Rules for compositors and readers at the University Press, Oxford

The Project Gutenberg eBook of Rules for compositors and readers at the University Press, Oxford, by Horace Hart This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title: Rules for compositors and readers at the University Press, Oxford Author: Horace Hart Contributors: James A. H. Murray Henry Bradley Release Date: July 14, 2023 [eBook #71188] Language: English Credits: Richard Tonsing, John Campbell and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) *** START OF THE PROJECT GUTENBERG EBOOK RULES FOR COMPOSITORS AND READERS AT THE UNIVERSITY PRESS, OXFORD *** TRANSCRIBER’S NOTE This was a reference book for typesetters and proofreaders at the University Press, Oxford. While primarily covering English words and grammar, it also addresses French, German, Latin and Greek text in UP books. This etext simplifies the original text by using common Unicode characters, so that a wide variety of display devices will present a more readable book to readers. A few less common characters remain, and some devices may not display them correctly. Footnote anchors are denoted by [number], and the footnotes have been placed at the end of each major section. Many footnotes have more than one anchor; in these cases the second and third anchors have been denoted by {number}. In this etext italic text is denoted by _underscores_. A superscript is denoted by ^x or ^{xx}, for example y^e or C^{10}H^{12}. A subscript is denoted by _{x}, for example P_{1}. The original book had many German words and phrases in Fraktur (blackletter) font, primarily in Appendix III. This etext has replaced each Fraktur letter with the corresponding roman letter, and the Fraktur text string is denoted by =equalsigns=. Appendix III addresses printing of German Fraktur text. There are many digraphs (a pair of letters printed as one type-letter) in the Fraktur text in the original book. They are shown in this etext as a pair of letters in roman, for example ch, ck, ff, ſſ, ſt, ſz. The printed long-s character, ſ, has been retained and _not_ changed to the modern short s character. In the original book a Fraktur word-division was indicated by an = (for example an=fangen); in this etext a tilde ~ is used instead (an~fangen). Page 98 shows a page of printed text with dozens of handwritten proofreading correction marks and notes. These are not reproduced in this etext, but can be seen in the web and ereader versions of this book. Page 99 has the corrected version of that marked-up text. RULES FOR COMPOSITORS AND READERS AT THE UNIVERSITY PRESS, OXFORD BY HORACE HART, M.A. PRINTER TO THE UNIVERSITY OF OXFORD THE ENGLISH SPELLINGS REVISED BY SIR JAMES A. H. MURRAY, M.A., D.C.L., LL.D., D.LITT. AND HENRY BRADLEY, M.A., PH.D. EDITORS OF THE OXFORD DICTIONARY TWENTY-SECOND EDITION (THE EIGHTH FOR PUBLICATION) LONDON HENRY FROWDE, AMEN CORNER, E.C. OXFORD: 116 HIGH STREET 1912 These Rules apply generally, 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 cases. [Illustration: (light bulb; end of section marker)] _First Edition, April 1893. Reprinted, Dec. 1894._ _Reprinted with alterations_— _Jan. 1895_; _Feb. 1895_; _Jan. 1896_; _July 1897_; _Sept. 1898_; _April 1899_; _Aug. 1899_; _Jan. 1901_; _Feb. 1901_; _Jan. 1902_; _March 1902_; _May 1903_. _Fifteenth Edition, revised and enlarged the first for publication March 1904._ _Sixteenth Edition, April 1904._ _Seventeenth Edition, April 1904._ _Eighteenth Edition, revised and enlarged July 1904._ _Nineteenth Edition, July 1905._ _Twentieth Edition, July 1907._ _Twenty-first Edition, January 1909._ _Twenty-second Edition, January 1912._ _PREFACE_ _It is quite clearly set out on the title-page in previous editions of these Rules and Examples, that they were intended especially_ for Compositors and Readers at the Clarendon Press. _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 Typography, or wishes to be guided to a choice amidst alternative spellings._ _On the production of the First Edition at the Oxford Press, copies were placed at the disposal of all Readers, Compositors, and Compositor-apprentices; and other copies found their way into the possession of Authors and Editors of books then in the printers’ hands. Subsequently, friends of authors, and readers and compositors in other printing-offices, began to ask for copies, which were always supplied without charge. By and by applications for copies were received from persons who had no absolute claim to be supplied gratuitously; but as many of such requests came from Officials of the King’s Government at Home, in the Colonies, and in India, it was thought advisable, on the whole, to continue the practice of presentation._ _Recently, however, it became known that copies of the booklet were_ on sale _in London. A correspondent wrote that he had just bought a copy ‘at the Stores’; and as it seems more than complaisant to provide gratuitously what may afterwards be sold for profit, there is no alternative but to publish this little book._ _As to the origin and progress of the work, it was begun in 1864, when the compiler was a member of the London Association of Correctors of the Press. With the assistance of a small band of fellow members employed in the same printing-office as himself, a first list of examples was drawn up, to furnish a working basis._ _Fate so ordained that, in course of years, the writer became in succession general manager of three London printing-houses. In each of these institutions additions were made to his selected list of words, which, in this way, gradually expanded—embodying what compositors term ‘the Rule of the House’._ _In 1883, as Controller of the Oxford Press, the compiler began afresh the work of adaptation; but pressure of other duties deferred its completion nearly ten years, for the first edition is dated 1893. Even at that date the book lacked the seal of final approval, being only part of a system of printing-office management._ _In due course, Sir J. A. H. MURRAY and Dr. HENRY BRADLEY, editors of the_ Oxford Dictionary, _were kind enough to revise and approve all the English spellings. Bearing the stamp of their sanction, the booklet has an authority which it could not otherwise have claimed._ _To later editions Professor ROBINSON ELLIS and Mr. H. STUART JONES contributed two appendices, containing instructions for the Division of Words in Latin and Greek; and the section on the German Language was revised by Dr. KARL BREUL, Reader in Germanic in the University of Cambridge._ * * * * * _The present issue is characterized by many additions and some rearrangement. 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—use, not recorded in previous issues of the ‘Rules’, and to make notes of the mode of printing them which is decided on. As each edition of the book becomes exhausted such words are reconsidered, and their approved form finally incorporated into the pages of the forthcoming edition. The same remark applies to new words which appear unexpectedly, like new planets, and take their place in what Sir JAMES MURRAY calls the ‘World of Words’. Such instances as air-man, sabotage, stepney-wheel, will occur to every newspaper reader._ _Lastly, it ought to be added that in one or two cases, a particular way of spelling a word or punctuating a sentence has been changed. This does not generally mean that an error has been discovered in the ‘Rules’; but rather that the fashion has altered, and that it is necessary to guide the compositor accordingly._ H. H. _January 1912._ [Illustration: (light bulb)] CONTENTS _Page_ SOME WORDS ENDING IN -ABLE 9 SOME WORDS ENDING IN -IBLE 11 SOME WORDS ENDING IN -ISE OR -IZE 12 SOME ALTERNATIVE OR DIFFICULT SPELLINGS, ARRANGED IN ALPHABETICAL ORDER 15 SOME WORDS ENDING IN -MENT 24 HYPHENED AND NON-HYPHENED WORDS 25 DOUBLING CONSONANTS WITH SUFFIXES 29 FORMATION OF PLURALS IN WORDS OF FOREIGN ORIGIN 31 ERRATA, ERRATUM 33 PLURALS OF NOUNS ENDING IN -O 34 FOREIGN WORDS AND PHRASES, WHEN TO BE SET IN ROMAN AND WHEN IN ITALIC 35 SPELLINGS OF FIFTEENTH TO SEVENTEENTH CENTURY WRITERS 38 PHONETIC SPELLINGS 38 A OR AN 39 O AND OH 39 NOR AND OR 40 VOWEL-LIGATURES (Æ AND Œ) 41 CONTRACTIONS 41 POETRY: WORDS ENDING IN -ED, -ÈD, &C. 45 CAPITAL LETTERS 46 LOWER-CASE INITIALS 47 SMALL CAPITALS 47 SPECIAL SIGNS OR SYMBOLS 48 SPACING 49 ITALIC TYPE 50 REFERENCES TO AUTHORITIES 52 DIVISION OF WORDS—ENGLISH, ITALIAN, PORTUGUESE, AND SPANISH 53 PUNCTUATION 55 FIGURES AND NUMERALS 68 APPENDIX I } POSSESSIVE CASE OF PROPER NAMES } 71 BY SIR J. A. H. MURRAY } APPENDIX II } WORKS IN THE FRENCH LANGUAGE } 73 APPENDIX III } WORKS IN THE GERMAN LANGUAGE } 88 APPENDIX IV } DIVISION OF LATIN WORDS } 95 BY PROF. ROBINSON ELLIS } APPENDIX V } DIVISION OF GREEK WORDS } 97 BY MR. H. STUART JONES } MARKS USED IN THE CORRECTION OF PROOFS 98 SOME ENGLISH NAMES OF TYPES 100 GENERAL INDEX 103 [Illustration: (light bulb)] RULES FOR SETTING UP ENGLISH WORKS[1] SOME WORDS ENDING IN -ABLE Words ending in silent _e_ generally lose the _e_ when -able is added, as— adorable arguable desirable excusable indispensable leisurable But this rule is open to exceptions upon which authorities are not agreed. The following spellings are in _The Oxford Dictionary_, and must be followed: 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 _ge_, the _e_ should be retained, to preserve the soft sound of _c_ or _g_, as— bridgeable changeable chargeable knowledgeable lodgeable manageable noticeable peaceable pledgeable serviceable Words ending in double _ee_ retain both letters, as—agreeable. In words of English formation, a final consonant is usually doubled before -able, as— admittable biddable clubbable conferrable deferrable forgettable gettable incurrable rebuttable regrettable[2] FOOTNOTES: [1] At Oxford especially, it must always be remembered that the Bible has a spelling of its own; and that in Bible and Prayer Book printing the Oxford standards are to be exactly followed.—H. H. [2] For an authoritative statement on the whole subject see _The Oxford Dictionary_, Vol. I, p. 910, art. _-ble_. 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_ (s.v. _-ble_): ‘In English there is a prevalent feeling for retaining _-ible_ wherever there was or might be a Latin _-ibilis_, while _-able_ is used for words of distinctly French or English origin.’ The following are examples of words ending in -ible: 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 Dictionary_: actualize advertise advise affranchise aggrandize agonize alcoholize alkalize anathematize anatomize anglicize apologize apostrophize apprise (_to inform_) apprize (_to appraise_) 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 (_to_) prize (_a_) pulverize rationalize realize recognize reorganize reprise revolutionize rhapsodize romanize satirize scandalize scrutinize secularize seise (_in law_) seize (_to grasp_) 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 [Illustration: (light bulb)] SOME ALTERNATIVE OR DIFFICULT SPELLINGS MORE OR LESS IN DAILY USE, ARRANGED IN ALPHABETICAL ORDER FOR EASY REFERENCE abetter abettor (_law_) accepter (-or _in law_) adaptable adapter addorsed adjutants-general[3] _pl._ adjudgement admonitor aerate aerial aerie aeronaut aeroplane aetiological, -logist aetiology ageing aides-de-camp{3} _pl._ aline, -ment[4] allineation almanac[5] ambidexterity analyse aneurysm ankle apanage apophthegm apostasy apparelled archetype archidiaconal arcking[6] armful artisan ascendancy, -ant assessable aught (_anything_) automobile aweing awesome axe[7] ay (_always_) aye (_yes—‘the ayes have it’_) bandoleer banns banyan Barbadoes bark (_ship_) basin basses (_pl._) battalion befall beldam bethrall blouse bluish bodice bogie (_a truck_) bogy (_apparition_) bothy brand-new brier brooch (_ornament_) 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 (_cloth_) canvass (_political_) carcass carriable cartography catarrhine cat’s-paw cauldron (_a vessel_) caulk celluloid censer (_a vessel_) censor (_an official_) centigram centipede chaldron (_measure_) chalet chant chaperon cheque (_on a bank_) chequered (_career_) chestnut chillness chock-full choroid cider cipher clangor clarinet clench (_fists_) clerestory clinch (_argument_) clinometer cloak (_not_ cloke) clue (_but_ clew _for part of a sail_) coalesce coco-nut cognizance colander coloration colourist commonplace confidante (_fem._) conjurer conjuror (_law_) connexion connivence conscience’ sake consensus contemporary conterminous contestor cony copier corrupter corslet corvette cosy cotillion cottar couldst couldn’t coulter courts martial (_pl._) cousins-german (_pl._) craftsman crenellate crosier curtsy cyst debarkation debonair decrepit deflexion demeanour dependant (_noun_) dependence dependent (_adj._) desiccate detector develop, -ment devest (_law_) dexterously diaeresis[8] dialyse dike dinghy discoloration discolour disk dispatch (_not_ despatch) distension distil disyllable doggerel doily Domesday Book dote draft (_prepare_) draftsman (_one who drafts documents_) draught-board draughtsman (_one who makes drawings_) draughtsmen (_in game of draughts_) dryly dullness duress dyeing (_cloth_) ecstasy eloin, -ment embargo embarkation embassage embed embroil empanel encase enclasp enclose encrust endorse enroll enrolment ensconce ensure (_make safe_) enthral entreat entrench, -ment entrust envelop (_verb_) envelope (_noun_) erector ethereal exorrhizal expense faecal faeces faggot fantasy favour feldspar fetid filigree finicking fledgeling fleurs-de-lis (_pl._) floatage floatation fluky flyer foetal foetus fogy, _pl._ -ies forbade foregone (_gone before_) foretell forgather forgo[9] forme (_printer’s_) fount (_of type_) frenzy frowzy fuchsia fulfil fullness fusilier fusillade gage (_a pledge_) gaily gauge (_a measure_) genuflexion gewgaw gibe gillie gimlet gipsy goodness’ sake gourmand gramme grammetre gramophone grandam granddaughter granter (_one who grants_) grantor (_in law: one who makes a grant_) grey grisly (_terrible_) grizzly (_grey_) grizzly bear gruesome guerrilla gullible hadst haematite haematology haemorrhage haemorrhoids ha! ha! (_laughter_) ha-ha (_a fence_) hairbreadth halberd hallo handful handiwork hare-brained hauler haulm havoc hearken hectogram hectolitre hectometre he’ll (_no space_) honour horehound hornblende horsy humorist humorous humour, -less hyena hypotenuse icing I’d, I’ll (_no space_) idiosyncrasy idolater impermeable inferable inflexion innocuous inoculate inquire, -quiry[10] install instalment instil insure (_in a society_) Inverness-shire, &c. inweave ipecacuanha jail jam, _v._ (_not_ jamb) jamb (_noun_) 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 (_noun_) license (_verb_) licensee lich-gate lineament Linnaean[11] linsey-woolsey liny liquefy liquorice litre loadstone loath (_adj._) loathe (_verb_) lodestar lour (_frown_) macintosh maelstrom maharaja mamma mandolin manikin manyplies marquess mattress mayst mediaeval men-of-war[12] (_pl._) metamorphose mightst mileage millennium millepede milligram millimetre miscall misdemeanour misspelling mistletoe mizen, -mast moccasin Mohammedan mollusc moneyed moneys mould, -ing (_v. & n._) naught (_nothing_) negotiate net (_profits_) newsvendor novitiate nursling octet omelet oneself orangeade orgy osculatory osier ought (_cipher_) ouzel overalls oyez! 