ej1 or #bjl1#ej2 #bj kilog4 #e1 or #bjkilo1#e4 ,in works crowded with figures1 one can even put--#jm1#e for #e dcimtres2 #jm1#ae for #ae centimtres2 #jm1#jjh for #h millimtres4 ,the cubic metre followed by a fraction is given thus3 #dmc1#jje or #dm#c1jje 7 #d mtres cubes #e millimtres cubes72 the square metre thus3 #dmq1#je or #dm#b1je 7 #d mtres carrs #e dcimtres carrs74 ,the ,french use a decimal comma instead of a decimal point--#b1c #bc4 ,the words kilogrammes1 kilomtres1 and kilogrammtres1 followed by fractions1 are given thus3 #ej kg4 #c or #ejkg1#c2 #e km4 #c or #ekm1#c2 #b kgm4 #d or #bkgm1#d4 ,per cent4 is generally put #j_/j1 but pour #ajj1 p4 #ajj1 and are also used4 ,in business letters pour cent is always pour 1 e4g4 ,a trente jours1 #c pour d'escompte4 #i4 ,numerals4--,when cardinal numbers are expressed in ,roman lower-case letters1 the final unit should be expressed by a j1 not an i1 thus3 ij1 iij1 vj1 viij4 ,numbers are put in full if only occasionally occurring in the text4 ,if used statistically1 figures are used4 ,degrees of temperature are generally given thus3 #ae1 #ae 7in ,english #ae #ae74 ,age or the time of day must be given in full3 huit ans1 six heures 7eight years1 six o'clock74 ,dates1 figures1 c41 are put in full in legal documents3 l'an mil neuf cent quatre 7the year one thousand nine hundred and four74 ,one should not put #8de #e #f1jjj hommes'1 but #8de #e1jjj #f1jjj hommes'4 ,commas in figures are used as in ,english1 thus3 #bj1bej fr4 #be or #bj1bej;fr1#be4 ,but dates1 and numbers in general1 are always put without a comma3 l'anne #adff2 page #abej2 ,code civil1 art4 #bjjj4 ,fractions with a horizontal stroke are preferred in mathematical and scientific works2 but in ordinary works the diagonal stroke is used1 thus3 #a_/b1 #b_/c 71 74 ,in logarithm tables the fractional part of a logarithm is printed with spaces1 thus3 ,log4 #bfgj #c1 #dbf #eaac2 and also3 ,log4 #bfgj #c1 #d #bfe #aac4 #aj4 ,roman and italic4--,in algebraical formulae the capital letters are always put in roman and the small letters in italic4 ,if1 however1 the text is in italic1 the small letters are put in roman type4 ,the titles of works1 of plays1 of journals1 names of ships1 of statues1 and titles of tables mentioned in the text1 are put in italic2 thus3 ,la pice ,la ,chatte blanche2 ,j'ai vu ,les ,rois en exil2 ,on lit dans ,le ,figaro2 le journal ,le ,temps2 le transport ,bien-,hoa4 ,foreign words#he and quotations are1 as in ,english1 italicized3 ,agir ab irato2 ,cave canem6 lisait-on4444 ,superior letters in words italicized should be in italic1 thus3 ,histoire de ,napolon ,ier4 #aa4 ,reference figures4--,references to notes are generally rendered thus3 7#a71 or thus3 #a4 ,sometimes an asterisk between parentheses 7997 or standing alone 991 or italic superior letters 7a71 are used4 ,the second example 7#a7 is the best from the ,english point of view4 ,the figure in the note itself is put either #a4 or 7#a7 or #a4 ,in many works the reference figure is put #a1 and the note-figure #a4 #ab4 ,metal-rules4--,these serve in ,french to denote conversational matter1 and take a thick space 7or more1 if necessary7 after them4 ,in fact1 metal-rules1 as in ,german1 always have a space before or after1 and are never put close to a word as in ,english4 ,they are likewise never put after colons4 ,they are also used to give more force to a point3 ,il avait un cur d'or1 -- mais une tte folle2 et vraiment1 -- je puis le dire1 -- il tait d'un caractre trs agrable4 ,they are likewise used1 as in ,english1 for intercalations3 ,cette femme -- trangre sans doute -- tait trs ge4 #ac4 ,quotation marks4--,the ,french use special quotation marks 7called guillemets74 ,a guillemet is repeated at the head of every subsequent paragraph belonging to the quotation4 ,in conversational matter1 guillemets are sometimes put at the commencement and end of the remarks1 and the individual utterances are denoted by a metal-rule 7with a space after74 ,but it is more common to dispense with guillemets altogether1 and to denote the commencement of the conversation by only a metal-rule4 ,this is an important variation from the ,english method4 ,if the comes after points de suspension1 a middle space is put before and after it3 ,la cour a dcrt qu' attendu l'urgence444 4 ,if1 in dialogues1 a passage is quoted1 the is put before the metal-rule3 -- ,demain1 minuit1 nous sortirons enfin6 ,in tables and workings the is used to denote an absent quantity3 #abe 4 #ae #acj #aj #ae 4 #be ,if a sentence contains a citation1 the point at the end of the latter is put before the 1 and the point belonging to the sentence after3 ,prenez garde au chien6 1 lisait-on l'entre des maisons romaines4 ,if the matter quoted ends with a full stop1 and a comma follows in the sentence1 the full stop is suppressed3 ,c'est par le sang et par le fer que les tats grandissent 1 a dit ,bismarck4 ,also1 if the point at the end of the citation is a full stop1 and the sentence ends with a note of interrogation or exclamation1 the full stop is suppressed3 ,a-t-il dit3 ,je reviendrai 8 ,if citation and sentence end with the same point1 or if the sentence ends with a full stop1 only the citation is pointed3 ,quel bonheur d'entendre3 ,je vous aime6 ,a-t-il dit3 ,qui est ici8 ,il a dit3 ,je viendrai4 ,but if the punctuation of the citation differs from that of the sentence1 both points are put3-- ,a-t-il dit3 ,quel grand malheur6 8 ,guillemets should have before and after them the same space as between words4 ,in the case of a citation within a citation1 the must stand at the commencement of each line of the enclosed citation3 ,on lit dans ,le ,radical3 ,une malheureuse erreur a t commise par un de nos artistes du boulevard4 ,ayant dire3 ,mademoiselle1 je ne veux qu'un mot de vous6 1 il a fait entendre ces paroles3 ,mademoiselle1 je ne veux qu'un mou de veau6 ,in passages quoted down the side put an en quad after the commencing each line4 ,only one is put at the end of two citations ending simultaneously4 ,,footnotes3 #gf ,i am greatly indebted to ,m4 ,dsir ,greffier1 author of ,les ,rgles de la composition typographique1 l'usage des compositeurs1 des correcteurs et des imprimeurs1 and to his publisher1 ,m4 ,arnold ,muller1 of the ,imprimerie des ,beaux-,arts1 #cf ,rue de ,seine1 ,paris1 for permission to translate and make extracts from this useful brochure4--,h4 ,h4 #gg ,m4 ,greffier carefully explains that in putting capitals to the articles in the case of these and similar names he differs from the ,acadmie franaise4--,h4 ,h4 #gh ,many now write #8,dante' for #8le ,dante'2 #8,tasse' is also met with for #8le ,tasse'4--,h4 ,h4 #gi ,m4 ,reyne1 proof-reader in the ,national ,government ,printing-,office1 ,paris1 tells me that there is no uniformity of practice in ,french printing-offices in regard to the accentuation of capital letters generally1 although there is a consensus of opinion as to retaining accents for the letter ,e4 ,as to the grave accent on the capital letter ,a1 the two extracts which follow are sufficient authority3 #8,the letter ,a1 when a capital1 standing for 1 is never accented by ,french printers4 ,this1 ,i know1 is a rule without exception2 and one of the reasons given is that the accented capital is 8ugly04 ,a better reason is that the accent often 8breaks off04'--,mr4 ,l,,on ,,delbos1 ,m4,a41 late ,instructor in ,french to ,royal ,naval ,cadets in ,h4,m4,s4 #8,britannia'4 #8,the practice of omitting the grave accent on the preposition ,a 7whatever the reason of it may be7 is all but universal4'--,mr4 ,e4 ,g4 ,w4 ,,braunholtz1 ,m4,a41 ,ph4,d41 ,reader in the ,romance ,languages in the ,university of ,cambridge4 ,h4 ,h4 #hj #8,the rule about instead of 1 as in collge instead of collge1 should be strictly adhered to1 as it now is by most ,french people4 ,however1 cannot be changed into unless it have that sound2 hence it is not right to say ,ligeois1 for the sound is that of 2 but ,lige is correct4 ,note that ,ligeois takes an e after the g4'--,mr4 ,l,,on ,,delbos4 #ha ,the list is from ,gasc's ,dictionary of the ,french and ,english ,languages3 ,g4 ,bell ,sons1 #ahhi4 #hb ,the ,english practice1 never to put a space before a comma1 is regarded by the best ,french printers as bad4 #8,this vicious practice' 7i4e4 putting no space before a comma71 says ,m4 ,thotiste ,lefevre1 #8which appears to us to have no other motive than the negligence of the compositor1 tends unhappily1 from day to day1 to get introduced also into ,french composition4'--,guide pratique du compositeur et de l'imprimeur typographes 7p4 #aif n47 par ,t4 ,lefevre4 ,paris1 ,firmin-,didot1 #ahhc4--;,h4 ,h4 #hc ,st-,germain1 ,ste-,catherine1 l'glise de ,st-,sulpice1 ,st-,hilaire1 la ,st-,jean1 are however met with in railway time-tables1 c4 #hd ,mm4 ,km4 ,hm4 ,these capitals and