PENS AND TYPES
OR
HINTS AND HELPS FOR THOSE WHO WRITE, PRINT, READ, TEACH, OR LEARN

PUBLISHERS’ ADVERTISEMENT.

Our first edition of “Pens and Types: or Hints and Helps for those who Write, Print, or Read,” was especially prepared for the benefit of persons connected with the press. It had, however, a wide circulation among persons of all professions, and became a reference book in some notable institutions of learning.

A distinguished lady teacher in a neighboring city writes us, “I found the book [“Pens and Types”] of the greatest benefit, both in my work of teaching, and in the writing I occasionally did for the press. It was an invaluable aid to those who were trying to train the young in habits of correctness and accuracy in the use of their mother tongue. Such a work should never be out of print, and I am glad there is to be another edition.” We might refer to many who have expressed similar opinions.

This second edition contains all that was valuable in the first, besides several new chapters and additions, as set forth in the author’s preface: and on account of its past reputation and the merits of the added matter, we bespeak anew the favor of printers and teachers,—of both which professions Mr. Drew may fairly be {p6} considered a representative; and although he has, in his book, kept his personality out of sight, even using the editorial “we,” his fitness for a work of this kind will, we think, be made apparent by a brief sketch of his career.

After a school life in which he paid much attention to Latin and Greek classics, he learned the trade of printer. Soon after attaining his majority, he was employed as teacher of a public school in his native town, Plymouth, Mass., whence he was summoned to Boston, to take three months’ charge of the Bowdoin School, during the illness and consequent absence of Mr. James Robinson. Subsequently he became master in the Otis School, which position he occupied during the whole period of its continuance.

While residing in Boston, Mr. Drew was a correspondent of the “Post,” under the signature of SHANDY; and he also contributed the articles of DR. DIGG and ENSIGN STEBBINGS to Shillaber’s “Carpet Bag.” His contributions were of a humorous character, and are well remembered by many gray-bearded gentlemen of Boston and its environs. From this city, Mr. Drew removed to Minnesota, where he was Principal of the Public Schools of St. Paul.

After twenty years of teaching, Mr. Drew returned to the purlieus of the printing-office, as proof-reader at the University Press, Cambridge, and afterward with John Wilson & Son, and Alfred Mudge & Son.

Next he became proof-reader in the Government {p7} printing-office, at Washington, where for more than nine years he remained, reading press-proofs of the various Government publications, including many volumes issued by the Smithsonian Institution, and giving valuable assistance to the Civil Service Commissioners, in the technical examination of proof-readers for the Government Departments. At the age of seventy-six he retired from public employment, and prepared this second edition for the press. May he live long, and enjoy the reward of an industrious and useful life—and a huge remuneration from an enormous sale of his Second Edition.

THE PUBLISHERS.

PREFACE TO THE FIRST EDITION.

As “man measures man the world over,” so it may be presumed that the experience of a laborer in any one department of literature will, in the general, tally with that of all others occupying a similar position. This volume gives the results of a proof-reader’s experience, and such suggestions derived therefrom as may, he hopes, be useful to all who prepare reading-matter for the press, to all who assist in printing and publishing it, and, finally, to the reading public.

But as a vein of imperfection runs through all human achievement; and as the most carefully issued volume must contain errors,—so this work, if critically examined, may perhaps be found to violate, in some instances, its own rules; nay, the rules themselves may appear to be, in some points, erroneous. Still, the inexperienced, we feel assured, will find herein many things of immediate benefit; and those who need no instruction may have their opinions and their wisdom re-enforced by the examples used in il­lus­tra­tion. So, believing that on the whole it will {p10} be serviceable; that it contains “a portion” for “seven, and also” for “eight,” we send this treatise to press. And if its perusal shall incite some more competent person to produce a more valuable work on the topics presented, we shall gladly withdraw, and leave him, so far as we are concerned, the undisputed possession of the field.

PREFACE TO THE SECOND EDITION.

The extensive circulation of the first edition of “Pens and Types,” attested by the worn condition of the stereotype plates, induces the author to present to his friends and the public a new and improved edition, embodying the results of a wider experience.

The most important portions of the first edition have been retained. The chapter on Orthography has been enlarged by the addition of ONE correct and authorized spelling of the many hundreds of doubtful words—words to which writer and printer can give but one form, while lex­i­cog­raphers give two or more. For offices which adopt Webster as the standard, Webster’s first column has been closely followed; and for those which follow Worcester’s style, a list is added, adhering to Worcester’s first column. Some words of the lex­i­cog­raphers’ second columns are also placed in the lists (e. g. draught as well as draft), giving to each word its proper and distinct significations.

Moreover we have in the same chapter placed a list of all the words ending in able and ible which {p12} are to be found in ordinary English dictionaries,—whether words in common use or rare or obsolete,—a feature which compositors and many others will know how to appreciate.

A chapter on the Right Use of Capitals, with rules and examples; and another on Old Style and its ligatures, with fac-similes from ancient specimens of typography, give additional value to this edition.

The index at the end of the volume will enable the reader to find at once any particular rule or direction contained in the body of the work.

Although originally intended for authors and printers, this volume will, we are confident, be in many respects a valuable reference-book for teachers and pupils in the public schools, and in seminaries of learning generally.

CONTENTS.

• I. Writing for the Press •  15
• II. Proof-reading •  33
• III. Style •  59
• IV. General Remarks on Subject-matter
  of Foregoing Three Chapters •  66
• V. Punctuation •  71
• VI. Orthography • 125
• VII. Capitalization • 171
• VIII. Old Style • 195
• IX. Technical Terms used in this Work • 202
• X. Various Sizes of Letter • 205
• INDEX • 207

CHAPTER I. WRITING FOR THE PRESS.

In an action recently brought against the proprietors of Lloyd’s paper, in London, for damages for not inserting a newspaper advertisement correctly, the verdict was for the defendant, by reason of the illegibility of the writing.

“The illegibility of the writing” is the cause of the larger portion of what are conveniently termed “errors of the press.” One can scarcely take up a periodical publication without finding, from editor or correspondent, an apology for some error in a previous issue, couched somewhat in this style: “The types made us say, in our last, something about the ‘Dogs of the Seine’, we certainly wrote ‘Days of the League.’” We have no doubt that, in a large majority of cases of this sort, if the question between “the types” and “the pen” were left to a jury, they would, as in the case of Lloyd’s paper, decide in favor of the types.