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 (_size of paper_) potato, _pl._ -es practice (_noun_) practise (_verb_) prehistoric premises (_no sing._, _conveyancing_) premiss, premisses (_logic_) primaeval printer’s error, _but_ printers’ errors[13] programme proletariate prophecy (_noun_) prophesy (_verb_) pundit pupilage putrefy pyjamas quartet quinine quinsy quintet racket (_bat_) rackets (_game_) racoon radical (_chemistry_) radicle (_botany_) radium (_small_ r) ragi (_grain_) raja rarefaction rarefy rase (_to erase_) raze (_to the ground_) react rearward recall recompense (_v. & n._) recompose referable refill reflection[14] rhyme (_verse_)[15] ribbon rigorous rigors (_in med._) rigour rime (_hoar-frost_) rodomontade rout (_verb_) secrecy sergeant (_military_) serjeant (_law_) Shakespeare[16] Shakespearian, -iana she’ll (_no space_) shouldst show (_v. & n._) shrillness sibyl sibylline siliceous singeing siphon siren skilful skilless slyly sons-in-law (_pl._) spadeful sphinx sponge spoonful stanch stationary (_standing still_) stationery (_paper_) steadfast stillness story (_of a house_) stupefy suggester swingeing (_blow_) sycamore[17] sylvan syndicalism synonymous syrup tallness[18] tease tenor thyme (_herb_) tire (_of a wheel_)[19] tiro toboggan, -ing toilet tranquillity transcendent transferable tranship, -ment transplendent trousers Tuileries tumour unmistakably vender (_as generally used_) vendor (_in law_) vermilion villany visor wabble wagon weasand we’ll (_no space_) whilom whisky whitish wilful woe, woful wooed, woos wouldst zoogloea [Illustration: (light bulb)] FOOTNOTES: [3] Compound words of this class form their plurals by a change in the first word.—H. H. [4] ‘The Eng. form _alinement_ is preferable to _alignment_, a bad spelling of the French.’—_O.E.D._ [5] But the _k_ is retained in _The Oxford Almanack_, following the first publication in 1674.—H. H. [6] ‘In derivatives formed from words ending in _c_, by adding a termination beginning with _e_, _i_, or _y_, the letter _k_ is inserted after the _c_, in order that the latter may not be inaccurately pronounced like _s_ before the following vowel.’—WEBSTER. [7] In _The Oxford Dictionary_, Vol. I, p. 598, Sir James Murray says, ‘The spelling _ax_ is better on every ground ... than _axe_, which has of late become prevalent.’ (But as authors generally still call for the commoner spelling, compositors must follow it.—H. H.) [8] The sign [¨] sometimes placed over the second of two vowels in an English word to indicate that they are to be pronounced separately, is so called by a compositor. By the way, this sign is now used only for learned or foreign words; not in _chaos_ or in _dais_, for instance. _Naïve_ and _naïveté_ still require it, however (see pp. 35, 37).—H. H. [9] In 1896, Mr. W. E. Gladstone, not being aware of this rule, wished to include, in a list of errata for insertion in Vol. II of _Butler’s Works_, an alteration of the spelling, in Vol. I, of the word ‘forgo’. On receipt of his direction to make the alteration, I sent Mr. Gladstone a copy of _Skeat’s Dictionary_ to show that ‘forgo’, in the sense in which he was using the word, was right, and could not be _corrected_; but it was only after reference to Sir James Murray that Mr. Gladstone wrote to me, ‘Personally I am inclined to prefer forego, on its merits; but authority must carry the day. _I give in._’—H. H. [10] ‘This is now usual. See _O.E.D._, s.v. Enq-.’—J. A. H. M. [11] But Linnean Society. [12] Compound words formed of two nouns connected by a preposition form their plurals by a change in the first word.—H. H. [13] Sir James Murray thinks that where there is any ambiguity a hyphen may also be used, as ‘bad printers’-errors,’—H. H. [14] ‘Etymology is in favour of _reflexion_, but usage seems to be overpoweringly in favour of the other spelling.’—H. B. [15] The older form ‘rime’ is occasionally used by modern writers, and in such cases the copy should be followed.—H. H. [16] ‘Shakspere is preferable, as—The New Shakspere Society.’—J. A. H. M. (But the Clarendon Press is already committed to the more extended spelling.—H. H.) [17] The ‘sycomore’ of the Bible is a different tree—the fig-mulberry.—H. H. [18] It is generally agreed that words ending in _ll_ should drop one _l_ before _less_ (as in _skilless_) and _ly_; but there is not the same agreement in dropping an _l_ before _ness_.—H. H. [19] ‘But the bicycle-makers have apparently adopted the non-etymological _tyre_.’—J. A. H. M. SOME WORDS ENDING IN -MENT In words ending in -ment print the _e_ when it occurs in the preceding syllable, as—abridgement, acknowledgement, judgement, lodgement.[20] But omit the _e_ in development, envelopment, in accordance with the spelling of the verbal forms develop, envelop. FOOTNOTES: [20] ‘I protest against the unscholarly habit of omitting it from “abridg_e_ment”, “acknowledg_e_ment”, “judg_e_ment”, “lodg_e_ment”,—which is against all analogy, etymology, and orthoepy, since elsewhere _g_ is hard in English when not followed by _e_ or _i_. I think the University Press ought to set a scholarly example, instead of following the ignorant to do ill, for the sake of saving four _e_’s. The word “judgement” has been spelt in the Revised Version correctly.’—J. A. H. M. HYPHENED AND NON-HYPHENED WORDS[21] The hyphen need not, as a rule, be used to join an adverb to the adjective which it qualifies: as in— a beautifully furnished house, a well calculated scheme. When the word might not at once be recognized as an adverb, use the hyphen: as— a well-known statesman, an ill-built house, a new-found country, the best-known proverb, a good-sized room. When an adverb qualifies a predicate, the hyphen _should not_ be used: as— this fact is well known. Where either (1) a noun and adjective or participle, or (2) an adjective and a noun, in combination, are used as a compound adjective, the hyphen _should_ be used: a poverty-stricken family, a blood-red hand, a nineteenth-century invention. A compound noun which has _but one accent_, and from familiar use has become one word, requires no hyphen. Examples: bláckbird býname býword háirbrush háirdresser háirpin hándbook hándkerchief mántelpiece nówadays schóolboy schóolgirl seáport téapot tórchlight upstáirs wátchcase whéelbarrow The following should also be printed as one word: aglow anybody anyhow anything anywhere bedroom childbed coeval coexist coextensive coheir cornfield downhill downstairs evermore everyday (_as adj._) everything everyway (_adverb_) everywhere eyewitness fairyland fatherland footsore footstep freshwater (_as adj._) 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 accent_, as—ápple-trée, chérry-píe, grável-wálk, wíll-o’-the-wisp, as well as others which follow, require hyphens: 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 (_as adj._) 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[22] (_as a book_) re-cover (_a chair_) re-enter re-form (_form again_) 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[23] water-course week-day year-book Half an inch, half a dozen, &c., require no hyphens. Print the following also without hyphens: any one cast iron common sense (_adj. and noun together_) court martial dare say easy chair every one fellow men for ever good humour good nature good night head master[24] high priest high road ill health ill luck ill nature no one plum pudding post office revenue office some one union jack [Illustration: (light bulb)] FOOTNOTES: [21] See _Oxford Dict._, Vol. I, page xiii, art. ‘Combinations’, where Sir James Murray writes: ‘In many combinations the hyphen becomes an expression of unification of sense. When this unification and specialization has proceeded so far that we no longer analyse the combination into its elements, but take it in as a whole, as in _blackberry_, _postman_, _newspaper_, pronouncing it in speech with a single accent, the hyphen is usually omitted, and the fully developed compound is written as a single word. But as this also is a question of degree, 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 words.’ And again, in _The Schoolmasters’ Year-book_ for 1903 Sir James Murray writes: ‘There is no rule, propriety, or consensus of usage in English for the use or absence of the hyphen, except in cases where grammar or sense is concerned; as in a day well remembered, but a well-remembered day, the sea of a deep green, a deep-green sea, a baby little expected, a little-expected baby, not a deep green sea, a little expected baby.... Avoid Headmaster, because this implies one stress, Héadmaster, and would analogically mean “master of heads”, like schoolmaster, ironmaster.... Of course the hyphen comes in at once in combinations and derivatives, as head-mastership.’ [22] ‘The hyphen is often used when a writer wishes to mark the fact that he is using not a well-known compound verb, but _re-_ as a living prefix attached to a simple verb (_re-pair_ = pair again); also usually before _e_ (_re-emerge_), and sometimes before other vowels (_re-assure_, usually _reassure_); also when the idea of repetition is to be emphasized, especially in such phrases as _make_ and _re-make_.’—_The Concise Oxford Dictionary_ (1911), p. 694. [23] As, up-to-date records; but print ‘the records are up to date’.—H. H. [24] See note on page 25. DOUBLING CONSONANTS WITH SUFFIXES Words of one syllable, ending with one consonant preceded by one vowel, double that consonant on adding -ed or -ing: e.g. drop dropped dropping fit fitted fitting stop stopped stopping Words of more than one syllable, ending with one consonant preceded by one vowel, and accented on the last syllable, double that consonant on adding -ed or -ing: e.g. allot allotted allotting commit committed committing infer inferred inferring trepan trepanned trepanning But words of this class _not_ accented on the last syllable, _do not double the last consonant_[25] on adding -ed, -ing: e.g. balloted, -ing banqueted, -ing bayoneted, -ing benefited, -ing biased, -ing billeted, -ing bishoped, -ing blanketed, -ing bonneted, -ing bracketed, -ing buffeted, -ing carpeted, -ing chirruped, -ing combated, -ing cricketing crocheted, -ing crotcheted, -ing, -y discomfited, -ing docketed, -ing faceted, -ing ferreted, -ing fidgeted, -ing, -y filleted, -ing filliped, -ing focused, -ing galloped, -ing gibbeted, -ing gossiped, -ing, -y initialed, -ing junketed, -ing marketed, -ing packeted, -ing paralleled, -ing pelleted, -ing picketed, -ing piloted, -ing profited, -ing rabbeted, -ing rabbiting rickety riveted, -ing russeted, -ing, -y scolloped, -ing tennising trinketed, -ing trousered, -ing trumpeted, -ing velvety visited, -ing wainscoted, -ing In words ending in _-l_, the final consonant is generally doubled, whether accented on the last syllable or not: e. g. annulled, -ing appalled, -ing apparelled, -ing barrelled bethralled, -ing caballed, -ing channelled, -ing compelled, -ing cudgelled, -ing dishevelled, -ing empanelled, -ing extolled, -ing forestalled, -ing grovelled, -ing impelled, -ing installed, -ing kennelled, -ing levelled, -ing libelled, -ing marshalled, -ing parcelled, -ing quarrelled, -ing revelled, -ing rivalled, -ing shovelled, -ing trammelled, -ing travelled, -ing tunnelled, -ing [Illustration: (light bulb)] FOOTNOTES: [25] ‘We must, however, still except the words ending in _-el_, as levelled, -er, -ing; travelled, -er, -ing; and also worshipped, -er, -ing.’—J. A. H. M. 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 languages. But often, in non-technical works, additional forms are used, constructed after the English manner. Print as below, in cases where the author does not object. In scientific works the scientific method must of course prevail: SING. addendum PL. addenda[26] 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{26} 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 (_fam._) formula formulae fungus fungi genius geniuses[27] (_meaning a person or persons of genius_) genus genera helix helices hypothesis hypotheses ignis fatuus ignes fatui index indexes[28] iris irises lamina laminae larva larvae lemma lemmas[29] libretto libretti matrix matrices maximum maxima medium mediums (_fam._) memorandum memorandums[30] (_meaning a written note or notes_) 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 (_fam._) FOOTNOTES: [26] See reference to these words for another purpose on p. 33.—H. H. [27] Genius, in the sense of a tutelary spirit, must of course have the plural genii.—H. H. [28] In scholarly works, indices is often preferred, and in the mathematical sense must always be used.—H. H. [29] But lemmata in botany or embryology.—H.H. [30] But in a collective or special sense we must print memoranda.—H. H. ERRATA, ERRATUM Do not be guilty of the absurd mistake of printing ‘Errata’ as a heading for a single correction. When a list of errors has been dealt with, by printing cancel pages and otherwise, so that only one error remains, take care to alter the heading from ‘Errata’ to ‘Erratum’. The same remarks apply to Addenda and Addendum, Corrigenda and Corrigendum. PLURALS OF NOUNS ENDING IN -O The plurals of nouns ending in -o, owing to the absence of any settled system, are often confusing. _The Concise Oxford Dictionary_ says (p. vi): ‘It may perhaps be laid down that on the one hand words of which the plural is very commonly used, as _potato_, have almost invariably _-oes_, and on the other hand words still felt to be foreign or of abnormal form, as _soprano_, _chromo_, have almost invariably _-os_.’ The following is a short list, showing spellings preferred: 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 [Illustration: (light bulb)] FOREIGN WORDS & PHRASES WHEN TO BE SET IN ROMAN AND WHEN IN ITALIC Print the following anglicized words in roman type: aide-de-camp al fresco alibi à propos aurora borealis beau idéal bézique bizarre bona fide bouquet bravos bric-à-brac bulletin café carte-de-visite chargé d’affaires chauffeur chiaroscuro cliché connoisseur cul-de-sac débris début dépôt[31] détour diarrhoea dilettante dramatis personae éclat employé[32] ennui entrée entrepôt etiquette[33] facsimile fête fleur-de-lis garage gratis habeas corpus hors-d’œuvre innuendo, -es levée littérateur litterati manœuvre menu morale naïve omnibus papier mâché per annum personnel post-mortem (_adj. and n._) poste restante précis prestige prima facie procès-verbal protégé provenance régime rendezvous[34] rôle sabotage savants seraglio sobriquet soirée versus via vice versa virtuoso viva voce Zollverein The following to be printed in italic: _ab extra_ _ab origine_ _ad nauseam_ _ad valorem_ _a fortiori_ _amende honorable_ _amour propre_ _ancien régime_ _anglice_ _a priori_ _au courant_ _au revoir_ _bête noire_ _billet doux_ _bonhomie_ _bon ton_ _bourgeoisie_ _carte blanche_ _casus belli_ _chef-d’œuvre_ _chevaux de frise_ _con amore_ _confrère_ _cortège_[35] _coup d’état_ _coup de grâce_ _coup de main_ _coup d’œil_ _débâcle_ _dénouement_ _de quoi vivre_ _déshabillé_ _édition de luxe_ _élan_ _élite_ _en bloc_ _en masse_ _en passant_ _en rapport_ _en route_ _entente cordiale_ _esprit de corps_ _ex cathedra_ _ex officio_ (adv. and adj.) _ex parte_ (adv. and adj.) _facile princeps_ _factum est_ _felo de se_ _garçon_ _grand monde_ _habitué_ _hors de combat_ _imprimis_ _in camera_ _in propria persona_ _jeu d’esprit_ _laisser-faire_ _lapsus linguae_ _lèse-majesté_ _mêlée_ _mise en scène_ _modus operandi_ _more suo_ _multum in parvo_ _naïveté_ _née_ _nemine contradicente_ _ne plus ultra_ _noblesse oblige_ _nolens volens_ _non est_ _par excellence_ _pari passu_ _per contra_ _pièce de résistance_ _plébiscite_ _pro forma_ _pro tempore_ _raison d’être_ _rapprochement_ _réchauffé_ _répertoire_ _résumé_ _sang-froid_ _sans cérémonie_ _sans-culotte_ _sine qua non_ _sotto voce_ _sub rosa_ _tabula rasa_ _tête à tête_ (adv.) _tête-à-tête_ (noun) _tour de force_ _vis-à-vis_ The modern practice is to omit accents from Latin words. For further directions as to the use of italic in foreign words and phrases see pp. 50-1. [Illustration: (light bulb)] FOOTNOTES: [31] For this and nearly all similar words, the proper accents are to be used, whether the foreign words be anglicized or not.—H. H. [32] Employee is more legitimate when it is used in contrast with the English word employer.—H. H. [33] Omit the accent from étiquette.—H. H. [34] Omit the hyphen from rendez-vous.—H. H. [35] For a statement as to this and other French words now printed with a grave accent, see pp. 78-9.