all the metric contractions are authorized by the ,french ,minister of ,public ,instruction4--,h4 ,h4 #he ,that is1 words foreign to ,french4--,h4 ,h4 ,,appendix ,,iii ,,works ,,in ,,the ,,german ,,language#hf ,english compositors called upon to set up ,german should have clear directions beforehand as to the founts to be used1 whether ,english or ,german4 ,if the manuscript is in well-written ,german script1 and the compositor is acquainted with the ,german characters1 he will find little difficulty in setting this up in ,german type4 ,it is otherwise if he has to set ,german in its own characters from manuscript in ,roman characters4 ,this is owing principally to the numerous digraphs and the long and short s's used4 ,the following rules will be found of use in both cases3 #a4 ,capitals and lower-case4--,all ,german substantives are written with capital initial letters2 and capital letters are also used for adjectives in geographical designations1 e4g4 das ,kaspische ,meer 7the ,caspian ,sea71 or in adjectives derived from proper names1 e4g4 die ,grimmschen ,mrchen 7,grimm's ,fairy ,tales72 but as a rule adjectives1 even when relating to nationality1 have lower-case initials1 not excepting titles of books1 c41 thus3 das deutsche ,vaterland1 die franzsische ,revolution 7the ,german ,fatherland1 the ,french ,revolution74 ,the von in ,german names of persons begins with a small letter 7unless of course when it commences a sentence71 e4g4 ,herr von ,blow4 ,the von in such cases requires only a thin space after it3 ,geschrieben von von ,richter 7written by von ,richter74 #b4 ,the ,reformed ,german ,spelling of #aijb4--;,all words of ,german origin ending in th1 as ,muth1 ,rath1 now drop the h and become ,mut1 ,rat1 c4 ,that has become ,tat1 ,thor is now ,tor4 ,willkhr has become ,willkr4 ,thee is now spelt ,tee4 ,but ,thron1 ,theater1 c41 being derived from ,greek1 keep th4 ,also ph in words of ,german origin is now supplemented by f1 thus ,efeu 7for ,epheu72 ,adolf1 ,rudolf1 ,westfalen 7for ,adolph1 ,rudolph1 ,westphalen74 ,likewise ,elefant1 ,fasan1 ,sofa4 ,but ,phonograph1 ,philosoph1 ,symphonie1 being learned words of ,greek origin4 ,z is more and more used for ,c1 thus3 ,zentrum for ,centrum2 ,zentner1 ,zirkus4 ,ae1 ,oe1 ,ue1 are always rendered 1 1 4 ,three identical letters should not come together before a vowel4 ,consequently print ,schiffahrt1 not ,schifffahrt 7but in dividing print ,schifffahrt74 ,mittag1 dennoch 7from ,mitttag1 dennnoch71 are invariable4 ,the plural of ,see is no longer ,seeen1 but ,seen2 in narrow measure divide ,seeen4 ,the suffix niz is now nis3 ,hindernis4 ,the verbal suffix iren is now uniformly written ieren1 thus3 addieren1 subtrahieren1 multiplizieren1 dividieren1 marschieren4 ,a detailed list of the new ,german1 ,austrian1 and ,swiss orthographies#hg may be obtained through any bookseller4 ,a few ,german writers still object to the modern spelling2 in such cases1 of course1 copy should be followed4 #c4 ,hyphens in ,german4--,if two or more words follow one another1 relating to a common part of speech with which they form a compound1 all except the last take a hyphen1 thus3 ,hut- und ,krawattenfabrikant 7hat and tie manufacturer74 ,compound words in ,german are now printed as one word4 #d4 ,division of words in ,german4--,prefixes should of course remain intact1 such as an1 auf1 ent1 emp1 er1 ver1 vor1 ber1 zer4 ,thus3 anfangen1 auffahren1 entzweien1 empfinden1 erfahren1 verndern1 vorrcken1 berreden1 zertozen4 ,in narrow measure divide geben1 tragen1 hebung1 lebend1 mhen1 agen1 ,tcher1 lchen4 7,see under paragraph #b of this ,appendix1 #8,reformed ,spelling'1 for three identical letters coming together4 ,see also under #g1 #aa1 #ad47 #e4 ,spaced words4--,in these the following compound letters should never be spaced3 ch1 ck1 t1 z1 tz4 ,the following are spaced3 ff1 fi1 fl1 ll1 i1 4 ,that is1 two different consonants coming together 7except f and l7 are not spaced2 but a consonant and vowel1 and double consonants1 are to be spaced4 #f4 ,prepositional and other prefixes in ,german4--,when auf precedes a part of speech commencing with f1 the two f's should not form one letter4 ,print auffahren1 not auffahren4 ,so also1 when aus is prefix to a part of speech beginning with an 1 it should not form with the latter an z or if ,german type is used4 ,print ausprechen1 not auszprechen or auprechen4 ,if ent precedes a part