By dint of hard study, by comparison of letters in {p16} various words, and by the sense of the context, the compositor generally goes through his task creditably, in spite of the “illegibility of the writing.” But sometimes, in despair, he puts into type that word which most nearly resembles an unreadable word in the manuscript, making nonsense of the passage because he can make nothing else of it. We remember a great many instances of this sort, in our own experience as a proof-reader,—instances which, according to custom, might be attributed to “the types,” but which were really due to the writers’ carelessness alone. Thus, in a medical work, it was stated that “This case had been greatly aggravated by the ossification of warm poultices to the face”; the author having intended to write “application.”

Ames’s “Typographical Antiquities” has been made to figure as “Typographical Ambiguities,”—owing to chirographical ambiguity.

“The reports in the ‘Times’ and other journals, never give the name of the Lord Chandler.” “Chancellor” was, of course, intended by the writer, but this was an “error of the press.”

In an investigation touching the field of a compound microscope, a witness was made to say, “It would vary with the power of the lye-juice employed.” The reporter meant to write “eye-piece,” but he succeeded in writing what the compositor set up.

The title of a book,—“A Treatise on the Steam-engine; with Theological Investigations on the Motive Power of Heat.” The latter clause might seem appropriate to “Fox’s Book of Martyrs”; but the {p17} transcriber of the title imagined he had written “Theoretical.”

A toast,—“The President of the —— County Agricultural Society,—May he enjoy a grim old age”: the word was corrected to “green,” before the whole edition of the paper was worked off.

We have seen an advertisement of “Mattlebran’s Universal Geography,”—no doubt a very entertaining work.

In a treatise on botany, we have been told, “we first find those that form the bud, then the calx, the corrola, the stamina and pistol.” The writer should have spelled correctly, and dotted his i’s.

A catalogue of hardware to be sold by auction had an item, “3 bbls. English pocket-knives.” This was set from “commercial” writing, in which “bbls.,” or something like it, was used as a contraction for “bladed.”

“Nature intended man for a social being. Alone and isolated, man would become impatient and peevish.” No doubt this is true, but “the types” were to blame again,—the author fancied that he had written “impotent, and perish.”

The constitution of a certain corporation appeared with the following article in the proof-sheet: “The Directors shall have power to purchase, build, equip or charter all such steamboats, propellers, or other vessels, as the engineers of the Corporation shall in their judgment require.” Why the Directors should be placed at the mercy of the engineers seemed unaccountable. But a critical examination of the {p18} manuscript revealed that the “engineers” were “exigencies.”

A “Bill of exceptions, having been examined, and found unfavorable to the truth, is allowed.” The Justice who signed the above, understood the word which we have italicized to be “conformable.”

“They could not admit those parts of the testimony until they had examined the plaintiff in regard to the poets,”—“facts” should have been written instead of “poets”; but the “pen” made an error which the compositor did not feel at liberty to correct.

We have read in a newspaper a description of a battle-field:—“It was fearful to see: the men fell in ranks, and marched in pantaloons to their final account.” This was explained by an erasure and a blot on the word “platoons.”

It is very easy to say that errors of the kind we have recited, are owing to the ignorance or carelessness of the printers; but, on the other hand, when printed copy is reset, such errors almost never occur,—and the absence of errors is in direct ratio to the legibility of the copy.

Men who write much, generally imagine that they write well; but their imagination is often a vain one. The writer of the worst manuscript we recollect to have met with, expressed surprise when told that printers and proof-readers could not read his writing, and remarked that he had often been complimented on the plainness and neatness of his chirography. His memory was, no doubt, excellent,—the {p19} compliments must have been bestowed in his juvenile days, when he was imitating engraved copies.

While one is imitating a copy, he may, indeed, write legibly, nay, even elegantly; for he has nothing to attend to, save the formation of the letters. But when one is writing a report or a sermon or a poem, his mind is busy with something besides chirography.

The fact is, that men seldom succeed well in doing more than one thing at a time. The itinerant musician who imitates the various instruments of a full band, may be detected in an occasional discord. Paley remarks that we cannot easily swallow while we gape; and, if any one will try the experiment, he will presently be satisfied that in this statement, at least, Paley was physiologically and philosophically correct.

Thus, in the haste of composition, ideas crowding upon us faster than the pen can give them permanence, we can bestow little thought on mere chirography, writing becomes mechanical, or even automatic; and we pay scarcely more attention to the forms that follow the pen, than we do to the contractions and dilatations of the vocal organs when engaged in conversation with an entertaining friend.

Let school training and practice be the same, yet such are the differences of physical conformation that handwritings are as various as the individuals that produce them; running through all degrees of the scale, from an elegance transcending the engraver’s skill, down to misshapen difficulties and puzzling deformity. {p20}

But however widely our handwriting may vary from Wrifford, Spencer, or Dunton, it is generally legible to ourselves, and soon becomes familiar to our friends and acquaintances. Hence comes the danger that we shall cease to bestow any care upon it when others than ourselves and acquaintances are concerned, and hence it is, that, with scarcely any consciousness of our shortcomings, we are liable to impose on an utter stranger the task of deciphering a piece of manuscript in which not only the letters have no proper characterization, but which is smutched with erasures, deformed by interlineations, and obscured by frequent and needless ab­bre­vi­a­tions.

The loss of time spent in endeavoring to read such a document, is reckoned among the “small things” of which “the law takes no cognizance”; were it otherwise, many of us who fancy that our manuscript is above reproach, would be astonished at the number of bills collectible outstanding against us.

The opinion of the “statists,” spoken of in Hamlet, that it is “a baseness to write fair,” seems prevalent even in our day. Most men, on leaving school, instead of endeavoring to improve their chirography, allow it to deteriorate, and seem to take pride in its deteriority, and many learned men write as if afraid that legibility would be considered a proof of intellectual weakness.

In all other cases of encroaching on the time and patience of another,—as, for instance, our failure to fulfill an appointment, or calling at an unseasonable hour, or seeking advice in an affair wholly our {p21} own,—we feel bound to make due apology, nay, sometimes even acknowledge a sense of shame; but who ever felt regret on hearing that he had put some one to the trouble of studying, and guessing at, a puzzling intricacy of cramped writing; his victim being obliged to seek aid from dictionaries, gazetteers, directories, and even experts? We never heard of a man’s suffering compunction on this score.

We say this, referring to ordinary business transactions between man and man, where bad writing, except in rare and extreme cases, does not involve pecuniary loss. But when we are writing for the press, our duty to write legibly becomes imperative; indeed, a failure in this respect trenches so closely upon a violation of the eighth commandment, that it can seldom happen but from a want of thought as to the relation between those who write and those who print.