—H. H. 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 observed: Initial _u_ is printed _v_, as in vnderstande. Also in such combinations as wherevpon. Medial _v_ is printed _u_, as in haue, euer. Initial and medial _j_ are printed _i_, as in iealousie, iniurie. In capitals the U is non-existent, and should always be printed with a V, initially and medially, as VNIVERSITY, FAVLCONRIE. In y^e and y^t the second letter should be a superior, and without a full point. [Illustration: (light bulb)] PHONETIC SPELLINGS Some newspapers print phonetic spellings, such as program, hight (to describe altitude), catalog, &c. But the practice has insufficient authority, and can be followed only by special direction. 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[36] an heir an heirloom an historical{36} an honest an honour an hotel an hour Print _a_, not _an_, before contractions beginning with a consonant: e.g. a L.C.C. case, a MS. version. FOOTNOTES: [36] This is in accordance with what seems to be the preponderance of modern usage. Originally the cover of _The Oxford Dictionary_ had ‘a historical’, and the whole question will be found fully treated in that work, arts. A, An, and H.—H. H. O AND OH When used in addressing persons or things the vocative ‘O’ is printed with a capital and without any point following it; e.g. ‘O mighty Caesar! dost thou lie so low’; ‘O world! thou wast the forest to this hart’; ‘O most bloody sight!’ Similarly, ‘O Lord’, ‘O God’, ‘O sir’. But when not used in the vocative, the spelling should be ‘Oh’, and separated from what follows by a punctuation mark; e.g. ‘Oh, pardon me, thou bleeding piece of earth’; ‘For if you should, oh! what would become of it?’ NOR AND OR Print: (1) Neither one nor the other; neither Jew nor Greek; neither Peter nor James. (2) Either one or the other; either Jew or Greek; either Peter or James. Never print: Neither one or the other; neither Peter or James;—but when the sentence is continued to a further comparison, _nor_ and _or_ must be printed (in the continuation) according to the sense.[37] Likewise note that the verb should be in the singular, as ‘Neither Oxford nor Reading is stated to have been represented’. [Illustration: (light bulb)] FOOTNOTES: [37] The necessity of giving strict attention to this rule was once exemplified in my experience, when the printing of a fine quarto was passing through my hands in 1882. The author desired to say in the preface, ‘The writer neither dares nor desires to claim for it the dignity or cumber it with the difficulty of an historical novel’ (_Lorna Doone_, by R. D. Blackmore, 4to, 1883). The printer’s reader inserted a letter _n_ before the _or_; the author deleted the _n_, and thought he had got rid of it; but at the last moment the press reader inserted it again; and the word was printed as _nor_, to the exasperation of the author, who did not mince his words when he found out what had happened.—H. H. VOWEL-LIGATURES[38] (Æ AND Œ) The combinations _ae_ and _oe_ should each be printed as two letters in Latin and Greek words, e.g. Aeneid, Aeschylus, Caesar, Oedipus; and in English, as mediaeval, phoenix. But in Old-English and in French words use the ligatures _æ_, _œ_, as Ælfred, Cædmon, manœuvre. CONTRACTIONS _NOTE.—Some abbreviations of Latin words such as_ ad loc., _&c., to be set in roman, are shown on page 51._ Names of the books of the Bible as abbreviated where necessary: _Old Testament._ Gen. Exod. Lev. Num. Deut. Joshua Judges Ruth 1 Sam. 2 Sam. 1 Kings 2 Kings 1 Chron. 2 Chron. Ezra Neh. Esther Job Ps. Prov. Eccles. Song of Sol. Isa. Jer. Lam. Ezek. Dan. Hos. Joel Amos Obad. Jonah Mic. Nahum Hab. Zeph. Hag. Zech. Mal. _New Testament._ Matt. Mark Luke John Acts Rom. 1 Cor. 2 Cor. Gal. Eph. Phil. Col. 1 Thess. 2 Thess. 1 Tim. 2 Tim. Titus Philem. Heb. Jas. 1 Pet. 2 Pet. 1 John 2 John 3 John Jude Rev. _Apocrypha._ 1 Esdras 2 Esdras Tobit Judith Rest of Esth. Wisd. of Sol. Ecclus. Baruch Song of Three Childr. Susanna Bel and Dragon Pr. of Manasses 1 Macc. 2 Macc. Abbreviate the names of the months: Jan. Feb. Mar. Apr. May June July Aug. Sept. Oct. Nov. Dec. Where the name of a county is abbreviated, as Yorks., Cambs., Berks., Oxon., use a full point; but print Hants (no full point) because it is not a modern abbreviation. 4to, 8vo, 12mo,[39] &c. (sizes of books), are symbols, and should have no full point. A parallel case is that of 1st, 2nd, 3rd, and so on, which also need no full points. Print lb. for both sing. and pl.; not lbs. Also omit the plural _-s_ in the following: cm., cwt., dwt., gr., grm., in., min., mm., oz. When beginning a footnote, the abbreviations e.g., i.e., p. or pp., and so on, to be all in lower-case. Use ETC. in a cap. line and ETC. in a small cap. line where an ampersand (&) will not range. Otherwise print &c.; and Longmans, Green & Co.; with no comma before ampersand in the name of a firm. Print the symbolic letters I O U, without full points. The points of the compass, N. E. S. W., when separately used, to have a full point: but print NE., NNW. These letters to be used only in geographical or similar matter: do not, even if N. is in the copy, use the contraction in ordinary composition; print ‘Woodstock is eight miles north of Carfax’. MS. = manuscript, MSS. = manuscripts, to be spelt out when used in a general sense. But in printing bibliographical details, and in references to particular manuscripts, the contracted forms should be used; e.g. the Worcester MS., the Harleian MSS., Add. MS. 25642. Print PS. (not P.S.) for postscript or postscriptum; MM. (messieurs), SS. not S.S. (steamship); but H.M.S. (His Majesty’s Ship); H.R.H.; I.W. (Isle of Wight); N.B., Q.E.D., and R.S.V.P., because more than one word is contracted. Print ME. and OE. in philological works for Middle English and Old English. When an author prefers M.E., O.E., do not put a space between the letters. Abbreviations of titles, such as M.P., D.D., M.A., or of occupations or parties, such as I.C.S., I.L.P., to have no space between the letters. When titles of books are represented by initials, put a thin space only between each letter; e.g. _J. T. S._, _S. B. E._ Mr., Mrs., Dr., &c. must be printed with a full point, but not Mme, Mlle. In printing S. or St. for Saint, the compositor must be guided by the manuscript. Ordinarily St. should be used, but if S. is consistently written this must be assumed as the form in which the author wishes it printed. Print Bt. for Baronet, and Kt. for Knight. Apostrophes in similar abbreviations to the following should join close up to the letters—don’t, ’em, haven’t, o’er, shan’t, shouldn’t, ’tis, won’t, there’ll, I’d, I’ll, we’ll.[40] An apostrophe should not be used with hers, ours, theirs, yours. _Apostrophes in Place-Names._[41]—1. Use an apostrophe after the ‘s’ in Queens’ College (Cambs.). But 2. Use an apostrophe before the ‘s’ in Connah’s Quay (Flints.), Hunter’s Quay (N.B.), Orme’s Head (Carn.), Queen’s Coll. (Oxon.), St. Abb’s Head (N.B.), St. John’s (Newfoundland), St. John’s Wood (London), St. Mary’s Loch (N.B.), St. Michael’s Mount (Cornwall), St. Mungo’s Well (Knaresboro’), St. Peter’s (Sydney, N.S.W.). 3. Do not use an apostrophe in—All Souls (Oxon.), Bury St. Edmunds, Husbands Bosworth (Rugby), Johns Hopkins University (U.S.A.), Millers Dale (Derby), Owens College (Manchester), St. Albans, St. Andrews, St. Bees, St. Boswells, St. Davids, St. Helens (Lancs., and district in London), St. Heliers (Jersey), St. Ives (Hunts. and Cornwall), St. Kitts (St. Christopher Island, W.I.), St. Leonards, St. Neots (Hunts., but St. Neot, Cornwall), Somers Town (London). [Illustration: (light bulb)] FOOTNOTES: [38] The separately written _oe_, _ae_ are ‘digraphs’, because the sounds they represent are in modern pronunciation _not_ diphthongs, though they were such in classical Latin; but _ch_, _ph_, _sh_ are also digraphs. _Æ_, _æ_, _Œ_, _œ_, are rather single letters than digraphs, though they might be called ligatured digraphs.—H. B. [39] To justify the use in ordinary printing of these symbols (as against the use of 4^o, 8^o, 12^o, a prevailing French fashion which is preferred by some writers), it may suffice to say that the ablative cases of the ordinal numbers _quartus_, _octavus_, _duodecimus_, namely _quarto_, _octavo_, _duodecimo_, are according to popular usage represented by the forms or symbols 4to, 8vo, 12mo; just as by the same usage we print 1st and 2nd as forms or symbols of the English words _first_ and _second_.—H. H. [40] See page 49 for an exception to this rule. [41] The selection is arbitrary; but the examples are given on the authority of the Oxford University and Cambridge University Calendars, the Post Office Guide, Bartholomew’s Gazetteer, Bradshaw’s Railway Guide, Crockford’s Clerical Directory, Keith Johnston’s Gazetteer, and Stubbs’s Hotel Guide. POETRY Words ending in -ed are to be spelt so in all cases; and with a grave accent when the syllable is separately pronounced, thus—èd. (’d is not to be used.) This applies to poetical quotations introduced into prose matter, and to new works. It must not apply to reprints of standard authors, nor to quotations in works which reproduce old spellings, &c. Whenever a poetic quotation, whether in the same type as the text or not, is given a line (or more) to itself, it is not to be placed within quotation marks; but when the line of poetry runs on with the prose then quotation marks are to be used. On spacing poetry, see p. 49. CAPITAL LETTERS Avoid beginning words with capitals as much as possible; but use them in the following and similar cases: Act, when referring to Act of Parliament or Acts of a play; also in Baptist, Christian, Nonconformist, Presbyterian, Puritan, Liberal, Conservative, and all denominational terms and names of parties. His Majesty, Her Royal Highness, &c. The King of England, the Prince of Wales. The Duke of Wellington, Bishop of Oxford, Sir Roger Tichborne, &c. British Army, German Navy. Christmas Day, Lady Day, &c. Dark Ages, Middle Ages. House of Commons, Parliament, &c. Government, Cabinet, Speaker. In geography: Sun, Earth, Equator, the Continent. In geological names: Upper Greensand, London Clay, Tertiary, Lias, &c. In names of streets, roads, &c., as—Chandos Street, Trafalgar Square, Kingston Road, Addison’s Walk, Norreys Avenue. Figure, Number, Plate (Fig., No., Pl.), should each begin with a capital, whether contracted or not, unless special instructions are given to the contrary. Pronouns referring to the Deity should begin with capitals—He, Him, His, Me, Mine, My, Thee, Thine, Thou; but print—who, whom, and whose. Also capitalize the less common adjectives derived from proper names; e.g. Homeric, Platonic. LOWER-CASE INITIALS FOR ANGLICIZED WORDS, ETC. christianize, frenchified, herculean, italic, laconic, latinize, puritanic, quixotic, roman, satanic, tantalize, vulcanize. Also for the more common words derived from proper names, as—boycott, doily, guernsey, hackney, hansom-cab, holland, inverness, japanning, latinity, may (blossom), morocco, russia, stepney-wheel. When ‘In the press’ occurs in publishers’ announcements, print ‘press’ with a lower-case initial. SMALL CAPITALS Put a hair space between the letters of contractions in small capitals: A.U.C. Anno urbis conditae A.D. Anno Domini A.H. Anno Hegirae A.M. Anno mundi B.C. Before Christ. a.m.[42] (ante meridiem), p.m.{42} (post meridiem), should be lower-case, except in lines of caps. or small caps. When small caps, are used at foot of title-page, print thus: M DCCCC IV[43] Text references to caps. in plates and woodcuts to be in small caps. The first word in each chapter of a book is to be in small caps. and the first line usually indented one em; but this does not apply to works in which the matter is broken up into many sections, nor to cases where large initials are used. (See p. 50 as to indentation.) FOOTNOTES: [42] It is a common error to suppose that these initials stand for ante-meridian and post-meridian. Thus, Charles Dickens represents one of his characters in _Pickwick_ as saying ‘Curious circumstance about those initials, sir,’ said Mr. Magnus. ‘You will observe—P.M.—post meridian. In hasty notes to intimate acquaintance, I sometimes sign myself “Afternoon”. It amuses my friends very much, Mr. Pickwick.’—DICKENS, _Pickwick Papers_, p. 367. Oxford edit., 1903.—H. H. [43] ‘Or better M CM IV’—J. A. H. M. SPECIAL SIGNS OR SYMBOLS The signs + (plus), - (minus), = (equal to), > (‘larger than’, in etymology signifying ‘gives’ or ‘has given’), < (‘smaller than’, in etymology signifying ‘derived from’), are now often used in printing ordinary scientific works, and not in those only which are mathematical or arithmetical. In such instances +, -, =, >, <, should in the matter of spacing be treated as words are treated. For instance, in— spectabilis, _Bœrl. l. c._ (= Haasia spectabilis) the = belongs to ‘spectabilis’ as much as to ‘Haasia’, and the sign should not be put close to ‘Haasia’. A thin space only should be used. In Philological works an asterisk * prefixed to a word signifies a reconstructed form, and must be so printed; a dagger † signifies an obsolete word. The latter sign, placed before a person’s name, signifies deceased. In Medical books the formulae are set in lower-case letters, j being used for i both singly and in the final letter, e.g. gr.j (one grain), ℥viij (eight ounces), ʒiij (three drachms), ℈iij (three scruples), ♏︎iiij (four minims). SPACING Spacing ought to be even. Paragraphs are not to be widely spaced for the sake of making breaklines. When the last line but one of a paragraph is widely spaced and the first line of the next paragraph is more than thick-spaced, extra spaces should be used between the words in the intermediate breakline. Such spaces should not exceed en quads, nor be increased if by so doing the line would be driven full out. In general, close spacing is to be preferred; but this must be regulated proportionately to the manner in which a work is leaded. Breaklines should consist of more than five letters, except in narrow measures. But take care that bad spacing is not thereby necessitated. Poetical quotations, and poetry generally when in wide measure, should be spaced with en quadrats. But this must not be applied to reprints of sixteenth and seventeenth century books: in such cases a thick space only should be used. Avoid (especially in full measures) printing at the ends of lines—a, l., ll., p. _or_ pp., I (when a pronoun). Capt., Dr., Esq., Mr., Rev., St., and so on, should not be separated from names; nor should initials be divided: e.g. Mr. W. E. | Gladstone; _not_ Mr. W. | E. Gladstone. Thin spaces before apostrophes, e.g. that’s (for ‘that is’), boy’s (for ‘boy is’), to distinguish abbreviations from the possessive case. In Greek, Latin, and Italian, when a vowel is omitted at the end of a word (denoted by an apostrophe), put a space before the word which immediately follows. Hair spaces to be placed between lower-case contractions, as in e.g., i.e., q.v. Indentation of first lines of paragraphs should be one em for full measures in 8vo and smaller books. In 4to and larger books the indentation should be increased. Sub-indentation should be proportionate; and the rule for all indentation is not to drive too far in. Quotations in prose, as a rule, should not be broken off from the text unless the matter exceeds three lines. Use great care in spacing out a page, and let it not be too open. Underlines, wherever possible, to be in one line. ITALIC TYPE _NOTE.