of speech beginning with z1 the t and z do not form one letter1 but remain separate3 entzweien1 not entzweien4 #g4 ,suffixes lich1 zig4--,the letter l in the former should not be joined to a preceding f1 nor the letter z in the latter to a preceding t4 ,print verwerflich1 not verwerflich2 achtzehn1 achtzig1 not achtzehn1 achttzig4 ,so also1 in dividing1 put verwerflich 7or verwerflich7 and achtzehn1 achtzig4 #h4 ,german in ,roman type4--,in ,roman type z is now rendered 7better than s7#hh2 becomes ss2 and in spaced words all letters 7except 7 are separated4 ,when ,roman capital letters are used1 z becomes ,,sz4 ,thus ,,masze 7,maze1 measures7 7with long a71 not ,,masse 7,mae1 substance7 7with short a74 #i4 ,metal-rules in ,german4--,spaces are always put before and after a rule in a sentence1 wide spaces in a widely spaced line1 thin spaces in a narrowly spaced one1 exactly as with words1 thus3 ,er sagte -- nicht ohne ,zaudern --1 daz er gehen me4#hi ,rules are not put after colons4 #aj4 ,quotation marks in ,german4--,the commencement of a quotation is indicated by commas followed by a thin space2 the close by turned commas4 ,a quotation within a quotation is usually rendered by a single ,roman comma at commencement1 and by a turned ,roman comma at the end#ij2 thus3 ,er agte mir3 ,gehe nicht hin1 denn es heizt1 daz es dort von 1,geistern spukt4#ia #aa4 ll4--,this is always printed as one letter at the end of a syllable or word1 as also in the body of a word if the latter is not a compound1 thus3 ,schaliloch 7now1 however1 written ,schalloch1 but divided ,schallloch72 will1 oll2 wollen1 ollen4 ,but in compound words1 in which the first l ends a syllable and the second l commences the next one1 the two l's must be separated1 thus3 vielleicht 7divided vielleicht74 #ab4 1 s4--,both in ,roman type ss4 ,the first 77 is used after short vowels1 thus3 een1 men4 ,the second 7s7 is employed when the first s ends one syllable and the second commences the next1 each syllable giving sense taken singly1 i4 e4 in compounds1 thus3 ,eischolle 7ice-block71 daselbe1 deselben4 #ac4 z4--,after long vowels or diphthongs and if followed by e or i of a less strongly accented syllable#ib3 pazen1 grzen1 heizen1 ,szigkeit2 also after short or long vowels or diphthongs if followed by t3 hazt1 pazt1 kzt1 grzt1 izt1 geniezt1 heizt2 and also at the end of words or first part of compounds1 whether the preceding vowel be long or short3 ,schloz1 groz1 ezbar1 fazlich4 #ad4 ,double letters4--ch1 ck1 ff1 fi1 fl1 ll1 i1 1 t1 fz1 tz4 ,no triple letters1 like the ,english ffi1 ffl1 are used in ,german4--ffi1 ssi1 are usually printed ffi1 i1 as pfiffig1 biig2 ffl is printed ffl1 as trefflich4 ,as regards fl1 the f and l must be separated if the latter belongs to a suffix1 thus3 chlaflos1 not chlaflos4 #ae4 1 s4--,the long s is used at the beginning1 the short s at the end of syllables 7agen1 laen1 las1 das1 ,huschen74 #af4 ,abbreviations in ,german4--,the most common are3 uw4 7 und so weiter1 and so on1 et cetera72 z4 ,b4 7 zum ,beipiel1 for example72 d4 h4 7 das heizt1 that is to say72 d4 i4 7 das it1 that is72 dgl4 7 dergleichen1 such like1 similar cases72 u4 a4 m4 7 und andere mehr1 and others72 4 7 iehe1 see72 4 o4 7 iehe oben1 see above72 4 u4 7 iehe unten1 see below72 u4 4 7 und fter1 passim72 og4 7 ogenannt1 so-called72 bzw4 7 beziehungsweie1 respectively72 ,aufl4 7 ,auflage1 unaltered edition72 ,ausg4 7 ,ausgabe1 revised edition72 ,abt4 7 ,abteilung1 division72 ,abchn4 7 ,abchnitt1 section72 a4 a4 ,o4 7 am angefhrten ,orte1 in the place cited72 ,bb4 7 ,band1 volume72 ,hs4 7 ,handchrift1 manuscript72 hss4 7 ,handchriften1 manuscripts7#ic4 ,after ordinal numbers a full point is put where we put #8#ast1 #bnd'1 c41 thus3 #a4 ,heft 7or #a4 ,h41 ertes ,heft1 first number72 #b4 ,band 7or #b4 ,bd41 zweiter ,band1 second volume74 ,this full point is often mistaken by compositors and readers for a full stop4 ,for in #8c4' the ,germans have a special character 1 thus3 c42 but uw4 now generally takes its place4 #ag4 ,the ,apostrophe4--,print it's1 geht's 7for it es1 geht es72 but where a preposition and the article das are merged1 omit the apostrophe2 thus ans 7for an das71 ins 7for in das71 durchs 7for durch das71 frs 7for fr das71 7not an's1 in's1 durch's1 fr's74 ,after proper names ending in s1 s1 z1 used possessively1 put an apostrophe1 omitting the apostrophal s2 thus ,vos' ,luie1 ,demothenes' ,reden1 ,horaz' ,oden 7,voss's ,louise1 ,demosthenes' ,speeches1 ,horace's ,odes74 ,but put ,schillers ,gedichte 7,schiller's ,poems74 #ah4 ,the ,comma4--,in ,german1 commas must invariably be put before das and before relative clauses 7beginning with der1 die1 das1 welcher1 welche1 welches1 womit1 wodurch1 woran1 woraus1 c4 c474 ,this is frequently forgotten by ,english compositors4 #ai4 4--,this mark 7in ,english1 #8section'7 is called in ,german #8,paragraph'4 ,,footnotes3 #hf ,for many useful suggestions in this section1 bringing these rules up to date1 ,i am much indebted to ,karl ,breul1 ,m4,a41 ,litt4,d41 ,ph4,d41 ,reader in ,germanic at ,cambridge ,university4--,h4 ,h4 #hg ,a very useful book is that by ,k4 ,duden1 ,orthographisches ,wrterbuch der deutschen ,sprache1 #hth ed41 ,leipzig1 #aijf4 ,price #bs4--,h4 ,h4 #hh ,where these founts are not yet available1 ss must1 as hitherto1 be put for z4 #hi ,he said--not without hesitation--that he must depart4 #ij ,single ,german commas are1 however1 also used4 #ia ,he said to me1 #8,do not go there1 for they say that 8ghosts0 are haunting that place'4 #ib ,after short vowels and before e and i of less strongly accented syllables print 3 een1 wien1 laen1 ken1 ,fligkeit4 #ic ,a very full list of ,german abbreviations1 with explanations1 is given in ,dr4 ,breul's ,new ,german ,dictionary 7,cassell ,co41 ,london1 #aijf74 ,,appendix ,,iv ,,division ,,of ,,latin ,,words ,the general rules are practically ,priscian's4 ,they are well summarized in ,gildersleeve's ,latin ,grammar4 #a4 #8,in dividing a word into syllables1 a consonant between two vowels belongs to the second3 a-mo1 li-xa4 #b4 #8,any combination of consonants that can begin a word 7including mn1 under ,greek influence7 belongs to the following vowel2 in other combinations the first consonant belongs to the preceding vowel3 a-sper1 fau-stus1 li-bri1 a-mnis4 #c4 #8,the combinations incapable of beginning a word are 7a7 doubled consonants3 sic-cus2 7b7 a liquid and a consonant3 al-mus1 am-bo1 an-guis1 ar-bor4 #d4 #8,compounds are treated by the best grammarians as if their parts were separate words3 ab-igo1 res-publica4' ,to take a page of ,cicero3 con-sequi so-lent ex-ponimus a-criter cri-mi-no-se diligen-ter a-gi re-rum conse-quentium miseri-cor-dia com-movebitur au-di-to-ris a-ni-mus osten-demus com-modis cu-ius cu-i quo-rum qui-bus-que 7not qui-bu-sque7 us-que 7because the parts are separate7 ca-ptabimus pote-statem sub-i-ci-e-mus pa-renti-bus neces-sariis cle-men-tia4 ,again3 eius-modi1 cuius-modi1 huius-modi 7not eiu-smodi1 c47 con-iun-ctim 7,i should suppose1 not con-iunc-tim7 am-plifica-stis e-stis vetu-stas hone-stus onu-stus sus-cipere sub-trahit ad-trahit in-struit circu-it simul-tate re-ce-den-dum di-co di-xi-sti di-xe-rat di-ctum a-ctum au-ctus ma-gnus i-gnis mali-gnus pi-gnus li-gna pec-catum demon-stra-stis 7,i am rather doubtful about this7 ma-gis ma-xime dif-fi-cul-tas la-brum la-mna lar-gus lon-ge di-gnus sum-pserim su-mo sum-mus su-prema propter-ea1 and probably pro-pter-ea 7but again ,i am in some doubt7 dis-tin-ctus dis-tin-guo ad-spectus a-spectus tem-ptavit il-lu-stris4 ,most of these are already adopted in editions of authority1 e4g4 ,nobbe's ,cicero1 ,haase's ,seneca4 ,,robinson ,,ellis4 ,illustration3 7light bulb7 ,,appendix ,v ,,division ,,of ,,greek ,,words ,a syllable ends in a vowel ,,except-- #a4 ,if a consonant is doubled1 the consonants are divided4 - 7,bacch4#id71 - 7,thuc471 and so -1 -1 -4 #b4 ,if the first of two or more consonants is a liquid or nasal1#ie it is divided from the others4 7,two consonants7 -1 -#if1 - 7,bacch471 - 7,thuc471 -4 7,three consonants7 -1 - 7,bacch471 - 7,thuc474 ,but -1 -1 -4 7,four consonants7 -1 -4 #c4 ,compounds4 ,for modern printing the preference must be to divide the compounds -1 - 7,thuc471 but - may stand as well as -4 ,h4 ,,stuart ,,jones4 ,,footnotes3 #id ,the references are to the papyri4 #ie ,or according to some if it is --- 7,hyp4 ,blass#if1 p4 xvii71 but the preference is for -1 -1 - 7,thuc471 - 7s4 v4 l41 ,bacch474 #if is a nasal when it precedes or 4 ,the other consonants referred to are and 4 ,,marks ,,used ,,in ,,the ,,correction ,,of ,,proofs ,from ,,johnson',s ,typographia 7#ahbd71 ,vol4 ,,ii1 p4 #baf4 ,illustration3 7page of text with numerous examples of handwritten proofing marks47 ,,the ,,opposite ,,page ,,corrected ,from ,,johnson',s ,typographia 