Compositors usually work by the piece, and are paid a fixed rate per thousand ems. If a line of type be divided by vertical lines into equal squares, these squares show the number of ems in the line. Suppose there are twenty such squares; then fifty lines would contain one thousand ems. To set, correct, and distribute six thousand ems, is considered a fair day’s work. With plain, legible copy, this can ordinarily be done; and, at the close of the week, the compositor receives full wages; all parties are satisfied, and no one is entitled to complain.

But if, at the end of the week, notwithstanding the closest application, the compositor has averaged {p22} but four thousand ems per day, whereby he receives but two-thirds of the sum he is capable of earning under favorable conditions, who is morally responsible to him for the lacking third? We need not go far to ascertain: a glance at his “copy” answers the question. He has been laboring upon bad manuscript. To show the difficulties which have been in his way, we will put a supposititious case,—closely paralleled, however, in the experience of almost every compositor who has worked in a book-office.

He has been setting up a sermon of the Rev. Mr. Z. The society of the reverend gentleman were so well pleased with the discourse, that they requested a copy for the press. Mr. Z. should, of course, have copied the whole manuscript fairly; for, the haste of composition being past, he could have re-written it carefully, paying especial attention to chirography, spelling out his ab­bre­vi­a­tions, reducing dislocations, bringing interlineations into line,—in short, he should have done to the compositor what he would that the compositor should do unto him. But, instead of this, what did you do, Mr. Z.? Pen in hand, you re-read the sermon, making erasures, striking out some words and interlining others. You crowded new sentences, of two or three lines each, between lines already closely written; and you interlined these interlineations. You then wrote sundry additions on loose pieces of paper, denoting them as “A,” “B,” “C,” etc., and then placed the same capitals in the body of the work, without sufficiently explaining that new matter was to be inserted; {p23} neither did you make it appear whether the addenda were to constitute new paragraphs. And in this amorphous condition you allowed the sermon to go to the printing-office. It has, too, passed through several hands. Some of the pieces belonging to “A” have got into “B,” and some of the “B” have straggled into “C,”—and the printers cannot say where they do belong.

One compositor finds in his “take”⁠[1] the ab­bre­vi­a­tion “Xn,” and, after many inquiries, learns that X is the Greek Chi, and so “Xn” signifies “Christian.” Another hesitates at a phrase which, to his eye, seems to read “a parboiled skeptic”; but as modern methods with heretics do not include heated applications, he asks those about him what the word is; perhaps goes to the proof-reader with it,—such things are done sometimes,—for the compositor expects ultimately to conform to the proof-reader’s decision,—and thus he loses five or ten minutes in learning that the word is purblind. Now, reverend sir, the compositor’s time is his money, and if you rob him of his time—the inference is obvious. Your better course, henceforth, will be to copy your manuscript, or employ some one to copy it, in a careful, painstaking manner, after all your emendations of the text have been made.

There is a proverb to the effect that lawyers are bad penmen, but we think the proverb unjust. So far as our experience goes, the handwriting of {p24} lawyers compares favorably with that of any other class of persons, of whatever profession. It is certainly as legible as the mercantile style; since the latter, although generally pretty to look at, is often very difficult to read,—abounding in flourish and ornament, which are too often but another name for obscurity. Sometimes, too, one meets with clerkly invoices or catalogues, containing remarkably fanciful capitals; we have seen good readers scarcely able to decide whether a given initial were a W, an H, or an N. We are pleased to learn, however, that one leading “Commercial College” has introduced a marked improvement in this respect, and now teaches its pupils a plain, legible hand, instead of a mass of overloaded ornamentation made not so much to be read, as simply to be admired.

But members of the bar, like most other persons, dislike the mechanical labor of copying what they have once committed to paper. Their arguments, and especially their briefs, are sometimes sent to the printer in a confused, chaotic mass; in a shape, or, rather, with a want of shape, which, if not resulting from inconsiderateness, would be—we were on the point of saying—disgraceful. A manuscript of this sort, covering but six or eight pages of letter-paper, sometimes requires several hours’ labor in reading, correcting, and revising, before a presentable proof can be obtained.

Legal documents are often interlarded with technical terms in law Latin and old French. Of course such terms ought to be made as plain as print. {p25} Usually the principal divisions of a brief are indicated by large roman numerals in the middle of the line; the points under these greater divisions, by roman numerals at the commencement of paragraphs; smaller divisions, by arabic numerals; and if still smaller divisions are required, these are denoted by letters in parenthesis, as (a), (b), (c), etc. In the haste of writing, however, it is sometimes found difficult, perhaps vexatious, to keep the run of so nice distinctions, and arabic numerals are used throughout, while no proper care is taken to distinguish the various divisions of the subject-matter by varying indentions.⁠[2] The faults of the manuscript reappear in the proof. This leads to much loss of time “at the stone”; and as such work is frequently hurried during the sessions of the courts, the delay is exceedingly vexatious to all parties concerned. If one-eighth of the time now spent in correcting, overrunning the matter, and revising, were bestowed upon perfecting the copy, there would seldom be any delay in a well-appointed printing-office.

When transcripts of records of court are to be printed, care should be taken that only the very documents that are intended for the press be sent to the printing-office. For want of proper attention in this matter, it not unfrequently happens that certificates of notaries, extraneous documents, and duplicates are put in type, to be presently canceled. {p26}

We have said something above, touching mercantile handwriting. Constant practice with the pen gives facility and boldness of execution,—and where these are combined with good taste, chirography approaches the dignity of a fine art, and produces beautiful effects, and is seen to be near of kin to drawing and painting. In signatures, especially, flourish and ornamentation have a double use; they please the eye, and they baffle the forger. But when lines stand as near each other as in ordinary ruling, the flourish in one line interferes with the letters of the next; and the elegance of a well-cut capital will scarcely excuse its obtrusiveness, when it obliterates its more obscure but equally useful neighbors.

Further, business men, deeply impressed with the value of time, learn to delight in ab­bre­vi­a­tions. Types have been cast to meet some of these, as the “commercial a” [@] and the “per cent” [%]; but the compositor is sometimes put to his trumps to cut, from German and job letter, imitations of ab­bre­vi­a­tions which never ought to be sent to a printing-office as copy. We are not astonished that a merchant of Boston once received from a Prussian correspondent a request, that if he, the Bostonian, were to write again, it might be either in German or in good, plain English. We adopt the spirit of this advice; and would say to the banker, the broker, the merchant, and to their respective clerks, that when they write for the press, they should drop ornament, drop pedantic ab­bre­vi­a­tions, drop German, and write in plain English. {p27}

We do not know that there is anything specially characteristic in copy furnished by the medical faculty, unless it be that their relations of “cases,” both in medicine and surgery, abound, no doubt necessarily, in “words of learned length”; which, being unfamiliar to the laity, should be written with conscionable care; every letter performing its proper function, and duly articulated to its neighbors. But the scientific terms of their art, as written by most physicians, are, to the average printer, as illegible as the Greek from which a portion of such terms is derived. Recipes are seldom got typographically correct, until they have passed through three or four revisions. Even apothecaries, it is said, sometimes put up morphine instead of magnesia; in which case, unless the revising is done in a hurry with the stomach-pump, a jury may have something to say about the “illegibility of the writing.” When troublesome consequences arise from misapprehension of a Latin word, or of its meaning, we hear much said in favor of writing recipes in English.