—A list of foreign and anglicized words and phrases, showing which should be printed in roman and which in italic, is given on pp. 35-7._ In many works it is now common to print titles of books in italic, instead of in inverted commas. This must be determined by the directions given with the copy, but the practice must be uniform throughout the work. Words or phrases cited from foreign languages (unless anglicized) should be in italic. Short extracts from books, whether foreign or English, should not be in italic but in roman (between inverted commas, or otherwise, as directed on p. 63). Names of periodicals should be in italic. Inconsistency is often caused by the prefix _The_ being sometimes printed in italic, and sometimes roman. As a rule, print the definite article in roman, as the _Standard_, the _Daily News_. _The Times_ is to be an exception, as that newspaper prefers to have it so. _The_, if it is part of the title of a book, should also be in italic letters. Print names of ships[44] in italic. In this case, print ‘the’ in roman, as it is often uncertain whether ‘the’ is part of the title or not. For example, ‘the _King George_’, ‘the _Revenge_’; also put other prefixes in roman, as ‘H.M.S. _Dreadnought_’. ad loc., cf., e.g., et seq., ib., ibid., id., i.e., loc. cit., q.v., viz.[45], not to be in italic. Print _c._ (= _circa_), _ante_, _infra_, _passim_, _post_, _supra_, &c. Italic _s._ and _d._ to be generally used to express shillings and pence; and the sign £ (except in special cases) to express the pound sterling. But in catalogues and similar work the diagonal sign / or ‘shilling-mark’ is sometimes preferred to divide figures representing shillings and pence. The same sign is occasionally used in dates, as 4/2/04. In Mathematical works, theorems are usually printed in italic. FOOTNOTES: [44] Italicizing the names of ships is thus recognized by Victor Hugo: ‘Il l’avait nommé _Durande_. La Durande,—nous ne l’appellerons plus autrement. On nous permettra également, quel que soit l’usage typographique, de ne point souligner ce nom Durande, nous conformant en cela à la pensée de Mess Lethierry pour qui la Durande était presque une personne.’—V. HUGO, _Travailleurs de la mer_, 3rd (1866) edit., Vol. I, p. 129.—H. H. [45] This expression, although a symbol rather than an abbreviation, must be printed with a full point after the z.—H. H. REFERENCES TO AUTHORITIES Citation of authorities at the end of quotations should be printed thus: HOMER, _Odyssey_, ii. 15, but print HOR. _Carm._ ii. 14. 2; HOM. _Od._ iv. 272. This applies chiefly to quotations at the heads of chapters. It does not refer to frequent citations in notes, where the author’s name is usually in lower-case letters, and the title of the book sometimes printed in roman. As an example: Stubbs, _Constitutional History_, vol. ii, p. 98; or the more contracted form—Stubbs, _Const. Hist._ ii. 98, will do equally well; but, whichever style is adopted after an examination of the manuscript, it must be uniform throughout the work. References to the Bible in ordinary works to be printed thus—Exod. xxxii. 32; xxxvii. 2. (For full list of contractions see p. 41.) References to Shakespeare’s plays thus—_I Henry VI_, III. ii. 14; and so with the references to Act, scene, and line in other dramatic writings. Likewise in references to poems divided into books, cantos, and lines; e. g. Spenser, _Faerie Queene_, IV. xxvi. 35. References to MSS. or unprinted documents should be in roman. As to use of italic, see also above, p. 50. DIVISION OF WORDS I. ENGLISH Such divisions as en-, de-, or in- to be allowed only in very narrow measures, and there exceptionally. Disyllables, as ‘into’, ‘until’, &c., are only to be divided in very narrow measures. The following divisions to be preferred: 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-vation, obser-vation, exal-tation, gene-ration, imagi-nation, origi-nally; but put starva-tion, &c. The principle is that the part of the word left at the end of a line should suggest the part commencing the next line. Thus the word ‘happiness’ should be divided happi-ness, _not_ hap-piness.[46] Roman-ism, Puritan-ism; but Agnosti-cism, Catholi-cism, criti-cism, fanati-cism, tauto-logism, witti-cism, &c. The terminations -cial, -cian, -cious, -sion, -tion should not be divided when forming one sound, as in so-cial, Gre-cian, pugna-cious, condescen-sion, forma-tion. Atmo-sphere, micro-scope, philo-sophy, tele-phone, tele-scope, should have only this division. But always print episco-pal (not epi-scopal), &c.[47] A divided word should not end a page, if it is possible to avoid it. II. SOME ITALIAN, PORTUGUESE, AND SPANISH WORDS _Italian._—Divide si-gnore (gn = _ni_ in ‘mania’), trava-gliare (gli = _lli_ in ‘William’), tra-scinare (sci = _shi_ in ‘shin’), i.e. take over gn, gl, sci. In such a case as ‘all’ uomo’ Italians divide ‘al-l’ uomo’ when occasion arises.[48] _Portuguese._—Divide se-nhor (nh = _ni_ in ‘mania’), bata-lha (lh = _lli_ in ‘William’), i.e. take over nh, ll. _Spanish._—Divide se-ñora (ñ = _ni_ in ‘mania’), maravi-lloso (ll = _lli_ in ‘William’), i.e. take over ñ, ll. III. For the division of French words, see p. 81; German, p. 90; Latin, p. 95; and Greek, p. 97. FOOTNOTES: [46] 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 next, in such a case as ‘disproportionableness’, which, according to Sir James Murray, is one of the longest words in the English language; or ‘incircumscriptibleness’, used by one Byfield, a divine, in 1615, who wrote, ‘The immensity of Christ’s divine nature hath ... incircumscriptibleness in respect of place’; or again, ‘antidisestablishmentarians’, quoted in the biography of Archbishop Benson, where he says that ‘the Free Kirk of the North of Scotland are strong antidisestablishmentarians’.—H. H. [47] ‘Even the divisions noted as preferable are not free from objection, and should be avoided when it is at all easy to do so.’—H. B. [48] Italians follow this rule, but it is better avoided in printing Italian passages in English books.—H. H. PUNCTUATION The compositor is recommended to study attentively a good treatise[49] on the whole subject. He will find some knowledge of it to be indispensable if his work is to be done properly; for most writers send in copy quite unprepared as regards punctuation, and leave the compositor to put in the proper marks. ‘Punctuation is an art nearly always left to the compositor, authors being almost without exception either too busy or too careless to regard it.’[50] Some authors rightly claim to have carefully prepared copy followed absolutely; but such cases are rare, and the compositor can as a rule only follow his copy exactly when setting up standard reprints. ‘The first business of the compositor’ says Mr. De Vinne, ‘is to copy and not to write. He is enjoined strictly to follow the copy and never to change the punctuation of any author who is precise and systematic; but he is also required to punctuate the writings of all authors who are not careful, and to make written expression intelligible in the proof.... It follows that compositors are inclined to neglect the study of rules that cannot be generally applied.’[51] It being admitted, then, that the compositor is to be held responsible in most cases, he should remember that loose punctuation,[52] especially in scientific and philosophical works, is to be avoided.[53] We will again quote Mr. De Vinne: ‘Two systems of punctuation are in use. One may be called the close or stiff, and the other the open or easy system. For all ordinary descriptive writing the open or easy system, which teaches that points be used sparingly, is in most favor, but the close or stiff system cannot be discarded.’[54] 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 p. 55; in our own booklet there is space only for a few cautions and a liberal selection of examples; authority for the examples, when they are taken from the works of other writers, being given in all cases. _The Comma._ Commas should, as a rule, be inserted between adjectives preceding and qualifying substantives, as— An enterprising, ambitious man. A gentle, amiable, harmless creature. A cold, damp, badly lighted room.[55] But where the last adjective is in closer relation to the substantive than the preceding ones, omit the comma, as— A distinguished foreign author. The sailor was accompanied by a great rough Newfoundland dog.{55} Where _and_ joins two single words or phrases the comma is usually omitted; e.g. The honourable and learned member. But where more than two words or phrases occur together in a sequence a comma should precede the final _and_; e.g. A great, wise, and beneficent measure. The following sentence, containing two conjunctive _and_’s, needs no commas: God is wise and righteous and faithful.{55} Such words as moreover, however, &c., are usually followed by a comma[56] when used at the opening of a sentence, or preceded and followed by a comma when used in the middle of a sentence. For instance: In any case, however, the siphon may be filled.[57] It is better to use the comma in such sentences as those that immediately follow: Truth ennobles man, and learning adorns him.[58] The Parliament is not dissolved, but only prorogued. The French having occupied Portugal, a British squadron, under Rear-Admiral Sir Samuel Hood, sailed for Madeira. I believed, and therefore I spoke. The question is, Can it be performed? My son, give me thy heart. The Armada being thus happily defeated, the nation resounded with shouts of joy. Be assured, then, that order, frugality, and economy, are the necessary supporters of every personal and private virtue. Virtue is the highest proof of a superior understanding, and the only basis of greatness.{58} When a preposition assumes the character of an adverb, a comma should follow it, to avoid awkwardness or ambiguity: ‘In the valley below, the villages looked very small.’ _The Semicolon._ Instances in which the semicolon is appropriate: Truth ennobles man; learning adorns him. The temperate man’s pleasures are always durable, because they are regular; and all his life is calm and serene, because it is innocent. Those faults which arise from the will are intolerable; for dull and insipid is every performance where inclination bears no part. Economy is no disgrace; for it is better to live on a little than to outlive a great deal. To err is human; to forgive, divine.[59] Never speak concerning what you are ignorant of; speak little of what you know; and whether you speak or say not a word, do it with judgement.{59} Semicolons divide the simple members of a compound sentence, and a comma and dash come after the last sentence and before the general conclusion: To give an early preference to honour above gain, when they stand in competition; to despise every advantage which cannot be attained without dishonest arts; to brook no meanness, and stoop to no dissimulation,—are the indications of a great mind, the presages of future eminence and usefulness in life.[60] _The Colon._ This point marks an abrupt pause before a further but connected statement: In business there is something more than barter, exchange, price, payment: there is a sacred faith of man in man. Study to acquire a habit of thinking: no study is more important.[61] Always remember the ancient maxim: Know thyself. _The Period or Full Stop._ Examples of its ordinary use: Fear God. Honour the King. Pray without ceasing. There are thoughts and images flashing across the mind in its highest moods, to which we give the name of inspiration. But whom do we honour with this title of the inspired poet? _The Note of Interrogation._ Examples of its ordinary use: Shall little, haughty ignorance pronounce His work unwise, of which the smallest part Exceeds the narrow vision of the mind? Was the prisoner alone when he was apprehended? Is he known to the police? Has he any regular occupation? Where does he dwell? What is his name? What does the pedant mean? Cases where the note of interrogation must not be used, the speaker simply stating a fact: The Cyprians asked me why I wept. I was asked if I would stop for dinner. _The Note of Exclamation._ Examples of its ordinary use: Hail, source of Being! universal Soul! How mischievous are the effects of war! O excellent guardian of the sheep!—a wolf![62] Alas for his poor family! Alas, my noble boy! that thou shouldst die! Ah me! she cried, and waved her lily hand. O despiteful love! unconstant womankind! _Marks of Parenthesis._ Examples: I have seen charity (if charity it may be called) insult with an air of pity. Left now to himself (malice could not wish him a worse adviser), he resolves on a desperate project.[63] _The Bracket._ These marks are used chiefly to denote an interpolation or explanation. For example: Perhaps (alarming thought!), perhaps he [Death] aims Ev’n now the fatal blow that ends my life.[64] They [the Lilliputians] rose like one man. _The Dash._ 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 parenthetically. Thus a verbal parenthesis may be shown by punctuation in three ways: by em dashes, by ( ), or by commas.[65] Omit the dash when a colon is used to preface a quotation or similar matter, whether at the end of a break-line or not. The dash is used to mark an interruption or breaking off in the middle of a sentence.[66] _Marks of Omission._ To mark omitted words three points ... (not asterisks) separated by en quadrats are sufficient; and the practice should be uniform throughout the work. Where full lines are required to mark a large omission, real or imaginary, the spacing between the marks should be increased; but the compositor should in this case also use full points and not asterisks. _Punctuation Marks generally._ The following summary is an attempt to define in few words the meaning and use of punctuation marks (the capitals are only given for emphasis): A Period marks the end of a sentence. A Colon is at the transition point of the sentence. A Semicolon separates different statements. A Comma separates clauses, phrases, and particles. A Dash marks abruptness or irregularity. An Exclamation marks surprise. An Interrogation asks a question for answer. An Apostrophe marks elisions or possessive case. Quotation marks define quoted words. Parentheses enclose interpolations in the sentence. Brackets enclose irregularities in the sentence.[67] _Quotation Marks, or ‘Inverted Commas’ (so-called)._ Omit quotation marks in poetry, as instructed on p. 45. Also omit them in prose extracts broken off in smaller type, unless contrary instructions are given. Insert quotation marks in titles of essays: e.g. ‘Mr. Brock read a paper on “Description in Poetry”.’ But omit quotation marks when the subject of the paper is an author: e.g. ‘Professor Bradley read a paper on Jane Austen.’ Single ‘quotes’ are to be used for the first quotation; then double for a quotation within a quotation. If there should be yet another quotation within the second quotation it is necessary to revert to single quotation marks. Sometimes, as in the impossible example in the footnote, quotation marks packed three deep must be omitted. All signs of punctuation used with words in quotation marks must be placed _according to the sense_. If an extract ends with a point, then let that point be, as a rule,[68] included before the closing quotation mark; but not otherwise. When there is one quotation within another, and both end with the sentence, put the punctuation mark before the first of the closing quotations. These are important directions for the compositor to bear in mind; and he should examine the examples which are given in the pages which follow: ‘The passing crowd’ is a phrase coined in the spirit of indifference. Yet, to a man of what Plato calls ‘universal sympathies’, and even to the plain, ordinary denizens of this world, what can be more interesting than ‘the passing crowd’?[69] If the physician sees you eat anything that is not good for your body, to keep you from it he cries, ‘It is poison!’ If the divine sees you do anything that is hurtful for your soul, he cries, ‘You are lost!’[70] ‘Why does he use the word “poison”?’ But I boldly cried out, ‘Woe unto this city!’[71] Alas, how few of them can say, ‘I have striven to the very utmost’!