7#ahbd71 ,vol4 ,,ii1 p4 #bag4 ,though a variety of opinions exist as to the individual by whom the art of printing was first discovered2 yet all authorities concur in admitting ,,peter ,,schoeffer to be the person who invented cast metal types1 having learned the art of cutting the letters from the ,guttembergs3 he is also supposed to have been the first who engraved on copperplates4 ,the following testimony is preserved in the family1 by ,jo4 ,fred4 ,faustus of ,ascheffenburg4 #8,,peter ,,schoeffer of ,gernsheim1 perceiving his master ,faust's design1 and being himself ardently desirous to improve the art1 found out 7by the good providence of ,god7 the method of cutting 7incidendi7 the characters in a matrix that the letters might easily be singly cast1 instead of being cut4 ,he privately cut matrices for the whole alphabet1 and when he showed his master the letters cast from those matrices1 ,faust was so pleased with the contrivance that he promised ,peter to give him his only daughter ,christina in marriage1 a promise which he soon after performed4 ,but there were as many difficulties at first with these letters1 as there had been before with wooden ones2 the metal being too soft to support the force of the impression3 but this defect was soon remedied1 by mixing the metal with a substance which sufficiently hardened it4' ,,some ,,english ,,names ,,of ,,types ,,with ,,examples ,,of ,,their ,,relative ,,sizes ,,double ,,pica3 ,the ,clarendon ,,great ,,primer3 ,the ,clarendon ,pre ,,english3 ,the ,clarendon ,press ,ox ,,pica3 ,the ,clarendon ,press1 ,oxfo ,,small ,,pica3 ,the ,clarendon ,press1 ,oxford1 ,,long ,,primer3 ,the ,clarendon ,press1 ,oxford1 w ,,bourgeois3 ,the ,clarendon ,press1 ,oxford1 was n ,,brevier3 ,the ,clarendon ,press1 ,oxford1 was na ,,minion3 ,the ,clarendon ,press1 ,oxford1 was named ,,emerald3 ,the ,clarendon ,press1 ,oxford1 was named ,,minion-,,nonpareil3 ,the ,clarendon ,press1 ,oxford1 was named a ,,nonpareil3 ,the ,clarendon ,press1 ,oxford1 was named after ,,ruby-,,nonpareil3 ,the ,clarendon ,press1 ,oxford1 was named after ,,ruby3 ,the ,clarendon ,press1 ,oxford1 was named after the ,,pearl3 ,the ,clarendon ,press1 ,oxford1 was named after the ,e ,,small ,,pearl3 ,the ,clarendon ,press1 ,oxford1 was named after the ,earl of ,,diamond3 ,the ,clarendon ,press1 ,oxford1 was named after the ,earl of ,clarendo ,,brilliant3 ,the ,clarendon ,press1 ,oxford1 was named after the ,earl of ,clarendon4 ,,long ,,primer ,,italic3 ,the ,clarendon ,press1 ,oxford1 was ,,black-,,letter3 ,the ,clarendon ,press1 ,,egyptian3 ,the ,clarendon ,press1 ,oxford1 ,,antique1 ,,modern ,,face3 ,the ,clarendon ,press1 ,oxford1 ,,antique1 ,,old ,,face3 ,the ,clarendon ,press1 ,oxford1 ,,grotesque3 ,the ,clarendon ,press1 ,oxfo ,the following is a list of type-bodies in more common use1 the first column giving the name of the ,english type-body1 and the second its designation under the ,american point-system4 ,english ,american ,pearl #e point ,ruby #e 0 ,nonpareil #f 0 ,minion #g 0 ,brevier #h 0 ,bourgeois #i 0 ,long ,primer #aj 0 ,small ,pica #aa 0 ,pica #ab 0 ,,general ,,index ,,note4--,the words ending in -able1 -ible1 -ise1 -ize1 and -ment1 and also others1 given in alphabetical order on pp4 #i-cg 7q4v471 are not repeated here4 ,a or an1 use of1 #ci4 before contractions1 #ci4 ,abbreviations1 see ,contractions4 in ,french1 #hb-d4 in ,german1 #ic-d4 -able1 words ending in1 #i4 ,accented -d in poetry1 #de4 ,accents in ,french1 #gh-i4 ,a4,d41 #dg1 #fi4 ,allardyce on ,stops1 c41 examples from1 #fd4 ,alternative or difficult spellings1 some1 #ae-bd4 ,ampersand 771 #dc4 ,and 7with and without comma71 #eg4 ,anglicized words1 set in roman1 #ce-f4 ,apocrypha1 contractions for books of1 #db4 ,aposiopesis1 mark of1 #fb4 ,apostrophe1 in ,french names ending in -s or -x1 #gb4 in ,german1 #id4 in place-names1 #dd4 in poetry1 #de4 in possessive case of proper names1 #ga4 omitted in hers1 ours1 theirs1 yours1 #dd4 thin space before1 when to use1 #di4 when to join close up1 #dd4 ,asterisks1 as reference signs1 #gj4 in philology1 #dh4 not to be used for marks of hiatus1 #fb4 ,authors and their works1 references to1 #eb4 ,awkward divisions1 c41 #ec-d1 #hj-a4 ,b4,c41 #dg1 #fi4 ,beadnell on ,spelling1 c41 #ee-fa4 ,bible and ,prayer ,book spellings1 #i 7note74 ,bible1 contractions for books of1 #da-b4 references to chapters and verses in1 #eb4 ,book sizes-- #dto1 #hvo1 #abmo1 c41 need no full points1 #db4 ,book titles1 italic or roman1 #ej1 #eb4 ,brackets1 #fa4 ,breaklines1 length of1 #di4 ,capital letters1 when to use in ,english1 #df4 in ,french1 #gc-g4 in ,german1 #hh4 in lemmas1 #fg4 when accented in ,french1 #gh4 ,chapter1 first word in small caps41 #dh4 first line to be indented1 #dh1 #ej4 -ck preceding a suffix1 #ae4 ,colon1 the1 #ei4 ,commas-- #8inverted'1 #fc4 use of1 with adjectives and adverbs1 #eg4 with #8and'1 #eg4 with more than three figures1 #fh1 #hd-e4 ,compass1 points of the1 #dc4 ,compound words1 #be-h4 plurals of1 #ae1 #ba4 ,consonants1 double or single with a suffix1 #bi4 ,contractions generally1 #da-e4 of colloquial expressions1 #dd4 of ,latin words not in italic1 #ea4 of names of counties1 #db4 of personal titles1 #dd4 of philological terms1 #dc4 of points of the compass1 #dc4 of references in footnotes1 #dc4 of references to manuscripts1 #dc4 of ,scripture references1 #da-b4 of sums of money1 #ea4 of titles of books1 #dd4 of weights and measures1 #dc4 ,correction of proofs1 marks used in1 #ih4 ,counties1 names of1 abbreviated1 #db4 ,dagger 7 obsolete or deceased71 #dh4 ,dash1 the1 #fa4 ,date at foot of title-page1 #dg4 ,dates1 how to print1 #fi1 #hd4 ,decimal points1 #fi4 ,deity1 pronouns referring to the1 #df4 ,de ,vinne on ,correct ,composition1 #ee-f1 #fc4 ,diaeresis signs1 when to use1 #ag4 ,difficult or alternative spellings1 #ae-bd4 ,digraphs and diphthongs1 #da4 ,division of words1 ,english1 #ec-d4 ,french1 #hj-a4 ,german1 #ij4 ,greek1 #ig4 ,italian1 #ed4 ,latin1 #ie-f4 ,portuguese1 #ed4 ,spanish1 #ed4 ,double letters1 in ,german1 #ic4 e before -able and -ment1 #i1 #bd4 -ed1 -d1 in poetry1 #de4 ,ellipsis1 #di1 #fb4 ,em rules1 various uses of1 #fa-b1 #gj4 ,english words1 how to divide1 #ec-d4 ,en rules1 when to use1 #fi-gj4 ,erratum and ,errata1 when to print1 #cc4 ,,etc41 ,,etc41 c41 when to use1 #dc4 ,exclamation1 the note of1 #fj4 ,extracts1 how to print1 #ej4 ,figures1 commas with1 #fh-i4 ,first line of chapter1 #dh4 ,footnotes1 abbreviations in1 #dc1 #ea4 superior figures to refer to1 #fg1 #gj4 ,foreign words and phrases1 #ce-g4 in roman1 #ce-f4 in italic1 #cf-g4 ,foreign words1 formation of plurals of1 #ca-c4 ,french language1 works in the1 #gc-hg4 abbreviations1 #hj-a1 #hb-d4 accented capital letters in1 #gh4 accented small capitals1 #gh4 accents1 #gh-i4 capital and lower-case letters1 #gc-h4 division of words1 #ha-b4 hyphens1 #gi-hj4 metal-rules1 #hj4 metric signs1 #hc4 names ending in -s or -x1 #gb4 numerals1 #hd-e4 quotation marks1 #hf-g4 reference figures1 #he4 roman and italic1 #he4 space before comma1 #hj4 spacing generally1 #hj4 ,full points1 examples of use1 #fj4 for contractions1 #dc-d4 to denote omissions1 #fb4 when not to use1 #db1 #dc1 #fh1 #fi4 ,german language1 works in the1 #hh-id4 abbreviations1 #ic4 apostrophes1 #id4 capital and lower-case letters1 #hh-i4 commas1 #id4 division of words1 #ij4 double letters1 #ic4 full points1 #id4 hyphens1 #ij4 in roman type1 #ia4 ll1 #ib4 metal-rules1 #ia4 paragraph mark 771 #id4 prepositional and other prefixes1 #ij-a4 quotation marks1 #ib4 reformed spelling1 #hi-ij4 1 s1 #ic4 spaced words1 #ij4 1 s1 #ib4 z1 #ib-c4 suffixes lich1 zig1 #ia4 ,greek words1 how to divide1 #ig4 ,guillemets in ,french1 #hf1 #hg4 ,headlines1 omission of points at end of1 #fg4 ,head ,master1 note on1 #be4 ,hers1 no apostrophe1 #dd4 ,hyphens1 use of1 in ,english1 #be-h4 in ,french1 #gi-hj4 in ,german1 #ij4 -ible1 words ending in1 #aa4 ,i'd1 ,i'll1 c4 7no space71 #dd4 ,indentation of first lines1 #dh1 #ej4 ,initials with dates1 #dg4 ,interrogation1 the note of1 #fj4 #8,inverted commas'1 #fc4 -ise or -ize1 words ending in1 #ab-ad4 ,italian words 7some71 how to divide1 #ed4 ,italic type-- for mathematical theorems1 #ea4 names of books and periodicals in1 #ej4 names of ships in1 #ea4 words and phrases in1 #cf-g1 #ej-a4 ,latin words1 how to divide1 #ie-f4 lb41 singular and plural form1 #dc4 ,lefevre1 ,t41 ,guide pratique du compositeur1 referred to1 #ee4 ,lower-case letters1 for anglicized words1 #dg4 for contractions1 #dc1 #dg4 in ,french1 #gc-h4 in ,german1 #hh-i4 ,,ms4 manuscript1 contraction of1 #dc4 ,marks used in the correction of proofs1 #ih4 ,marks of omission1 #fb4 ,marks of parenthesis1 #fa4 ,mathematics1 inferior in1 #gj4 theorems1 in italics1 #ea4 ,measures1 contractions of1 #dc4 ,medical signs1 #dh4 -ment1 words ending in1 #bd4 ,metal-rules