But, whatever may be said to the contrary, there are weighty, and, we think, irrefutable arguments for continuing the use of Latin and Greek terms in medical writings,—even in recipes. Since it should be so, and certainly is so, we insist here, as elsewhere, that all technical terms, proper names, or any words on which the context can throw but little, if any, light, should be written not with ordinary, but with cardinary care,—which new word we hazard, that our meaning may make a deeper impression. {p28}

In passing, we may remark that the mode of indicating names of remedies comes under the head of “Style” (see Chapter III.), and varies in different offices. Names of medicines are often abbreviated, and set in italics; and when a generic word is used, it should be capitalized; as, “Dr. I. administered Rhus tox.” In homeopathic works, the number expressing a dilution or trituration is placed in superiors at the right; as, “Ordered Cuprum metallicum¹⁰⁰.”

A few suggestions to those who write any kind of copy for the press, will close this part of our subject.

Write on only one side of the paper.

If you wish to make an addition to a page, do not write it on the back of the sheet; cut the leaf, and paste the new matter in, just where it belongs, being careful not to cover up so much as a single letter in doing so: we have known lines to be omitted by the compositor, in consequence of careless pasting. The leaf having thus been lengthened, you may, for the sake of convenience, fold the lower edge forward upon the writing. This minute direction may seem idle; but when a portion of the leaf has been folded backward, out of sight, the folded part may very likely escape notice, and, to insert it, many pages of matter may afterward require to be overrun: we have known such cases.

Abbreviate those words only, which you wish the printer to abbreviate.

Never erase with a lead pencil; for an erasure with lead leaves it questionable whether or not the marked {p29} word is to go in. Use ink, drawing the pen horizontally through the words or lines to be omitted; and be careful that the marking leave off on exactly the right word. If you afterward regret the cancellation, you may write “stet” in the margin, and place dots under the canceled words; but as “stet” may not be noticed, in the presence of obvious erasures, the better way will be to re-write the passage, and paste it in the place you wish it to occupy.

Take time to write plainly and legibly. In writing for the press, the old adage holds good,—“The more haste, the worse speed”; and for every hour you save by writing hurriedly, you will be called upon to pay for several hours’ labor in making corrections. Write joinhand: mistakes often arise from a long word being broken up, as it were, into two or three words.

I and J are often mistaken for each other. Either imitate the printed letters, or uniformly carry the loop of the J below the line.

It is often impossible to distinguish Jan. from June, in manuscript, unless the context furnishes a clew.

Whatever may be the divisions of your work (as books, chapters, sections, cantos, and the like), let your entire manuscript be paged in the order of the natural series of numbers from 1 upward. If you commence each division with 1,—as is sometimes done,—and two or three divisions are given out as “takes” to compositors, it is obvious that portions of one division may exchange places with those of another; and, further, if leaves happen to become transposed, they can readily be restored to their right {p30} places if no duplicate numbers have been used in indicating the pages.

Make sure that the books, chapters, etc., are numbered consecutively. The best proof-reader must confess to some unguarded moments; and it would be very awkward, after having had two hundred and forty chapters stereotyped, to find that two chapter V.’s have been cast, that every subsequent chapter is numbered one less than it should have been, and that compositor and proof-reader have exactly followed copy.

Examine your manuscript carefully with reference to the points. Avoid the dash when any other point will answer your purpose. A manuscript that is over-punctuated occasions more perplexity than one that is scarcely pointed at all.

Before sending it to press, get your manuscript into a shape you can abide by. Alterations made on the proof-sheet must be paid for; and, further, matter that has undergone alterations seldom makes a handsome page: some lines will appear crowded, others too widely spaced.

In writing a footnote¹ let it immediately follow

the line of text which contains the asterisk, or other reference-mark; just as you see in the above example, and do not write it at the bottom of the manuscript page. The person who makes up the matter will transfer such note to its proper place.

If you feel obliged to strike out a word from the {p31} proof, endeavor to insert another, in the same sentence, and in the same line if possible, to fill the space. So, if you insert a word or words, see whether you can strike out, nearly at the same place, as much as you insert.

When writing for the press, never use a lead pencil. Let your copy be made with black ink on good white paper. We have been pained to see the checkered pages of a report to an extensive religious association, which report had been in the first place wholly written with a lead pencil: then words canceled, words interlined, various changes made,—and all these alterations done with pen and ink. Of course, sleeve and hand rubbing over the plumbago gave the whole a dingy and blurred appearance. The effect of the ink sprinkled among the faded pencilings was so much like that of mending an old garment with new cloth, that the manuscript had an unchristian, nay, even heathenish aspect. However, from this copy the report was printed,—let us charitably hope that it did much good in the world.

If proof-sheets present peculiarities of spelling and language, such for instance as appear in ancient works, and which are affected or indulged in by some moderns, every word whose correctness he doubts and is unable to verify, should be referred by the proof-reader to author or editor. The latter, familiar with the terms used, may consider some queries frivolous or puerile; but an author should appreciate conscientiousness in the reader, and be glad to have {p32} all doubts settled before his work reaches the eyes of reviewers.

That Dr. Johnson was guilty of harshness toward a proof-reader is not to be wondered at; but it is a matter of wonder that his conduct appears to have been approved by other editors. In J. T. Buckingham’s edition of Shakspeare (1814) is, at page 915, a remarkable note, apologizing for a few “trifling errors,” and adopting as an excuse a quotation from an advertisement “from the first edition of Reed, 1793”:

Dr. Johnson’s assumption that the agent would displace the word, seems to have been wholly gratuitous. The employees of the neighboring press did precisely what they should have done,—what every conscientious proof-reader often feels obliged to do. If suspected words were passed without questioning, there would be many errors of the press which would justify some show of “harshness” toward the neglectful “agent.”

CHAPTER II. PROOF-READING.

So long as authors the most accomplished are liable to err, so long as compositors the most careful make occasional mistakes, so long as dictionaries authorize various spellings, just so long must there be individuals trained and training to detect errors, to rectify mistakes, and to decide upon and settle all points which lex­i­cog­raphers leave in doubt. Such individuals are known as Proof-readers.