{71} Thus, notes of exclamation and interrogation are sometimes included in and sometimes follow quotation marks, as in the sentences above, according to whether their application is merely to the words quoted or to the whole sentence of which they form a part. The sentence-stop must be omitted after ? or !, even when the ? or ! precedes the closing ‘quotes’. In regard to the use of commas and full points with ‘turned commas’, the general practice has hitherto been different. When either a comma or a full point is required at the end of a quotation, 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 extract, _whether it forms part of the original extract or not_. Even in De Vinne’s examples, although he says distinctly, ‘The proper place of the closing marks of quotation should be determined by the quoted words only’, no instance can be found of the closing marks of quotation being placed to precede a comma or a full point. Some writers wish to exclude the comma or full point when it does not form part of the original extract, and to include it when it does form part of it; and this is doubtless correct. There seems to be no reason for perpetuating a bad practice. So, unless the author wishes to have it otherwise, in all new works the compositor should place full points and commas according to the examples that follow: We need not ‘follow a multitude to do evil’. No one should ‘follow a multitude to do evil’, as the Scripture says. Do not ‘follow a multitude to do evil’; on the contrary, do what is right. When a number of isolated words or phrases are, for any reason, severally marked off by ‘turned commas’ (e.g. in order to show that they are not the expressions which the author would prefer to use, or that they are used in some technical sense), the closing quotation mark should precede the punctuation mark, thus: ‘Such odd-sounding designations of employment as “scribbling miller”, “devil feeder”, “pug boy”, “decomposing man”, occur in the census reports.’ _in my voice_, ‘so far as my vote is concerned’. _parlous_, ‘perilous’, ‘dangerous’, ‘hard to deal with’. But when a quotation is complete in itself, either as a sentence or a paragraph, the final quotation mark is to be placed outside the point. For example: ‘If the writer of these pages shall chance to meet with any that shall only study to cavil and pick a quarrel with him, he is prepared beforehand to take no notice of it.’ (_Works of Charles and M. Lamb_, Oxford edition, i. 193.) Where a quotation is interrupted by an interpolated sentence, the punctuation must follow the sense of the passage, as in the following examples: 1. ‘At the root of the disorders’, he writes in the Report, ‘lies the conflict of the two races.’ In this example the comma is placed _outside_ the quotation mark, as it forms no part of the original punctuation. 2. ‘Language is not, and never can be,’ writes Lord Cromer, ‘as in the case of ancient Rome, an important factor in the execution of a policy of fusion.’ In this example the comma is placed _inside_ the quotation mark, as it forms part of the original punctuation. In the case of dialogues, the punctuation mark should precede the quotation mark, as: ‘You hear him,’ said Claverhouse, smiling, ‘there’s the rock he splits upon; he cannot forget his pedigree.’ _Punctuation in Classical and Philological Notes._ In notes on English and foreign classics, as a rule[72] follow the punctuation in the following examples: 5. _Falls not_, lets not fall. (That is, a comma is sufficient after the lemma where a simple definition follows.) 17. _swoon._ The spelling of the folios is ‘swound’. (Here a full point is used, because the words that follow the lemma comprise a complete sentence.) Note, as to capitalization, that the initial letter of the word or phrase treated (as in _Falls not_ above) should be in agreement with the text. The lemma should be set in italics or clarendon, according to directions. _Punctuation Marks and References to Footnotes in juxtaposition._ The relation of these to each other is dealt with on p. 70. Examples of the right practice are to be found on many pages of the present work. _Points in Title-pages, Headlines, &c._ All points are to be omitted from the ends of lines in titles, half-titles, page-headings, and main cross-headings, in Clarendon Press works, unless a special direction is given to the contrary. FOOTNOTES: [49] e.g. _Spelling and Punctuation_, by H. Beadnell (Wyman’s Technical Series); _The King’s English_ (Clarendon Press), containing a valuable chapter on Punctuation; _Stops; or, How to Punctuate_, by P. Allardyce (Fisher Unwin); _Correct Composition_, by T. L. De Vinne (New York, Century Co.); or the more elaborate _Guide pratique du compositeur_, &c., by T. Lefevre (Paris, Firmin-Didot). [50] _Practical Printing_, by Southward and Powell, p. 191. [51] De Vinne, _Correct Composition_, pp. 241-2. [52] How much depends upon punctuation is well illustrated in a story told, I believe, by the late G. A. Sala, once a writer in the _Daily Telegraph_, about R. B. Sheridan, dramatist and M.P. In the House of Commons, Sheridan one day gave an opponent the lie direct. Called upon to apologize, the offender responded thus: ‘Mr. Speaker I said the honourable Member was a liar it is true and I am sorry for it.’ Naturally the person concerned was not satisfied; and said so. ‘Sir,’ continued Mr. Sheridan, ‘the honourable Member can interpret the terms of my statement according to his ability, and he can put punctuation marks where it pleases him.’—H. H. [53] Below is a puzzle passage from the _Daily Chronicle_, first with no points, and then with proper marks of punctuation: ‘That that is is that that is not is not is not that it it is.’ ‘That that is, is; that that is not, is not; is not that it? It is.’—H. H. [54] De Vinne, _Correct Composition_, p. 244. [55] Beadnell, pp. 99, 100. [56] Nevertheless the reader is not to be commended who, being told that the word however was usually followed by a comma, insisted upon altering a sentence beginning ‘However true this may be,’ &c., to ‘However, true this _may_ be,’ &c. This is the late Dean Alford’s story. See _The Queen’s English_, p. 124, ed. 1870.—H. H. [57] Beadnell, p. 101. [58] Id., pp. 95-107. [59] Beadnell, pp. 109, 110. [60] Id., p. 111. [61] Id., p. 112. [62] All the examples are from Beadnell, pp. 113-17. [63] Beadnell, pp. 118-19. [64] Id., p. 120. [65] Some writers mark this form of composition quite arbitrarily. For instance Charles Dickens uses colons: ‘As he sat down by the old man’s side, two tears: not tears like those with which recording angels blot their entries out, but drops so precious that they use them for their ink: stole down his meritorious cheeks.’—_Martin Chuzzlewit_, Oxford ed., p. 581. [66] There is one case, and only one, of an em rule being used in the Bible (A.V.), viz. in Exod. xxxii. 32; where, I am told by the Rev. Professor Driver, it is correctly printed, to mark what is technically called an ‘aposiopesis’, i.e. a sudden silence. The ordinary mark for such a case is a two-em rule.—H. H. [67] De Vinne, _Correct Composition_, p. 288. [68] I say ‘as a rule’, because if such a sentence as that which follows occurred in printing a secular work, the rule would have to be broken. De Vinne prints: ‘In the New Testament we have the following words: “Jesus answered them, ‘Is it not written in your law, “I said, ‘Ye are gods’”?’”’ [H. H.] [69] Beadnell, p. 116. [70] Id., p. 126. [71] Allardyce, p. 74. [72] There are exceptions, as in the case of works which have a settled style of their own. FIGURES AND NUMERALS IN ARABIC OR ROMAN Do not mix old-style and new-face figures in the same book without special directions. Nineteenth century, not 19th century. Figures to be used when the matter consists of a sequence of stated quantities, particulars of age, &c. Example: ‘Figures for September show the supply to have been 85,690 tons, a decrease on the month of 57 tons. For the past twelve months there is a net increase of 5 tons.’ ‘The smallest tenor suitable for ten bells is D flat, of 5 feet diameter and 42 cwt.’ In descriptive matter, numbers under 100 to be in words; but print ‘90 to 100’, not ‘ninety to 100’. Spell out in such instances as— ‘With God a thousand years are but as one day’; ‘I have said so a hundred times’. Insert commas with four or more than four figures, as 7,642; but print dates without commas, as 1908; nor should there be commas in figures denoting pagination or numbering of verse, even though there may be more than three figures. Omit commas also in Library numbers, as—British Museum MS. 24456. Roman numerals to be preferred in such cases as Henry VIII, &c.—which should never be divided; and should only be followed by a full point when the letters end a sentence. If, however, the author prefers the full title, use ‘Henry the Eighth’, not ‘Henry the VIIIth’. Use a decimal point · to express decimals, as 7·06; and print 0·76, _not_ ·76. When the time of day is intended to be shown, the full point . is to be used, as 4.30 a.m. As to dates, in descriptive writing the author’s phraseology should be followed; e.g. ‘On the 21st of May the army drew near.’ But in ordinary matter in which the date of the month and year is given, such as the headings to letters, print May 19, 1862; not May 19th, 1862,[73] nor 19 May, 1862. To represent pagination or an approximate date, use the least number of figures possible; for example, print: pp. 322-30; pp. 322-4, _not_ pp. 322-24. But print: pp. 16-18, _not_ pp. 16-8; 116-18, _not_ 116-8. In dates: 1897-8, _not_ 1897-98 (use en rules); and from 1672 to 1674, _not_ from 1672-74. Print: 250 B.C.; but when it is necessary to insert A.D. the letters should precede the year, as A.D. 250. In B.C. references, however, always put the full date, in a group of years, e.g. 185-122 B.C. When preliminary pages are referred to by lower-case roman numerals, no full points should be used after the numerals. Print: p. ii, pp. iii-x; _not_ p. ii., pp. iii.-x. When references are made to two successive text-pages print pp. 6, 7, if the subject is disconnected in the two pages. But if the subject is continuous from one page to the other, then print pp. 6-7. The compositor in this must be guided by his copy. Print p. 51 sq. if the reference is to p. 51 and following page; but pp. 51 sqq. when the reference is to more than a single page following.[74] In a sequence of figures use an en rule, as in the above examples; but in such cases as Chapters III—VIII use an em rule. Begin numbered paragraphs: 1. 2. &c.; and clauses in paragraphs: (1) (2) (3), &c. If Greek or roman lower-case letters are written, the compositor must follow copy. Roman numerals (I. II. III.) are usually reserved for chapters or important sections. References in the text to footnotes should be made by superior figures—which are to be placed, as regards punctuation marks, according to the sense. If a single word, say, is extracted and referred to, the reference must be placed immediately after the word extracted and before the punctuation mark. But if an extract be made which includes a complete sentence or paragraph, then the reference mark must be placed outside the last punctuation mark. Asterisks, superior letters, &c., may be used in special cases. Asterisks and the other signs (* † ‡ &c.) should be used in mathematical works, to avoid confusion with the workings. In Mathematics, the inferior in P_{1}′ should come immediately after the capital letter. FOOTNOTES: [73] Sir James Murray says, ‘This is not logical: 19 May 1862 is. _Begin_ at day, _ascend_ to month, _ascend_ to year; not _begin_ at month, _descend_ to day, then _ascend_ to year.’ (But I fear we must continue for the present to print May 19, 1862: authors generally will not accept the logical form.—H. H.) [74] In references of this nature different forms are used, as—ff., foll., et seq. Whichever form is adopted, the practice should be uniform throughout the work. APPENDIX I POSSESSIVE CASE OF PROPER NAMES Use ’s for the possessive case in English names and surnames whenever possible; i.e. in all monosyllables and disyllables, and in longer words accented on the penult; as— Augustus’s Charles’s Cousins’s Gustavus’s Hicks’s St. James’s Square Nicodemus’s Jones’s Thomas’s Zacharias’s St. Thomas’s Thoms’s In longer names, not accented on the penult, ’s is also preferable, though ’ is here admissible; e. g. Theophilus’s. In ancient classical names, use ’s with every monosyllable, e. g. Mars’s, Zeus’s. Also with disyllables not in -es; as— Judas’s Marcus’s Venus’s But poets in these cases sometimes use s’ only; and Jesus’ is a well-known liturgical archaism. In quotations from Scripture follow the Oxford standard.[75] Ancient words in -es are usually written -es’ in the possessive, e. g. Ceres’ rites Xerxes’ fleet This form should certainly be used in words longer than two syllables, e.g. Arbaces’ Aristides’ Miltiades’ Themistocles’ To pronounce another ’s (= es) after these is difficult. This applies only to _ancient_ words. One writes—Moses’ law; and I used to alight at Moses’s for the British Museum. As to the latter example, Moses, the tailor, was a modern man, like Thomas and Lewis; and in using his name we follow modern English usage. J. A. H. M. French names ending in _s_ or _x_ should always be followed by _’s_ when used possessively in English. Thus, it being taken for granted that the French pronunciation is known to the ordinary reader, and using Rabelais = Rabelè, Hanotaux = Hanotō, as examples, the only correct way of writing these names in the possessive in English is Rabelais’s (= Rabelès), Hanotaux’s (= Hanotōs).—H. H. [Illustration: (light bulb)] FOOTNOTES: [75] See p. 9 (note).—H. H. APPENDIX II WORKS IN THE FRENCH LANGUAGE The English compositor called upon to set works in the French language will do well, first of all, to make a careful examination of some examples from the best French printing-offices. He will find that French printers act on rules differing in many points from the rules to which the English compositor is accustomed; and he will not be able to escape from his difficulties by the simple expedient of ‘following copy’. For works in the French language, such as classical text-books for use in schools, the English compositor generally gets reprint copy for text and manuscript for notes. It is, as a rule, safe for him to follow the reprint copy; but there is this difficulty, 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 series. Hence he should apply himself diligently to understand the following rules; and should hunt out examples of their application, so that they may remain in his memory.[76] 1. _Capital and lower-case letters._—In the names of authors of the seventeenth century, which are preceded by an article, the latter should commence with a capital letter: La Fontaine, La Bruyère.[77] Exceptions are names taken from the Italian, thus: le Tasse, le Dante, le Corrège.