in ,english1 #fa-b1 #gj4 in ,french1 #hf4 in ,german1 #ia4 ,metric signs in ,french1 abbreviations of1 #hc4 ,money1 contractions in sums of1 #ea4 ,months1 names of1 contracted1 #db4 ,new ,testament1 contractions for names of books of1 #db4 ,newspapers1 in italic1 #ea4 ,non-hyphened words1 #be-h4 ,nor and or1 #dj4 ,note of exclamation1 #fj-a4 interrogation1 #fj4 ,numbering of paragraphs1 #gj4 ,numerals1 arabic1 #fh-gj4 in ,french1 #hd-e4 in ,german1 #id4 roman1 use of1 #fh-gj4 ,o and ,oh1 #ci4 -o1 plurals of nouns ending in1 #cd4 ,old ,testament1 contractions for names of books of1 #da4 ,omission marks1 use full points for1 #fb4 ,ours1 no apostrophe1 #dd4 ,page references1 citation of1 #fi1 #gj4 ,paragraphs1 indentation of1 #dh1 #ej4 numbering of1 #gj4 spacing of last line1 #di4 ,parenthesis1 marks of1 #fj-a4 ,period or full stop1 the1 #fj-a4 ,periodicals1 names of1 italic1 #ej4 ,philological works1 contractions in1 #dc4 punctuation in1 #fg4 use of symbols in1 #dh4 ,phonetic spellings1 #ch4 ,place-names1 use of apostrophes in1 #dd-e4 ,plates1 c41 references to1 #dg4 ,plurals1 formation of1 in words of foreign origin1 #ca-b4 of nouns ending in -o1 #cd4 ,poetry1 'd1 -ed1 and -d in1 #de4 quotations from1 #de4 spacing of1 #di4 ,points 7punctuation marks71 #fb4 decimal1 #fi4 full1 when to omit1 #db1 #dc1 #fh1 #fi4 in title-pages1 c41 #fg4 ,points of the compass1 #dc4 ,portuguese words 7some71 how to divide1 #ed4 ,possessive case of proper names1 #ga-b4 ,prefixes in ,german1 prepositional and other1 #ij-a4 ,pronouns1 ,deistic1 capitalization of1 #df4 omission of apostrophe in1 #ed4 ,proofs1 marks used in correcting1 #ih4 ,proper names1 adjectives derived from1 #df4 common words derived from1 #dg4 possessive case of1 #ga-b4 ,,ps4 postscript 7one full point71 #dc4 ,punctuation generally1 #ee-fg4 colon1 #ei-fj4 comma1 #eg-h4 dash1 #fa-b4 note of exclamation1 #fj-a4 note of interrogation1 #fj4 parenthesis1 #fa4 period or full stop1 #fj-a4 semicolon1 #eh-i4 ,punctuation marks generally1 #fb-c4 in classical and philological notes1 #fg4 in relation to footnotes1 #fg4 quotation marks1 #fc4 when to precede1 and when to follow1 the closing quotation mark1 #fc-g4 ,quotation marks1 #fc-g4 in essays1 #fc4 in ,french1 #hf-g4 in ,german1 #ib4 #8inverted commas' 7so-called71 #fc4 ,quotations from foreign books1 c41 #ej4 poetical1 #de1 #fc4 prose1 #fc4 when to break off1 #ej4 ,reference figures in ,french1 #hd-e4 ,references generally1 #eb4 to authors and their works1 #eb4 to the ,bible1 #da-b1 #eb4 to footnotes1 #gj4 to manuscripts1 #dc1 #eb4 to periodicals1 #ej4 to plates1 woodcuts1 c41 #dg4 in relation to punctuation marks1 #fg4 to ,shakespeare's plays1 c41 #eb4 to ships1 #ea4 ,roman and italics in ,french1 #he4 ,roman numerals1 use of1 #fh-gj4 ,roman type1 ,german works in1 #ia4 anglicized words in1 #ce-f4 1 s1 #ic4 's1 thin space before apostrophe1 when to use1 #di4 ,scripture references1 #da-b1 #eb4 ,semicolon1 the1 #eh-i4 ,shakespeare1 spelling of the name1 #bc4 ,shakespeare's plays1 references to1 #eb4 #8,shilling-mark'1 #ea4 ,ships1 names of1 italic1 #ea4 ,signs for reference marks1 use of1 #gj4 special1 #dh4 ,small capitals1 when to use1 #dg4 ,southward's ,practical ,printing1 quoted1 #ee4 ,space before comma allowed1 in printing ,french1 #hj4 ,spaced words in ,german1 #ij4 ,spacing generally1 #di-ej4 in ,french1 #hj4 in ,greek1 ,latin1 and ,italian1 #di4 of last line in paragraph1 #di4 of poetry1 #di4 ,spanish words 7some71 how to divide1 #ed4 ,special signs or symbols1 #dh4 ,spellings1 alternative or difficult1 #ae-bd4 ,bible and ,prayer ,book1 #i 7note74 of old writers1 #ch4 phonetic1 #ch4 reformed ,german1 #hi-ij4 sq41 sqq41 #gj4 1 s1 #ib4 ,streets1 how to print names of1 #df4 ,suffixes1 #bi-cj4 lich1 zig1 #ia4 ,superior figures and letters1 #gj4 z1 #ib-c4 ,theirs1 no apostrophe1 #dd4 ,title-pages1 date at foot of1 #dg4 points in1 #fg4 ,titles1 personal1 contraction of1 #dd4 ,types1 ,english names of1 #ajj-b4 ,american point-system1 #ajb4 ,underlines1 #ej4 ,vowel-ligatures1 #da4 ,weights and measures1 contractions of1 #dc4 ,woodcuts1 plates1 c41 references to1 #dg4 ,words-- common1 derived from proper names1 #df4 ending in -able1 #i4 ending in -ible1 #aa4 ending in -ise or -ize1 #ab-ad4 ending in -ment1 #bd4 ending in -o1 plurals of1 #cd4 ending with -ed or -d in poetry1 #de4 foreign1 in italic1 #ce-f4 foreign1 in roman1 #cf-g4 ,yours1 no apostrophe1 #dd4