Movable types, after having been used in printing newspaper or book, etc., are distributed to their several compartments (boxes) for future use. In distributing, the compositor, holding several lines in his left hand, takes from the top line, between the thumb and forefinger of his right hand, as many words or letters as he can conveniently manipulate, and moving his hand over the case drops each letter into its proper box. Suppose, for instance, he takes up the word “feasible”; he carries his hand to the “f” box, and drops off the first letter; of course he knows, without looking at the word again, that he is next to drop off the “e”—and so, very quickly, his hand glides from box to box, each receiving its proper letter. This process is repeated until the {p34} types which composed the form are all, apparently, returned to the compartments whence they were taken.

Suppose, however, that when ready to distribute “feasible,” his attention is drawn momentarily to a neighbor who desires his opinion as to a blotted word in his take, and that, on returning to his work of distributing, he imagines, or seems to remember, that the word in hand is “fencible,”—the “a” goes into the “n” box, and the “s” finds itself at “c.” By and by, in setting type from this same case, the compositor picks up the letters for “emancipate.” If he happens to take up the two wrong letters consecutively from the right boxes, his proof-sheet—unless he reads and corrects the matter in his stick—will present the word “emaasipate”—which the proof-reader will mark, for the compositor to correct.

Or it may happen in distributing, that the “f” and “e” cohere, and are both dropped into the “f” box. If the compositor’s mind is not intent on the matter in hand, the error may not be noticed at once; in which case the “a” gets into the “e” box, and some or all the other letters of the word go wrong. The error must be discovered when the last letter is reached; but to search for each misplaced type until it is found, would probably take more time than would be required to correct the errors which must otherwise appear in the proof.

But it is not in distributing only, that blunders occur. There are many other sources of error, and will be so long as present methods continue in vogue. {p35} The only wonder is, that so few errors escape detection before the printer’s work is handed over to the reading public. We have by us an octavo Shakspeare, each page of type from which it was printed, having contained, as can be demonstrated, over six thousand pieces of metal, the misplacing of any one of which would have caused a blunder.

But the detection and marking of wrong letters forms a comparatively small part of a proof-reader’s duty. He must be able to tell at sight whether a lead is too thick or too thin, and to discriminate between a three-em space and a four-em space. Many other important matters fall within his province,—and these we shall endeavor to point out before closing the present chapter.

Other things being equal, printers make the best proof-readers. We have known two or three remarkably skillful readers, whose work could not be surpassed, who never imposed a form, nor set a line of type. These, however, were rare exceptions.

A practical printer who never heard of the digamma, and who has never read anything but newspapers, will generally make a better proof-reader than an educated man who is not practically acquainted with the typographic art; for the printer has, year in and year out, had a daily drill which makes him skillful in orthography, and he has been compelled to give close attention to the grammatical points. Further, his dealing with individual types enables him to see, without searching, errors which men far more learned than he, do not readily {p36} perceive; and his pen pounces on a wrong letter as instinctively and unerringly as the bird darts on its insect prey.

Sterne has uttered a sneer at the husk and shell of learning; but the best bread is made from the whole meal, and includes the “shorts” and the “middlings” as well as the fine flour. If every lawyer, physician, and clergyman were to spend six months at the “case” before entering upon his profession, he would find, even in that short term of labor, a useful fitting and preparation for such literary tasks as may afterward devolve upon him.

Nearly all manuscript copy is indebted to the compositor and proof-reader for the proper punctuation; and many errors in spelling, made by men who probably know better, but write hastily, are silently corrected in the printing-office. Contradictions, errors of fact, anachronisms, imperfect sentences, solecisms, barbarisms, are modestly pointed out to the author by the proof-reader’s “quære,” or by a carefully worded suggestion; and, most usually, the proof is returned without comment,—and none is needed,—corrected according to the proof-reader’s intimations. Dickens, and a few other writers of eminence, have acknowledged their indebtedness in such cases; but we know one proof-reader—whose experience embraces an infinite variety of subjects from bill-heads to Bibles—who can remember but three cases in which his assistance, whether valuable or otherwise, was alluded to in a kindly manner. On the other hand, the correction in the proof is sometimes {p37} accompanied by some testy remark: as, “Does this suit you?” or, “Will it do now?” The proof-reader is, however, or should be, perfectly callous to all captious criticisms and foolish comments; he need care nothing for “harshness” or other nonsense, provided his work is well and thoroughly done. Let no nervous or touchy man meddle with proof-reading.

For the especial benefit of our non-professional readers, we will here point out the usual routine in regard to proofs. The editor or publisher of a book or periodical sends to the printer such portions of reading-matter or manuscript as he can, from time to time, conveniently supply. This copy is passed to a head-workman, who divides it into a number of parts, called “takes,” each part being a suitable quantity for a compositor to take at one time; and the name of each compositor is penciled at the top of his take. The type when set up is called “matter.”

When there is enough matter to fill a “galley” (a metallic or wooden casing about two feet in length), an impression, or “proof,” is taken on a strip of paper wide enough to receive in the margin the correction of such errors as may be found. This proof, with the corresponding copy, is carried to the proof-reader’s desk for examination and correction.

The reader will have at hand a copy of such directions as may have been furnished by author, editor, or publisher, to which he appends, from time to time, memoranda of all eccentricities of orthography and cap­i­tal­i­za­tion,—in short, all peculiarities of style, as they arise. This he consults frequently while {p38} reading the proof-sheet, and, for obvious reasons, with especial attention after any unusual delay in the progress of the work. Directions and notes as to captions, sizes of type, form of tables, etc., are of utility, especially when several readers are employed on the same publication; but directions can scarcely be framed so as to ensure⁠[3] uniformity, except in few particulars. We subjoin two or three samples of directions and memoranda: our remarks in brackets.

MEMORANDA FOR PROOF-READERS.

The following sample relates to an octavo on Fishes:

From a quarto on Fishes:

Engineer work:

The following was for a Digest—Decisions:

Weather Reports:

Geological Survey:

The proof-reader knows, that (as we have already remarked) every printing-office has a style of its own; that, if left to itself, its style would be practically uniform and always respectable,—and he soon learns that some writers for the press have very firm opinions about matters of little or no consequence, and are very tenacious, if not pugnacious, in preferring tweedledee to tweedledum; not because it is written with more e’s, but because it is more correct—in their opinion. However great may be a reader’s capacity for memorizing trifling details, it is next to impossible to keep minute verbal differences on different mental shelves. After the big book is bound, one will be likely to find a mingling of styles; the big River of one page becomes a little river on the next; “Pittsburg” here, reads “Pittsburgh” there; and the dignified “National Park” of the first chapter will dwindle to a mere “national park” in chapter the twelfth.