[78] As to names of persons, the usage of the individuals themselves should be adopted: de la Bruyère (his signature at the end of a letter), De la Fontaine (end of fable ‘Le Lièvre et la Tortue’), Lamartine, Le Verrier, Maxime Du Camp. In names of places the article should be small: le Mans, le Havre, which the Académie adopts; la Ferté, with no hyphen after the article, but connected by a hyphen with different names of places, as la Ferté-sous-Jouarre. Volumes, books, titles, acts of plays, the years of the Republican Calendar, are put in large capitals: An IV, acte V, tome VI; also numerals belonging to proper names: Louis XII; and the numbers of the arrondissements of Paris: le XV^e arrondissement. Scenes of plays, if there are no acts, are also put in large caps.: _Les Précieuses ridicules_, sc. V; also chapters, if they form the principal division: _Joseph_, ch. VI. If, however, scenes of plays and chapters are secondary divisions, they are put in small capitals: _Le Cid_, a. I, sc. II; _Histoire de France_, liv. VI, ch. VII. The numbers of centuries are generally put in small capitals: au XIX^e (or XIX^{ème}) siècle. The first word of a title always takes a capital letter: J’ai vu jouer _Les Femmes savantes_; on lit dans _Le Radical_. If a substantive in a title immediately follows _Le_, _La_, _Les_, _Un_, _Une_, it is also given a capital letter, thus: _Les Précieuses ridicules_. If the substantive is preceded by an adjective, this also receives a capital letter: _La Folle Journée_; if, however, the adjective follows, it is in lower-case: _L’Âge ingrat_. If the title commences with any other word than le, la, les, un, une, or an adjective, the words following are all in lower-case: _De la terre à la lune_; _Sur la piste_. In titles of fables or of dramatic works the names of the characters are put with capital initials: Le Renard et les Raisins; Le Lion et le Rat; Marceau, ou les Enfants de la République. In catalogues or indexes having the first word or words in parentheses after the substantive commencing the line, the first word thus transposed has a capital letter: Homme (Faiblesse de l’); Honneur (L’); Niagara (Les Chutes du). If the words in parentheses are part of the title of a work, the same rule is followed as to capitals as above given: Héloïse (La Nouvelle); Mort (La Vie ou la). The words saint, sainte, when referring to the saints themselves, have, except when commencing a sentence, always lower-case initials: saint Louis, saint Paul, sainte Cécile. But when referring to names of places, feast-days, &c., capital letters and hyphens are used: Saint-Domingue, la Saint-Jean. (See also, as to abbreviations of Saint, Sainte, p. 82.) I. Use capital letters as directed below: (1) Words relating to God: le Seigneur, l’Être suprême, le Très-Haut, le Saint-Esprit. (2) In enumerations, if each one commences a new line, a capital is put immediately after the figure: 1^o L’Europe. 2^o L’Asie, &c. But if the enumeration is run on, lower-case letters are used: 1^o l’Europe, 2^o l’Asie, &c. (3) Words representing abstract qualities personified: La Renommée ne vient souvent qu’après la Mort. (4) The planets and constellations: Mars, le Bélier. (5) Religious festivals: la Pentecôte. (6) Historical events: la Révolution. (7) The names of streets, squares, &c.: la rue des Mauvais-Garçons, la place de la Nation, la fontaine des Innocents. (8) The names of public buildings, churches, &c.: l’Opéra, l’Odéon, église de la Trinité. (9) Names relating to institutions, public bodies, religious, civil, or military orders (but only the word after the article): l’Académie française, la Légion d’honneur, le Conservatoire de musique. (10) Surnames and nicknames, without hyphens: Louis le Grand. (11) Honorary titles: Son Éminence, Leurs Altesses. (12) Adjectives denoting geographical expressions: la mer Rouge, le golfe Persique. (13) The names of the cardinal points designating an extent of territory: l’Amérique du Nord; aller dans le Midi. (See II. (2).) (14) The word Église, when it denotes the Church as an institution: l’Église catholique; but when relating to a building église is put. (15) The word État when it designates the nation, the country: La France est un puissant État. II. Use lower-case initials for— (1) The names of members of religious orders: un carme (a Carmelite), un templier (a Templar). But the orders themselves take capitals: l’ordre des Templiers, des Carmes. (2) The names of the cardinal points: le nord, le sud. But see I. (13) above. (3) Adjectives belonging to proper names: la langue française, l’ère napoléonienne. (4) Objects named from persons or places: un quinquet (an argand lamp); un verre de champagne. (5) Days of the week—lundi, mardi; names of months—juillet, août. In plays the dramatis personae at the head of scenes are put in large capitals, and those not named in even small capitals: SCÈNE V. TRIBOULET, BLANCHE, HOMMES, FEMMES DU PEUPLE. In the dialogues the names of the speakers are put in even small capitals, and placed in the centre of the line. The stage directions and the asides are put in smaller type, and are in the text, if verse, in parentheses over the words they refer to. If there are two stage directions in one and the same line, it will be advisable to split the line, thus: (Revenu sur ses pas.) Oublions-les! restons.— (Il l’assied sur un banc.) Sieds-toi sur cette pierre. Directions not relating to any particular words of the text are put, if short, at the end of the line: Celui que l’on croit mort n’est pas mort.—Le voici! (Étonnement général.) 2. _Accented Capitals._—With one exception accents are to be used with capital letters in French. The exception is the grave accent on the capital letter A in such lines as— A la porte de la maison, &c.; A cette époque, &c.; and in display lines such as— FÉCAMP A GENÈVE MACHINES A VAPEUR. In these the preposition A takes no accent; but we must, to be correct, print Étienne, Étretat; and DÉPÔT, ÉVÊQUE, PRÉVÔT in cap. lines.[79] Small capitals should be accented throughout, there being no fear of the grave accent breaking off. 3. _The Grave and Acute Accents._—There has been an important change in recent years as to the use of the grave and acute accents in French. It has become customary to spell with a grave accent (`) according to the pronunciation, instead of with an acute accent (´), certain words such as collège (instead of collége), avènement (instead of avénement), &c. The following is a list of the most common: allège l’Ariège arpège avènement barège collège le Corrège cortège évènement florilège grège lège Liège, liège[80] manège mège la Norvège or Norwège piège privilège sacrilège sacrilègement siège solfège sortilège sphège[81] 4. _Hyphens._—Names of places containing an article or the prepositions _en_, _de_, should have a hyphen between each component part, thus: Saint-Germain-des-Prés, Saint-Valery-en-Caux, although the Académie leaves out the last two hyphens. Names of places, public buildings, or streets, to which one or more distinguishing words are added, take hyphens: Saint-Étienne-du-Mont, Vitry-le-François, rue du Faubourg-Montmartre, le Pont-Neuf, le Palais-Royal, l’Hôtel-de-la-Monnaie. In numbers hyphens are used to connect quantities under 100: e. g. vingt-quatre; trois cent quatre-vingt-dix; but when _et_ joins two cardinal numbers no hyphen is used, e.g. vingt et un; cinquante et un. But print vingt-et-unième. 5. _Spacing._—No spaces to be put before the ‘points de suspension’, i.e. three points close together, cast in one piece, denoting an interruption (...). In very wide spacing a thin space may be put before a comma,[82] or before or after a parenthesis or a bracket. Colons, metal-rules, section-marks, daggers, and double-daggers take a space before or after them exactly as words. Asterisks and superior figures, not enclosed in parentheses, referring to notes, take a thin or middle space before them. Points of suspension are always followed by a space. For guillemets see pp. 86, 87. A space is put after an apostrophe following a word of two or more syllables (as a Frenchman reckons syllables, e.g. bonne is a word of two syllables):— Bonn’ petite... Aimabl’ enfant!... Spaces are put in such a case as 10 h. 15 m. 10 s. (10 hours 15 min. 10 sec.), also printed 10^h 15^m 10^s. Chemical symbols are not spaced, thus C^{10}H^{12}(OH)CO.OH. 6. _Awkward divisions: abbreviated words and large numbers expressed in figures._—One should avoid ending a line with an apostrophe, such as: Quoi qu’ | il dise? If a number expressed in figures is too long to be got into a line, or cannot be taken to the next without prejudice to the spacing, a part of the number should be put as a word, thus: 100 mil- | lions. 7. _Division of words._—Words should be divided according to syllables, as in what the French call épellation (i.e. syllabication). Therefore a consonant should never be separated from the vowel following. Thus divide: amou-reux, cama-rade; and always take over _vr_: li-vraison. If a consonant is doubled, the consonants may be divided: mil-lion, pil-lard, in-nocent. It is optional to divide ob-scurité or obs-curité, according to convenience. Vowels are divided only in compound words: e.g. extra-ordinaire; not Mo-abite, mo-yen. In compound words an apostrophe may be divided from a consonant following; thus: grand’-mère, grand’-route. Divide sei-gneur, indi-gnité (gn pronounced as _ni_ in ‘mania’), i.e. take gn over. The following divisions should be avoided: Ma-ximilien, soi-xante, Me-xique; é-légant. In a narrow measure a syllable of two letters may stand at the end of a line: ce-pendant, in-décis; but a syllable of two letters must not be taken over to the next line; therefore élégan-ce, adversi-té, are not permissible; but élégan-ces, mar-que, abri-cot, are tolerated. Avoid terminating a paragraph with only the final syllable of a word in the last line. Verbs taking the so-called euphonic _t_ should always be divided before the latter, thus: Viendra- | t-il? Avoid dividing abbreviated words. Etymological division finds no favour in French, unless it is in accord with épellation, or syllabication, as in trans-porter, trans-poser. But divide transi-tion, transi-ger. Mute syllables may be turned over to the next line, thus: ils mar-quent, les hom-mes. 8. _Abbreviations._—Such words as article, chapitre, scène, titre, figure, are abbreviated only when in parentheses, as references; in the text they are put in full. If, in works divided into articles, the first article is put in full (thus: Article premier), those that follow may be in figures and abbreviated (as Art. 2). Saint, sainte, when they occur very often, as in religious works, may be abbreviated, taking a capital letter: S. Louis, Ste Marie. But not when they form part of the name of a place, e.g. Saint-Germain-des-Prés; in which case Saint- and Sainte- take a capital and are followed by a hyphen.[83] (See also p. 75.) The words monsieur, madame, monseigneur, messeigneurs, messieurs, mesdames, mademoiselle, mesdemoiselles, are written in full and all in lower-case when addressing a person: Oui, madame; Non, monsieur le duc. Also in the following instances: J’espère que monseigneur viendra; j’ai vu monsieur votre père. In most other cases M. (for monsieur), M^{me} (for madame), Mgr. or M^{gr} (for monseigneur), and so on, are used. The words Sa Majesté, Son Éminence, Leurs Altesses, when followed by another title, are put as initials, thus S. M. l’Empereur; but not otherwise. The name Jésus-Christ is abbreviated only when in parentheses after a date, thus: (337 avant J.-C.). This is more frequently printed 337 A.J.C. Other examples of abbreviations: liv. (livre) ch. (chapitre) t. (tome) d^o (ditto) f^o (folio) in-f^o (in-folio) in-8^o (in-octavo) in-4^o (in-quarto) ms. (manuscrit) mss. (manuscrits) n^o (numéro) P.-S. (post-scriptum) I^{er} } (premier) 1^{er} } II, 2^e (deuxième) etc. (et cætera) c.-à-d. (c’est-à-dire) C^{ie} (compagnie) D^r (docteur) M^e (maître) M^{lle} (mademoiselle) N.-S. J.-C. (Notre-Seigneur Jésus-Christ) C^{te} (comte) M^{is} (marquis) V^{ve} (veuve) S.A. (Son Altesse) LL. AA. II. (Leurs Altesses Impériales) Abbreviations of metric signs: [84]Mm. (myriamètre) {84}Km. (kilomètre) {84}Hm. (hectomètre) dam. (décamètre) m. (mètre) dm. (décimètre) cm. (centimètre) mq. (mètre carré) mm. (millimètre) mmq. (millimètre carré) mmc. (millimètre cube) ha. (hectare) a. (are) ca. or m^2. (centiare) das. (décastère) s. or m^3. (stère) ds. (décistère) t. (tonne) q. (quintal métrique) kg. (kilogramme) hg. (hectogramme) dag. (décagramme) g. (gramme) dg. (décigramme) cg. (centigramme) mg. (milligramme) kl. (kilolitre) hl. (hectolitre) dal. (décalitre) l. (litre) dl. (décilitre) cl. (centilitre) ml. (millilitre) Put: 20 francs, 20 mètres, 20 litres, 20 milligrammes. If, however, followed by fractions, then put—20 fr. 50, or 20^{fr},50; 20 m. 50, or 20^m,50; 20 l. 50, or 20^l,50; 20 kilog. 5, or 20^{kilo},5. In works crowded with figures, one can even put—0^m,5 for 5 décimètres; 0^m,15 for 15 centimètres; 0^m,008 for 8 millimètres. The cubic metre followed by a fraction is given thus: 4^{mc},005 or 4^{m3},005 (= 4 mètres cubes 5 millimètres cubes); the square metre thus: 4^{mq},05 or 4^{m2},05 (= 4 mètres carrés 5 décimètres carrés). The French use a decimal comma instead of a decimal point—2,3 = 2·3. The words kilogrammes, kilomètres, and kilogrammètres, followed by fractions, are given thus: 50 kg. 3 or 50^{kg},3; 5 km. 3 or 5^{km},3; 2 kgm. 4 or 2^{kgm},4. Per cent. is generally put 0/0, but pour 100, p. 100, and % are also used. In business letters pour cent is always pour %, e.g. A trente jours, 3 pour % d’escompte. 9. _Numerals._—When cardinal numbers are expressed in Roman lower-case letters, the final unit should be expressed by a j, not an i, thus: ij, iij, vj, viij. Numbers are put in full if only occasionally occurring in the text. If used statistically, figures are used. Degrees of temperature are generally given thus: 15°, 15 (in English 15° 15′). Age or the time of day must be given in full: huit ans, six heures (eight years, six o’clock). Dates, figures, &c., are put in full in legal documents: l’an mil neuf cent quatre (the year one thousand nine hundred and four). One should not put ‘de 5 à 6,000 hommes’, but ‘de 5,000 à 6,000 hommes’. Commas in figures are used as in English, thus: 20,250 fr. 25 or 20,250^{fr},25. But dates, and numbers in general, are always put without a comma: l’année 1466; page 1250; Code civil, art. 2000. Fractions with a horizontal stroke are preferred in mathematical and scientific works; but in ordinary works the diagonal stroke is used, thus: 1/2, 2/3 (½, ⅔). In logarithm tables the fractional part of a logarithm is printed with spaces, thus: Log. 2670 = 3, 426 5113; and also: Log. 2670 = 3, 4 265 113. 10. _Roman and italic._—In algebraical formulae the capital letters are always put in roman and the small letters in italic. If, however, the text is in italic, the small letters are put in roman type. The titles of works, of plays, of journals, names of ships, of statues, and titles of tables mentioned in the text, are put in italic; thus: La pièce _La Chatte blanche_; J’ai vu _Les Rois en exil_; On lit dans _Le Figaro_; le journal _Le Temps_; le transport _Bien-Hoa_. Foreign words[85] and quotations are, as in English, italicized: Agir _ab irato_; _Cave canem!_ lisait-on.... Superior letters in words italicized should be in italic, thus: _Histoire de Napoléon I^{er}_. 11. _Reference figures._—References to notes are generally rendered thus: (1), or thus: ^1. Sometimes an asterisk between parentheses (*) or standing alone *, or italic superior letters (^_a_), are used. The second example (^1) is the best from the English point of view. The figure in the note itself is put either 1. or (1) or ^1. In many works the reference figure is put ^1, and the note-figure 1. 12. _Metal-rules._—These serve in French to denote conversational matter, and take a thick space (or more, if necessary) after them. In fact, metal-rules, as in German, always have a space before or after, and are never put close to a word as in English. They are likewise never put after colons. They are also used to give more force to a point: Il avait un cœur d’or, — mais une tête folle; et vraiment, — je puis le dire, — il était d’un caractère très agréable. They are likewise used, as in English, for intercalations: Cette femme — étrangère sans doute — était très âgée. 13. _Quotation marks._—The French use special quotation marks « » (called guillemets). A guillemet is repeated at the head of every subsequent paragraph belonging to the quotation. In conversational matter, guillemets are sometimes put at the commencement and end of the remarks, and the individual utterances are denoted by a metal-rule (with a space after). But it is more common to dispense with guillemets altogether, and to denote the commencement of the conversation by only a metal-rule. This is an important variation from the English method. If the » comes after points de suspension, a middle space is put before and after it: La cour a décrété qu’ « attendu l’urgence... » . If, in dialogues, a passage is quoted, the « is put before the metal-rule: « — Demain, à minuit, nous sortirons enfin! » In tables and workings the » is used to denote an absent quantity: 125 . 