If not hurried by a press of work, as may sometimes be the case, the reader will first glance at the proof as a whole. A variation in the thickness of the leads, or a wrong indention, will, in this tout-ensemble survey, very quickly catch his eye. Then, still supposing he has time, he will read the galley through silently, correcting errors in spelling; marking turned or inverted letters; improving the {p41} spacing, the punctuation; noting whether the heads and subheads are in the required type; whether the cap­i­tal­i­za­tion is uniform; whether—if the “slip” beneath his eye happen to be near the end of a large volume—the word “ourang-outang” which he now meets with, was not printed somewhere in the earlier part of the work as “orang-outang,” or, in fact, whether, after some questioning, it finally went to press as “orang-utan,”—which word he must now, to preserve uniformity, hunt for and find among his old proofs, if, peradventure, author or publisher, or other person, have not borrowed them “for a few minutes,”—alas! never to be returned.

Having settled this, and all similar cases and other doubtful matters, he hands the copy to an assistant, called a “copy-holder,” whose duty it is to read the copy aloud, while he himself keeps his eye on the print (but in newspaper offices, for the sake of greater celerity, the proof-reader often reads aloud, while the copy-holder follows him silently, intent on the copy: interrupting, however, whenever any discrepancy is observed). If the reader desire the copy-holder to pause while he makes a correction, he repeats the word where he wishes the reading to stop; when ready to proceed he again pronounces the same word, and the copy-holder reads on from that place.

The manner of marking, in the text, all errors noticed, is shown, infra, in the “Specimen of First Proof.” The corrections to be made are indicated, in the margin, by appropriate words or characters from “Marks used in correcting Proofs”—also {p42} inserted below. Writers for the press who themselves examine proof-sheets of their works, should familiarize themselves with proof-reading technics. An author who received for the first time some proof-sheets returned them “clean”—apparently having detected no errors. He was afterward disgusted on finding it necessary to print a leaf of “errata,” and complained that his corrections had been entirely disregarded. On re-examining the proofs he had returned, it was found that he had corrected—with knife as well as pen. Where a comma was wanting, he had used the pen, carefully and skillfully imitating the printed character; and to convert semicolons into commas he had brought the knife into play,—nicely scratching out the superfluous part of the point.

Sometimes a line, or it may be several lines, of type are by some mishap out of perpendicular—slanting; so that only one side of each letter-face shows a full impression on the proof. It is usual in such case to draw several slanting marks across the faulty line or lines, and make similar marks in the margin. It is quite common, also, for readers to insert in the margin the words “off its feet,”—that being the printing-office designation for sloping matter. One reader abandoned writing these words, for two reasons: the first, that a compositor, when correcting, inserted them in the text, making an astonishing sentence; the second, that the marked passage,—a piece of close, logical reasoning,—after being carefully scanned by the author, was brought to the reader, with a very earnest request that he would {p43} point out what justice there was in that bluff remark. It is enough to draw what beginners in writing call “straight marks” across the matter, and also in the margin. We append other—

MARKS USED IN CORRECTING PROOFS.

	Insert an em-quadrat.
	Dele, take out; expunge.
	Insert space.
	Less space.
	Close up entirely.
	Dele some type, and insert a space in lieu of what is removed.
	Dele some type, and close up.
	Broken or battered type.
	Plane down a letter. Push down a space or quadrat.
. . . .	Placed under erased words, restores them.
	Written in the margin, restores a canceled word or passage, or such portions of erased text as have dots under them.
	Begin paragraph.
	Remove to left.
	Remove to right.
	Carry higher up on page.
	Carry down.
	Four lines subscript, denote italic capitals.
	Three lines subscript, denote capitals.
	Two lines subscript, denote small capitals.
	One line subscript, denotes italics.
	Wrong font.
	Transpose.
	Period.
	Colon.
	Apostrophe.
=/	Hyphen.
–/	En-dash.
|—|	Em-dash.
If there is an omission (an “out”) make a caret at the place of the out, and if the out is short, write the omitted word or words in margin; if long, write in margin “out—see copy,” and pin to the proof the sheet of copy containing the omitted portion.
	Lower-case.
	Small capitals.
or or	calls attention to some doubtful word or sentence.

Several other marks are used, which need no explanation.

In order to show our readers the practical application of the above marks, we will suppose the following paragraph from Guizot to be put in type abounding in errors, and will then exhibit the corrections as made by the proof-reader:

SPECIMEN OF FIRST PROOF.

The above is very bad, even for a first proof,—but we have seen worse, and have, perhaps, ourself been responsible for some not much better. While the copy-holder is reading aloud the copy from which {p45} the above was set up, the reader is busy marking errors, and making such characters in the margin as will inform the compositors what is to be done to make their work correct. At the conclusion of the reading, the proof will present an appearance somewhat like this corrected—

SPECIMEN OF FIRST PROOF.

If the proof in hand be a reprint, and the new edition is to conform to the old, the copy-holder, while reading, pronounces aloud the points, capitals, etc., {p46} as they occur in the copy—saving labor and time by using well-understood ab­bre­vi­a­tions. Take, for instance, the second stanza of Tennyson’s “Voyage”:

This stanza the copy-holder reads thus:

If the work extend beyond a single galley, the slips of proof are marked in regular sequence, A, B, C, etc., or 1, 2, 3, etc. Each slip is marked at top “First Proof”: the names of the compositors, which have been inscribed on their “takes,” are duly transferred to the printed proof, which, with the errors plainly noted thereon, is then given for correction to the same persons who set up the matter. Their duty having been attended to, a “second proof” is taken: {p47} this the reader compares carefully with the first, to ascertain whether the requisite changes of type have been properly made; whether “doublets” have been taken out, and “outs” put in. If any mark has escaped the notice of the compositors, it is transferred to the second proof. Close attention should be given to this process of “revising”; it is not enough to see that a wrong letter has been taken out, and a right one put in; in the line where a change has been made, all the words should be compared, and also the line above and the line below a correction,—since in correcting an error among movable types, some of the types may move when they ought not, and get misplaced.

As what escapes the notice of one observer may be perceived by another, this second proof is again “read by copy” by another proof-reader and assistant, and a second time corrected and revised. The “third proof” is now sent to the author, editor, or publisher, with so much copy as may cover it, the copy-holder being careful, however, to retain the “mark-off”; i. e., the sheet on which is marked off the place where the next “first proof” is to begin. But when the work is of such sort as not to require extraordinary care, the second proof is sent out, a single reading by copy being deemed sufficient. If the work is read twice by copy, only one reader should attend to the punctuation.

If, now, the copy have been hastily or carelessly prepared, or if the author have gained new light since he prepared it, the outside party having charge {p48} of the work (whom, for convenience, we will designate as the “author”) will return his proofs, full of erasures, additions, alterations, interlineations, and transpositions. With these the original compositors have no concern; the changes required are made by “the office,” and the time is charged to the person who contracted for the printing of the work.

A second, third, or even more consecutive revises of the same slip are sometimes sent to the author, to the intent that he may see for himself that his corrections have been duly made, and to allow him further opportunity to introduce such alterations as to him may seem desirable. Usually, however, the work, after the correction of the author’s first proof, is made up into pages; and when there are enough of these for a “signature” or form of octavo, duodecimo, or whatever the number of pages on the sheet may be, the proof-reader revises these pages by the author’s latest returned proof, cuts off the slip at the line where the last page ends, and sends the folded leaves, labeled “Second,” “Third,” or “Fourth” proof, as the case may be, together with the corresponding slips of the next previous proof, to the author, as before. The portion of slip proof remaining—termed the “make-up”—should be inscribed with the proper page, and the letter or figure which is to be the signature of the next sheet, and given, for his guidance, to the person who makes up the work; to be returned again to the proof-reader, with the other slip proofs of the next sheet of made-up pages, when that is ready for revision. {p49}

The author may be desirous of seeing a fifth, sixth, or, as the algebraists say, any number, n, of proofs. When he expresses himself as satisfied with his share of the correcting, the last author’s proof is corrected, a “revise” taken, and the proof-reader gives this last revise a final reading for the press. As any errors which escape detection now, will show themselves in the book, this last reading should be careful, deliberate, and painstaking. See to it, my young beginner, that the “signature” is the letter or number next in sequence to that on your previous press-proof. See to it, that the first page of the sheet in hand connects in reading with the last page of the previous one, and that the figures denoting the page form the next cardinal number to that which you last sent to press. Having done this, examine the “folios” (the “pagination,” as some say) throughout; read the running titles; if there be a new chapter commenced, look back in your previous proofs to make sure that said new chapter is “XIX.,” and not “XVIII.”; see that the head-lines of the chapter are of the right size, and in the right font of type; for, if the “minion” case happened to be covered up, the compositor may have forgotten himself, and set them up in “brevier”; if there is rule-work, see that the rules come together properly, and are right side up; if there is Federal money, see that the “$” is put at the beginning of the number following a rule,⁠[5] and of the number in the top line of every page; if points are {p50} used as “leaders,” see that there are no commas or hyphens among them. If the style require a comma before leaders, see that none have been left out; if the style reject a comma, see that none have been left in; in short, see to everything,—and then, on the corner of the sheet, write the word “Press” as boldly as you can, but with the moral certainty that some skulking blunder of author, compositor, or corrector has eluded all your watchfulness.

The errors made by ourselves are those which occasion us the most pain. Therefore be chary of changing anything in the author’s last proof. If a sentence seem obscure, see whether the insertion of a comma will make it clear. If you find “patonce,” do not change it to “potence,” unless, from your knowledge of heraldry, you are aware of a good reason for such an alteration. If you find pro. ami, look in the dictionary before striking out the point after pro.; peradventure it is a contraction. If, finally, after puzzling over some intricate sentence, you can make nothing of it, let it console you that the following paragraph appears in Hävernick: “Accordingly it is only from this passage that a conclusion can be drawn as to the historical condition of the people, which is confirmed also by notices elsewhere”; and let it content you to say, in the words of Colenso, “I am at a loss to understand the meaning of the above paragraph.” So let the obscure passage remain.

Still, however, should you find some gross error of dates, some obvious solecism, or some wrong footing {p51} in a column of figures, and find yourself unable to change the reading with absolute certainty of being right, this proof, which you had hoped would be a final one, must be returned to the author with the proper quære. When it comes back to your sanctum, you may perhaps be pleased at finding on the margin a few words complimentary of your carefulness; or perhaps a question couched in this encomiastic style: “Why did not your stupid proof-reader find this out before?”

Whether reading first or final proofs of Records of Court, you should not change the spelling of words, nor supply omissions, nor strike out a repeated word or words; for the printed record is assumed to be an exact transcript of what is written, and there should be no alterations,—neither uniformity nor correctness is to be sought at the expense of departing from copy. Inserting the necessary points where these have been neglected, is not considered a change of the record,—as, for instance, an in­ter­ro­ga­tion point after a direct question to a witness; for, as “the punctuation is no part of the law,” a fortiori it is no part of the record. If the caption be “Deposition of John Prat,” and the signature be “John Pratt,” and if in another place you find the same individual designated as “John Pradt,” there is no help for it. You have no authority to alter the record, and must print it as it stands. So, too, in regard to dates. If you read “1st Feb. 1889” on one page, “Feb. 1, 1889” on another, so let them stand—the change of style is a trifle; and, if it be a fault, it is the fault of the record, and not yours. {p52}

And here let us say a word about this matter of uniformity: very important in some works, in others it is of no consequence whatever, however much some readers may stickle for it. If, for example, a mass of letters, from all parts of the country, recommending a patent inkstand, or stating the prospects of the potato crop, are sent in to be printed, the dates and addresses will vary in style, according to the taste and knowledge of the several writers; and there is not the slightest need of changing them to make them alike, as if all these widely scattered writers had graduated from the same school. Let such writings be printed as diversely as they come to hand. If one writes plough, and another plow, what matters it, so far as your proof-reading is concerned? If one writes “15th June,” and another “June 15” or “June 15th,” so let it stand on the printed page. It is idle to waste time in making things alike, that could not by any possibility have been written alike. But you can make each letter consistent with itself, which is all that uniformity requires. You need not stretch one man out, and cut off the feet of another, to justify all authors in your composing-stick. So much for exceptional cases.

As a general rule, study to preserve uniformity in every work. If “A. M.” and “P. M.” are in capitals on one page, it will look very like carelessness to have them appear “A.M.” and “P.M.” in small capitals, on the next. With the exceptions above pointed out, your only safety is to have but one style, and to adhere to it with the stiffness of a martinet, {p53} in all contingencies, unless overruled by those who have a right to dictate in the premises.

READING GREEK.