15 130 » 10 » 15 . 25 If a sentence contains a citation, the point at the end of the latter is put before the », and the point belonging to the sentence after: « Prenez garde au chien! » , lisait-on à l’entrée des maisons romaines. If the matter quoted ends with a full stop, and a comma follows in the sentence, the full stop is suppressed: « C’est par le sang et par le fer que les États grandissent » , a dit Bismarck. Also, if the point at the end of the citation is a full stop, and the sentence ends with a note of interrogation or exclamation, the full stop is suppressed: A-t-il dit: « Je reviendrai » ? If citation and sentence end with the same point, or if the sentence ends with a full stop, only the citation is pointed: Quel bonheur d’entendre: « Je vous aime! » A-t-il dit: « Qui est ici? » Il a dit: « Je viendrai. » But if the punctuation of the citation differs from that of the sentence, both points are put:— A-t-il dit: « Quel grand malheur! » ? Guillemets should have before and after them the same space as between words. In the case of a citation within a citation, the « must stand at the commencement of each line of the enclosed citation: On lit dans _Le Radical_: « Une malheureuse erreur a été commise par un de nos artistes du boulevard. Ayant à dire: « Mademoiselle, je ne « veux qu’un mot de vous! » , il a fait entendre ces paroles: « Mademoiselle, je ne veux qu’un mou de « veau! » In passages quoted down the side put an en quad after the « commencing each line. Only one » is put at the end of two citations ending simultaneously. FOOTNOTES: [76] I am greatly indebted to M. Désiré Greffier, author of _Les Règles de la composition typographique, à l’usage des compositeurs, des correcteurs et des imprimeurs_, and to his publisher, M. Arnold Muller, of the Imprimerie des Beaux-Arts, 36 Rue de Seine, Paris, for permission to translate and make extracts from this useful brochure.—H. H. [77] M. Greffier carefully explains that in putting capitals to the articles in the case of these and similar names he differs from the Académie française.—H. H. [78] Many now write ‘Dante’ for ‘le Dante’; ‘Tasse’ is also met with for ‘le Tasse’.—H. H. [79] M. Reyne, proof-reader in the National Government Printing-Office, Paris, tells me that there is no uniformity of practice in French printing-offices in regard to the accentuation of capital letters generally, although there is a consensus of opinion as to retaining accents for the letter E. As to the grave accent on the capital letter A, the two extracts which follow are sufficient authority: ‘The letter A, when a capital, standing for à, is never accented by French printers. This, I know, is a rule without exception; and one of the reasons given is that the accented capital is “ugly”. A better reason is that the accent often “breaks off”.’—Mr. LÉON DELBOS, M.A., _late Instructor in French to Royal Naval Cadets in H.M.S. ‘Britannia’_. ‘The practice of omitting the grave accent on the preposition A (whatever the reason of it may be) is all but universal.’—Mr. E. G. W. BRAUNHOLTZ, M.A., Ph.D., _Reader in the Romance Languages in the University of Cambridge_. [H. H.] [80] ‘The rule about è instead of é, as in collège instead of collége, should be strictly adhered to, as it now is by most French people. However, é cannot be changed into è unless it have that sound; hence it is not right to say Liègeois, for the sound is that of é; but Liège is correct. Note that Liégeois takes an e after the g.’—Mr. LÉON DELBOS. [81] The list is from Gasc’s _Dictionary of the French and English Languages_: G. Bell & Sons, 1889. [82] The English practice, never to put a space before a comma, is regarded by the best French printers as bad. ‘This vicious practice’ (i.e. putting no space before a comma), says M. Théotiste Lefevre, ‘which appears to us to have no other motive than the negligence of the compositor, tends unhappily, from day to day, to get introduced also into French composition.’—_Guide pratique du compositeur et de l’imprimeur typographes_ (p. 196 _n_.) par T. Lefevre. Paris, Firmin-Didot, 1883.—H. H. [83] St-Germain, Ste-Catherine, l’église de St-Sulpice, St-Hilaire, la St-Jean, are however met with in railway time-tables, &c. [84] Mm. Km. Hm. These capitals and all the metric contractions are authorized by the French Minister of Public Instruction.—H. H. [85] That is, words foreign to French.—H. H. APPENDIX III WORKS IN THE GERMAN LANGUAGE[86] English compositors called upon to set up German should have clear directions beforehand as to the founts to be used, whether English or German. If the manuscript is in well-written German script, and the compositor is acquainted with the German characters, he will find little difficulty in setting this up in German type. It is otherwise if he has to set German in its own characters from manuscript in Roman characters. This is owing principally to the numerous digraphs and the long and short s’s used. The following rules will be found of use in both cases: 1. _Capitals and lower-case._—All German substantives are written with capital initial letters; and capital letters are also used for adjectives in geographical designations, e.g. =das Kaspische Meer= (the Caspian Sea), or in adjectives derived from proper names, e.g. =die Grimmschen Märchen= (_Grimm’s Fairy Tales_); but as a rule adjectives, even when relating to nationality, have lower-case initials, not excepting titles of books, &c., thus: =das deutsche Vaterland, die französische Revolution= (the German Fatherland, the French Revolution). The =von= in German names of persons begins with a small letter (unless of course when it commences a sentence), e.g. =Herr von Bülow=. The =von= in such cases requires only a thin space after it: =Geschrieben von von Richter= (written by von Richter). 2. _The Reformed German Spelling of 1902._—All words of German origin ending in =th=, as =Muth=, =Rath=, now drop the =h= and become =Mut=, =Rat=, &c. =That= has become =Tat=, =Thor= is now =Tor=. =Willkühr= has become =Willkür=. =Thee= is now spelt =Tee=. But =Thron=, =Theater=, &c., being derived from Greek, keep =th=. Also =ph= in words of German origin is now supplemented by =f=, thus =Efeu= (for =Epheu=); =Adolf=, =Rudolf=, =Westfalen= (for =Adolph=, =Rudolph=, =Westphalen=). Likewise =Elefant=, =Fasan=, =Sofa=. But =Phonograph=, =Philosoph=, =Symphonie=, being learned words of Greek origin. =Z= is more and more used for =C=, thus: =Zentrum= for =Centrum=; =Zentner=, =Zirkus=. =Ae=, =Oe=, Ue, are always rendered =Ä=, =Ö=, =Ü=. Three identical letters should not come together before a vowel. Consequently print =Schiffahrt=, not =Schifffahrt= (but in dividing print =Schiff~fahrt=). =Mittag=, =dennoch= (from =Mitt~tag=, =denn~noch=), are invariable. The plural of =See= is no longer =Seeen=, but =Seen=; in narrow measure divide =See~en=. The suffix =niſz= is now =nis=: =Hindernis=. The verbal suffix =iren= is now uniformly written =ieren=, thus: =addieren=, =subtrahieren=, =multiplizieren=, =dividieren=, =marschieren=. A detailed list of the new German, Austrian, and Swiss orthographies[87] may be obtained through any bookseller. A few German writers still object to the modern spelling; in such cases, of course, copy should be followed. 3. _Hyphens in German._—If two or more words follow one another, relating to a common part of speech with which they form a compound, all except the last take a hyphen, thus: =Hut- und Krawattenfabrikant= (hat and tie manufacturer). Compound words in German are now printed as one word. 4. _Division of words in German._—Prefixes should of course remain intact, such as =an=, =auf=, =ent=, =emp=, =er=, =ver=, =vor=, =über=, =zer=. Thus: =an~fangen=, =auf~fahren=, =ent~zweien=, =emp~finden=, =er~fahren=, =ver~ändern=, =vor~rücken=, =über~reden=, =zer~ſtoſzen=. In narrow measure divide =ge~ben=, =tra~gen=, =he~bung=, =le~bend=, =mä~hen=, =ſa~gen=, =Tü~cher=, =lö~ſchen=. (See under paragraph 2 of this Appendix, ‘Reformed Spelling’, for three identical letters coming together. See also under 7, 11, 14.) 5. _Spaced words._—In these the following compound letters should never be spaced: =ch=, =ck=, =ſt=, =ſz=, =tz=. The following are spaced: =ff=, =fi=, =fl=, =ll=, =ſi=, =ſſ=. That is, two different consonants coming together (except =f= and =l=) are not spaced; but a consonant and vowel, and double consonants, are to be spaced. 6. _Prepositional and other prefixes in German._—When =auf= precedes a part of speech commencing with =f=, the two =f=’s should not form one letter. Print =auffahren=, not =auffahren=. So also, when =aus= is prefix to a part of speech beginning with an =ſ=, it should not form with the latter an =ſz= or =ſſ= if German type is used. Print =ausſprechen=, not =ausſzprechen= or =auſſprechen=. If =ent= precedes a part of speech beginning with =z=, the =t= and =z= do not form one letter, but remain separate: =entzweien=, not =entzweien=. 7. _Suffixes_ =lich=, =zig=.—The letter =l= in the former should not be joined to a preceding =f=, nor the letter =z= in the latter to a preceding =t=. Print =verwerflich=, not =verwerflich=; =achtzehn=, =achtzig=, not =achtzehn=, =achttzig=. So also, in dividing, put =verwerf~lich= (or =ver~werflich=) and =acht~zehn=, =acht~zig=. 8. _German in Roman type._—In Roman type =ſz= is now rendered =ß= (better than ſs)[88]; =ſſ= becomes ss; and in spaced words all letters (except =ß=) are separated. When Roman capital letters are used, =ſz= becomes SZ. Thus MASZE (=Maſze=, measures) (with long _a_), not MASSE (=Maſſe=, substance) (with short _a_). 9. _Metal-rules in German._—Spaces are always put before and after a rule in a sentence, wide spaces in a widely spaced line, thin spaces in a narrowly spaced one, exactly as with words, thus: =Er sagte — nicht ohne Zaudern —, daſz er gehen müſſe=.[89] Rules are not put after colons. 10. _Quotation marks in German._—The commencement of a quotation is indicated by commas followed by a thin space; the close by turned commas. A quotation within a quotation is usually rendered by a single Roman comma at commencement, and by a turned Roman comma at the end[90]; thus: =Er ſagte mir: „Gehe nicht hin, denn es heiſzt, daſz es dort von ,Geistern‛ spukt.‟=[91] 11. =ll=.—This is always printed as one letter at the end of a syllable or word, as also in the body of a word if the latter is not a compound, thus: =Schaliloch= (now, however, written =Schalloch=, but divided =Schall~loch=); =will, ſoll=; =wollen, ſollen=. But in compound words, in which the first =l= ends a syllable and the second =l= commences the next one, the two =l=’s must be separated, thus: =vielleicht= (divided =viel~leicht=). 12. =ſſ=, =sſ=.—Both in Roman type = ss. The first (=ſſ=) is used after short vowels, thus: =eſſen=, =müſſen=. The second (=sſ=) is employed when the first s ends one syllable and the second commences the next, each syllable giving sense taken singly, i. e. in compounds, thus: =Eisſcholle= (ice-block), =dasſelbe=, =desſelben=. 13. =ſz=.—After long vowels or diphthongs and if followed by e or i of a less strongly accented syllable[92]: =ſpaſzen=, =grüſzen=, =heiſzen=, =Süſzigkeit=; also after short or long vowels or diphthongs if followed by =t=: =haſzt=, =ſpaſzt=, =küſzt=, =grüſzt=, =iſzt=, =genieſzt=, =heiſzt=; and also at the end of words or first part of compounds, whether the preceding vowel be long or short: =Schloſz=, =groſz=, =eſzbar=, =faſzlich=. 14. _Double letters._—=ch=, =ck=, =ff=, =fi=, =fl=, =ll=, =ſi=, =ſſ=, =ſt=, =fz=, =tz=. No triple letters, like the English ffi, ffl, are used in German.—ffi, ssi, are usually printed =ffi=, =ſſi=, as =pfiffig=, =biſſig=; ffl is printed =ffl=, as =trefflich=. As regards =fl=, the =f= and =l= must be separated if the latter belongs to a suffix, thus: =ſchlaflos=, not =ſchlaflos=. 15. =ſ, s.=—The long _s_ is used at the beginning, the short _s_ at the end of syllables (=ſagen=, =laſen=, =las=, =das=, =Häuschen=). 16. _Abbreviations in German._—The most common are: =uſw=. (= =und so weiter=, and so on, et cetera); =z. B.= (= =zum Beiſpiel=, for example); =d. h.= (= =das heiſzt=, that is to say); =d. i.= (= =das iſt=, that is); =dgl.= (= =dergleichen=, such like, similar cases); =u. a. m.= (= =und andere mehr=, and others); =ſ.= (= =ſiehe=, see); =ſ. o.= (= =ſiehe oben=, see above); =ſ. u.= (= =ſiehe unten=, see below); =u. ö.= (= =und öfter=, _passim_); =ſog.= (= =ſogenannt=, so-called); =bzw.= (= =beziehungsweiſe=, respectively); =Aufl.= (= =Auflage=, unaltered edition); =Ausg.= (= =Ausgabe=, revised edition); =Abt.= (= =Abteilung=, division); =Abſchn.= (= =Abſchnitt=, section); =a. a. O.= (= =am angeführten Orte=, in the place cited); =Bb.= (= =Band=, volume); =Hs.= (= =Handſchrift=, manuscript); =hss.= (= =Handſchriften=, manuscripts)[93]. After ordinal numbers a full point is put where we put ‘1st, 2nd’, &c., thus: 1. =Heft= (or 1. =H.=, = =erſtes Heft=, first number); 2. =Band= (or 2. =Bd.=, = =zweiter Band=, second volume). This full point is often mistaken by compositors and readers for a full stop. For & in ‘&c.’ the Germans have a special character _&_, thus: _&c_.; but =uſw.= now generally takes its place. 17. _The Apostrophe._—Print =iſt’s=, =geht’s= (for =iſt es=, =geht es=); but where a preposition and the article =das= are merged, omit the apostrophe; thus =ans= (for =an das=), =ins= (for =in das=), =durchs= (for =durch das=), =fürs= (for =für das=), (_not_ =an’s=, =in’s=, =durch’s=, =für’s=). After proper names ending in =s=, =ſs=, =z=, used possessively, put an apostrophe, omitting the apostrophal _s_; thus =Voſs’ Luiſe=, =Demoſthenes’ Reden=, =Horaz’ Oden= (Voss’s _Louise_, Demosthenes’ _Speeches_, Horace’s _Odes_). But put =Schillers Gedichte= (Schiller’s Poems). 18. _The Comma._—In German, commas must invariably be put before =daſs= and before relative clauses (beginning with =der=, =die=, =das=, =welcher=, =welche=, =welches=, =womit=, =wodurch=, =woran=, =woraus=, &c. &c.). This is frequently forgotten by English compositors. 19. §.—This mark (in English, ‘section’) is called in German ‘Paragraph’. FOOTNOTES: [86] For many useful suggestions in this section, bringing these rules up to date, I am much indebted to Karl Breul, M.A., Litt.D., Ph.D., Reader in Germanic at Cambridge University.—H. H. [87] A very useful book is that by K. Duden, _Orthographisches Wörterbuch der deutschen Sprache_, 8th ed., Leipzig, 1906. Price 2_s._—H. H. [88] Where these founts are not yet available, ss must, as hitherto, be put for =ſz=. [89] He said—not without hesitation—that he must depart. [90] Single German commas are, however, also used. [91] He said to me, ‘Do not go there, for they say that “ghosts” are haunting that place’. [92] After short vowels and before =e= and =i= of less strongly accented syllables print =ſſ=: =eſſen=, =wiſſen=, =laſſen=, =küſſen=, =Flüſſigkeit=. [93] A very full list of German abbreviations, with explanations, is given in Dr. Breul’s _New German Dictionary_ (Cassell & Co., London, 1906). APPENDIX IV DIVISION OF LATIN WORDS The general rules are practically Priscian’s. They are well summarized in Gildersleeve’s _Latin Grammar_. 1. ‘In dividing a word into syllables, a consonant between two vowels belongs to the second: _a-mo_, _li-xa_. 2. ‘Any combination of consonants that can begin a word (including _mn_, under Greek influence) belongs to the following vowel; in other combinations the first consonant belongs to the preceding vowel: _a-sper_, _fau-stus_, _li-bri_, _a-mnis_. 3. ‘The combinations incapable of beginning a word are (_a_) doubled consonants: _sic-cus_; (_b_) a liquid and a consonant: _al-mus_, _am-bo_, _an-guis_, _ar-bor_. 4. ‘Compounds are treated by the best grammarians as if their parts were separate words: _ab-igo_, _res-publica_.’ To take a page of Cicero: _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_ (not _qui-bu-sque_) _us-que_ (because the parts are separate) _ca-ptabimus pote-statem sub-i-ci-e-mus pa-renti-bus neces-sariis cle-men-tia_. Again: _eius-modi, cuius-modi, huius-modi_ (not _eiu-smodi_, &c.) _con-iun-ctim_ (I should suppose, not _con-iunc-tim_) _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_ (I am rather doubtful about this) _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-ea_, and probably _pro-pter-ea_ (but again I am in some doubt) _dis-tin-ctus dis-tin-guo ad-spectus a-spectus tem-ptavit il-lu-stris_. Most of these are already adopted in editions of authority, e.g. Nobbe’s _Cicero_, Haase’s _Seneca_. ROBINSON ELLIS. [Illustration: (light bulb)] APPENDIX V DIVISION OF GREEK WORDS A syllable ends in a vowel EXCEPT— 1. If a consonant is doubled, the consonants are divided. Συρακούσ-σας (Bacch.[94]), πολ-λῷ (Thuc.), and so Βάκ-χος, Σαπ-φώ, Ἀτ-θίς. 2. If the first of two or more consonants is a liquid or nasal,[95] it is divided from the others. (Two consonants) ἄμ-φακες, ἐγ-χέσπαλον[96], τέρ-πον (Bacch.), πάν-τες (Thuc.), ἄλ-σος. (Three consonants) ἁν-θρώποις, ἐρ-χθέντος (Bacch.), ἀν-δρῶν (Thuc.). But βά-κτρον, κάτο-πτρον, ἐ-χθρός. (Four consonants) θέλ-κτρον, Λαμ-πτραί. 3. Compounds. For modern printing the preference must be to divide the compounds παρ-όντος, ἐφ-ῃπημένος (Thuc.), but ἀπέ-βη may stand as well as ἀπ-έβη. H. STUART JONES. FOOTNOTES: [94] The references are to the papyri. [95] Or according to some if it is σ—ἕκασ-τος (Hyp. Blass{96}, p. xvii), but the preference is for πλεῖ-στοι, ἐκομί-σθησαν, βουλεύε-σθαι (Thuc.), ἐ-στρέφθη (s. v. l., Bacch.). [96] γ is a nasal when it precedes γ κ or χ. The other consonants referred to are λ μ ν and ρ. MARKS USED IN THE CORRECTION OF PROOFS _From_ JOHNSON’S _Typographia_ (1824), Vol. II, p. 216. [Illustration: (page of text with numerous examples of handwritten proofing marks.)] THE OPPOSITE PAGE CORRECTED _From_ JOHNSON’S _Typographia_ (1824), Vol. II, p. 217. Though a variety of opinions exist as to the individual by whom the art of printing was first discovered; yet all authorities concur in admitting PETER SCHOEFFER to be the person who invented _cast metal types_, having learned the art of _cutting_ the letters from the Guttembergs: he is also supposed to have been the first who engraved on copperplates. The following testimony is preserved in the family, by Jo. Fred. Faustus of Ascheffenburg. ‘PETER SCHOEFFER of Gernsheim, perceiving his master Faust’s design, and being himself ardently desirous to improve the art, found out (by the good providence of God) the method of cutting (_incidendi_) the characters in a _matrix_ that the letters might easily be singly _cast_, instead of being _cut_. He privately _cut matrices_ for the whole alphabet, and when he showed his master the letters cast from those matrices, Faust was so pleased with the contrivance that he promised Peter to give him his only daughter _Christina_ in marriage, a promise which he soon after performed. But there were as many difficulties at first with these letters, as there had been before with _wooden ones_; the metal being too soft to support the force of the impression: but this defect was soon remedied, by mixing the metal with a substance which sufficiently hardened it.’ SOME ENGLISH NAMES OF TYPES WITH EXAMPLES OF THEIR RELATIVE SIZES DOUBLE PICA: The Clarendon GREAT PRIMER: The Clarendon Pre ENGLISH: The Clarendon Press Ox PICA: The Clarendon Press, Oxfo SMALL PICA: The Clarendon Press, Oxford, LONG PRIMER: The Clarendon Press, Oxford, w BOURGEOIS: The Clarendon Press, Oxford, was n BREVIER: The Clarendon Press, Oxford, was na MINION: The Clarendon Press, Oxford, was named EMERALD: The Clarendon Press, Oxford, was named MINION-NONPAREIL: The Clarendon Press, Oxford, was named a NONPAREIL: The Clarendon Press, Oxford, was named after RUBY-NONPAREIL: The Clarendon Press, Oxford, was named after RUBY: The Clarendon Press, Oxford, was named after the PEARL: The Clarendon Press, Oxford, was named after the E SMALL PEARL: The Clarendon Press, Oxford, was named after the Earl of DIAMOND: The Clarendon Press, Oxford, was named after the Earl of Clarendo BRILLIANT: The Clarendon Press, Oxford, was named after the Earl of Clarendon. LONG PRIMER ITALIC: _The Clarendon Press, Oxford, was_ BLACK-LETTER: The Clarendon Press, EGYPTIAN: The Clarendon Press, Oxford, ANTIQUE, MODERN FACE: The Clarendon Press, Oxford, ANTIQUE, OLD FACE: The Clarendon Press, Oxford, GROTESQUE: The Clarendon Press, Oxfo The following is a list of type-bodies in more common use, the first column giving the name of the English type-body, and the second its designation under the American point-system. _English_ _American_ Pearl 5 point Ruby 5½ ” Nonpareil 6 ” Minion 7 ” Brevier 8 ” Bourgeois 9 ” Long Primer 10 ” Small Pica 11 ” Pica 12 ” GENERAL INDEX _NOTE._—_The words ending in_ -able, -ible, -ise, -ize, _and_ -ment, _and also others, given in alphabetical order on pp. 9-37_ (q.v.), _are not repeated here_. A or an, use of, 39. before contractions, 39. Abbreviations, _see_ Contractions. in French, 82-4. in German, 93-4. -able, words ending in, 9. Accented -èd in poetry, 45. Accents in French, 78-9. A.D., 47, 69. Allardyce on _Stops_, &c., examples from, 64. Alternative or difficult spellings, some, 15-24. Ampersand (&), 43. And (with and without comma), 57. Anglicized words, set in roman, 35-6. Apocrypha, contractions for books of, 42. Aposiopesis, mark of, 62. Apostrophe, in French names ending in -s or -x, 72. in German, 94. in place-names, 44. in poetry, 45. in possessive case of proper names, 71. omitted in hers, ours, theirs, yours, 44. thin space before, when to use, 49. when to join close up, 44. Asterisks, as reference signs, 70. in philology, 48. not to be used for marks of hiatus, 62. Authors and their works, references to, 52. Awkward divisions, &c., 53-4, 80-1. B.C., 47, 69. Beadnell on _Spelling_, &c., 55-61. Bible and Prayer Book spellings, 9 (note). Bible, contractions for books of, 41-2. references to chapters and verses in, 52. Book sizes— 4to, 8vo, 12mo, &c., need no full points, 42. Book titles, italic or roman, 50, 52. Brackets, 61. Breaklines, length of, 49. Capital letters, when to use in English, 46. in French, 73-7. in German, 88. in lemmas, 67. when accented in French, 78. Chapter, first word in small caps., 48. first line to be indented, 48, 50. -ck preceding a suffix, 15. Colon, the, 59. Commas— ‘inverted’, 63. use of, with adjectives and adverbs, 57. with ‘and’, 57. with more than three figures, 68, 84-5. Compass, points of the, 43. Compound words, 25-8. plurals of, 15, 21. Consonants, double or single with a suffix, 29. Contractions generally, 41-5. of colloquial expressions, 44. of Latin words not in italic, 51. of names of counties, 42. of personal titles, 44. of philological terms, 43. of points of the compass, 43. of references in footnotes, 43. of references to manuscripts, 43. of Scripture references, 41-2. of sums of money, 51. of titles of books, 44. of weights and measures, 43. Correction of proofs, marks used in, 98. Counties, names of, abbreviated, 42. Dagger † (= obsolete or deceased), 48. Dash, the, 61. Date at foot of title-page, 47. Dates, how to print, 69, 84. Decimal points, 69. Deity, pronouns referring to the, 46. De Vinne on _Correct Composition_, 55-6, 63. Diaeresis signs, when to use, 17. Difficult or alternative spellings, 15-24. Digraphs and diphthongs, 41. Division of words, English, 53-4. French, 80-1. German, 90. Greek, 97. Italian, 54. Latin, 95-6. Portuguese, 54. Spanish, 54. Double letters, in German, 93. e before -able and -ment, 9, 24. -ed, -èd, in poetry, 45. Ellipsis, 49, 62. Em rules, various uses of, 61-2, 70. English words, how to divide, 53-4. En rules, when to use, 69-70. Erratum and Errata, when to print, 33. ETC., ETC., &c., when to use, 43. Exclamation, the note of, 60. Extracts, how to print, 50. Figures, commas with, 68-9. First line of chapter, 48. Footnotes, abbreviations in, 43, 51. superior figures to refer to, 67, 70. Foreign words and phrases, 35-7. in roman, 35-6. in italic, 36-7. Foreign words, formation of plurals of, 31-3. French language, works in the, 73-87. abbreviations, 80-1, 82-4. accented capital letters in, 78. accented small capitals, 78. accents, 78-9. capital and lower-case letters, 73-8. division of words, 81-2. hyphens, 79-80. metal-rules, 80. metric signs, 83. names ending in -s or -x, 72. numerals, 84-5. quotation marks, 86-7. reference figures, 85. roman and italic, 85. space before comma, 80. spacing generally, 80. Full points, examples of use, 60. for contractions, 43-4. to denote omissions, 62. when not to use, 42, 43, 68, 69. German language, works in the, 88-94. abbreviations, 93. apostrophes, 94. capital and lower-case letters, 88-9. commas, 94. division of words, 90. double letters, 93. full points, 94. hyphens, 90. in roman type, 91. =ll=, 92. metal-rules, 91. paragraph mark (§), 94. prepositional and other prefixes, 90-1. quotation marks, 92. reformed spelling, 89-90. =ſ=, =s=, 93. spaced words, 90. =ſſ=, =sſ=, 92. =ſz=, 92-3. suffixes =lich=, =zig=, 91. Greek words, how to divide, 97. Guillemets in French, 86, 87. Headlines, omission of points at end of, 67. Head Master, note on, 25. Hers, no apostrophe, 44. Hyphens, use of, in English, 25-8. in French, 79-80. in German, 90. -ible, words ending in, 11. I’d, I’ll, &c. (no space), 44. Indentation of first lines, 48, 50. Initials with dates, 47. Interrogation, the note of, 60. ‘Inverted commas’, 63. -ise or -ize, words ending in, 12-14. Italian words (some), how to divide, 54. Italic type— for mathematical theorems, 51. names of books and periodicals in, 50. names of ships in, 51. words and phrases in, 36-7, 50-1. Latin words, how to divide, 95-6. lb., singular and plural form, 43. Lefevre, T., _Guide pratique du compositeur_, referred to, 55. Lower-case letters, for anglicized words, 47. for contractions, 43, 47. in French, 73-8. in German, 88-9. MS. = manuscript, contraction of, 43. Marks used in the correction of proofs, 98. Marks of omission, 62. Marks of parenthesis, 61. Mathematics, inferior in, 70. theorems, in italics, 51. Measures, contractions of, 43. Medical signs, 48. -ment, words ending in, 24. Metal-rules in English, 61-2, 70. in French, 86. in German, 91. Metric signs in French, abbreviations of, 83. Money, contractions in sums of, 51. Months, names of, contracted, 42. New Testament, contractions for names of books of, 42. Newspapers, in italic, 51. Non-hyphened words, 25-8. Nor and or, 40. Note of exclamation, 60-1. interrogation, 60. Numbering of paragraphs, 70. Numerals, arabic, 68-70. in French, 84-5. in German, 94. roman, use of, 68-70. O and Oh, 39. -o, plurals of nouns ending in, 34. Old Testament, contractions for names of books of, 41. Omission marks, use full points for, 62. Ours, no apostrophe, 44. Page references, citation of, 69, 70. Paragraphs, indentation of, 48, 50. numbering of, 70. spacing of last line, 49. Parenthesis, marks of, 60-1. Period or full stop, the, 60-1. Periodicals, names of, italic, 50. Philological works, contractions in, 43. punctuation in, 67. use of symbols in, 48. Phonetic spellings, 38. Place-names, use of apostrophes in, 44-5. Plates, &c., references to, 47. Plurals, formation of, in words of foreign origin, 31-2. of nouns ending in -o, 34. Poetry, ’d, -ed, and -èd in, 45. quotations from, 45. spacing of, 49. Points (punctuation marks), 62. decimal, 69. full, when to omit, 42, 43, 68, 69. in title-pages, &c., 67. Points of the compass, 43. Portuguese words (some), how to divide, 54. Possessive case of proper names, 71-2. Prefixes in German, prepositional and other, 90-1. Pronouns, Deistic, capitalization of, 46. omission of apostrophe in, 54. Proofs, marks used in correcting, 98. Proper names, adjectives derived from, 46. common words derived from, 47. possessive case of, 71-2. PS. = postscript (one full point), 43. Punctuation generally, 55-67. colon, 59-60. comma, 57-8. dash, 61-2. note of exclamation, 60-1. note of interrogation, 60. parenthesis, 61. period or full stop, 60-1. semicolon, 58-9. Punctuation marks generally, 62-3. in classical and philological notes, 67. in relation to footnotes, 67. quotation marks, 63. when to precede, and when to follow, the closing quotation mark, 63-7. Quotation marks, 63-7. in essays, 63. in French, 86-7. in German, 92. ‘inverted commas’ (so-called), 63. Quotations from foreign books, &c., 50. poetical, 45, 63. prose, 63. when to break off, 50. Reference figures in French, 84-5. References generally, 52. to authors and their works, 52. to the Bible, 41-2, 52. to footnotes, 70. to manuscripts, 43, 52. to periodicals, 50. to plates, woodcuts, &c., 47. in relation to punctuation marks, 67. to Shakespeare’s plays, &c., 52. to ships, 51. Roman and italics in French, 85. Roman numerals, use of, 68-70. Roman type, German works in, 91. anglicized words in, 35-6. =ſ=, =s=, 93. ’s, thin space before apostrophe, when to use, 49. Scripture references, 41-2, 52. Semicolon, the, 58-9. Shakespeare, spelling of the name, 23. Shakespeare’s plays, references to, 52. ‘Shilling-mark’, 51. Ships, names of, italic, 51. Signs for reference marks, use of, 70. special, 48. Small capitals, when to use, 47. Southward’s _Practical Printing_, quoted, 55. Space before comma allowed, in printing French, 80. Spaced words in German, 90. Spacing generally, 49-50. in French, 80. in Greek, Latin, and Italian, 49. of last line in paragraph, 49. of poetry, 49. Spanish words (some), how to divide, 54. Special signs or symbols, 48. Spellings, alternative or difficult, 15-24. Bible and Prayer Book, 9 (note). of old writers, 38. phonetic, 38. reformed German, 89-90. sq., sqq., 70. =ſſ=, =sſ=, 92. Streets, how to print names of, 46. Suffixes, 29-30. =lich=, =zig=, 91. Superior figures and letters, 70. =ſz=, 92-3. Theirs, no apostrophe, 44. Title-pages, date at foot of, 47. points in, 67. Titles, personal, contraction of, 44. Types, English names of, 100-2. American point-system, 102. Underlines, 50. Vowel-ligatures, 41. Weights and measures, contractions of, 43. Woodcuts, plates, &c., references to, 47. Words— common, derived from proper names, 46. ending in -able, 9. ending in -ible, 11. ending in -ise or -ize, 12-14. ending in -ment, 24. ending in -o, plurals of, 34. ending with -ed or -èd in poetry, 45. foreign, in italic, 35-6. foreign, in roman, 36-7. Yours, no apostrophe, 44. *** END OF THE PROJECT GUTENBERG EBOOK RULES FOR COMPOSITORS AND READERS AT THE UNIVERSITY PRESS, OXFORD *** Updated editions will replace the previous one--the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away--you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works 1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.” • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works. • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg™ Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org. Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws. The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact. Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate. While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate. Section 5. General Information About Project Gutenberg™ electronic works Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support. Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our website which has the main PG search facility: www.gutenberg.org. This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.