Greek words sometimes appear in copy, and are somewhat vexatious to printers who never had the good fortune to study Greek at school—or elsewhere. In a proof-sheet, we once met a word whose etymology was given thus in the copy: “From Ἕλιος the sun, and φιλος a lover” (the epsilon was the author’s mistake). The compositor, not aware of a Greek alphabet, set up the passage in those English letters which most nearly resemble the Hellenic characters, and it appeared in this guise: “From Ediog the sun, and pidog a lover.” We advise proof-readers, and compositors and copy-holders as well, to acquire—if they do not already possess—so much knowledge of Greek letters and characters as will enable them to acquit themselves without discredit, though “Ediog” and “pidog” condog (v. Wb.) to annoy them. A few hours’ attention to the alphabet and characters given below, and to the annexed practical directions, will suffice to fix in the memory as much knowledge of Greek as will serve for the mechanical following of the copy,—mechanical following,—for, if you are setting up or reading a reprint of the 450th page of Webster’s Dictionary, and meet with the word ἐννενήκοντα you must put in the eleven letters as they stand: and if copying Worcester’s 486th page, you find ἐννεήκοντα, put in {p54} the ten letters. If you have any doubts, submit your query.

The Greek alphabet consists of twenty-four letters.

In reading Greek, mention each letter by its English equivalent.

Ε is read, “cap. short e”; ε, “short e”; Η is read, “cap. long e”; η, “long e.”

Ο is read, “cap. short o”; ο, “short o”; Ω is read, “cap. long o”; ω, “long o.” {p55}

There are three accents,—the acute ( ΄ ), the grave (  ), and the circumflex (  ).

ύ is read, “acute u”; ὶ is read, “grave i”; ᾶ is read, “circumflex a.”

Over every vowel or diphthong beginning a word is placed one of two characters, called breathings, which, for the purpose of reading, we may designate as the smooth ( ᾿ ) and the rough ( ῾ ).

ἀ is read, “smooth a”; ἱ is read, “rough i.”

When two marks appear over a letter, both should be mentioned by the copy-holder.

ὔ is read, “smooth, acute u”; ὅ is read, “rough, acute, short o”; ὃ, “rough, grave, short o”; ὦ, “circumflex, smooth, long o.”

The compositor and proof-reader should be careful that accented letters are used according to the copy, as in many cases the difference of accentuation serves also to mark the difference of signification. Thus, νέος signifies new; νεὸς, a field: ἴον, a violet; ἰὸν, going.

ᾳ, ῃ, ῳ, are diphthongs; their second vowel (ι), being silent, is placed underneath, or subscribed. These should be read thus: ᾳ, “a, subscript”; ῃ, “long e, subscript”; ῳ, “long o, subscript.”

In Greek, only four points or stops are used: the comma (,); the note of in­ter­ro­ga­tion (;); the colon, or point at top (·); and the full stop (.). These should be mentioned as they occur. {p56}

EXAMPLE FOR READING.

The method of reading will, we think, be sufficiently exemplified if we give but one line. We select the third, which should be read by the copy-holder, as follows:

Cap. K, a, grave i; t, acute u, m, b, long o subscript; k, r, long e, p, circumflex i, d, a; p, short e, r, acute i, g, r, a, ph, short e; cap. P, short e, r, s, i, k, grave short o, n; cap. smooth acute A, r, long e.

Words from dead and foreign languages, introduced into English text, are printed in italics, until, being frequently met, they cease to be strangers; then printers and proof-readers anglicify them as much as possible, by printing them in roman; but some of these retain certain accents which indicate their alien origin. The Spanish cañon is completely anglicized into “canyon” (o as in no); our miners write “arrastra” in roman, although the term has not yet found its way into our most popular dictionaries; our dreadful accident-makers have set afloat so many “canards,” that that word has become better English than French; “papier-mache” usually appears in roman without the accent on the final e; employé {p57} has become a good “employee” in our workshops; and at an early day, every “protégé” and “protégée,” already roman, will throw off the foreign accents, and remain none the less acute “protegees”; “éclat,” “régime,” and “résumé” still cling to their acute e’s. Many words and phrases are hesitating whether to remain foreigners, or to become naturalized. They have “taken out their first papers,” as it were, having at times appeared in English garb.

It would be vastly convenient for every compositor and proof-reader (every author, of course, reads proof) to have at hand two lists of such Latin and foreign words as most frequently occur in books, magazines, and newspapers,—the one containing the words to be set up in italics, the other, words to “go in roman,” as the phrase is. We append two such lists, as samples rather than as fixities to be followed, although they represent very nearly, if not exactly, the present status of the class of words we are considering. The roman list is destined to be continually lengthening, while the italic, save as it receives new accretions from foreign sources, must be correspondingly diminishing.

• WORDS TO GO IN ITALICS.

  • ante
  • ad captandum
  • ad libitum
  • ad quod damnum
  • aliunde
  • alma mater
  • amende honorable
  • amicus curiæ
  • artiste
  • avant coureur
  • beau monde
  • coram non judice
  • corpus delicti
  • coup d’état
  • coup de grâce
  • coup de main
  • de bonis non
  • de facto
  • de jure
  • del credere
  • de novo
  • dilettante
  • dilettanti
  • dramatis personæ {p58}
  • duces tecum
  • en route
  • entrée
  • et al.
  • ex officio
  • ex parte
  • ex post facto
  • ex rel.
  • falsi crimen
  • feme covert
  • feme sole
  • femme couverte
  • femme sole
  • fleur de lis
  • functus officio
  • garçon
  • ignes fatui
  • ignis fatuus
  • in extenso
  • infra
  • in statu quo
  • inter alia
  • in toto
  • in transitu
  • juste milieu
  • malum in se
  • malum prohibitum
  • matériel
  • nem. con.
  • n’importe
  • non constat
  • non obstante
  • nous verrons
  • passim
  • peculium
  • personnel
  • postea
  • postliminium
  • post mortem
  • prima facie
  • procès-verbal
  • pro forma
  • projet
  • pro tempore
  • rationale
  • res adjudicata
  • sans-culotte
  • sine die
  • soi disant
  • sotto voce
  • sub judice
  • supra
  • tabula rasa
  • terra incognita
  • tout ensemble
  • ultima ratio
  • ultima Thule
  • vide
  • vice versa
  • viva voce
  • vraisemblance

• WORDS TO GO IN ROMAN.

  • addenda
  • addendum
  • ad interim
  • ad valorem
  • alias
  • alibi
  • alumnus
  • alumnæ
  • alumni
  • animus
  • assumpsit
  • bagatelle
  • belles-lettres
  • bijou
  • billet-doux
  • bivouac
  • bizarre
  • bona fide
  • canaille
  • canard
  • capias
  • chargé d’ affaires
  • coterie
  • crevasse
  • data
  • datum
  • débris
  • dedimus
  • détour
  • devoir
  • diluvion
  • diluvium
  • éclat
  • emeute
  • ennui
  • entrepot
  • exequatur
  • exuviæ
  • fasces
  • faubourg
  • feuilleton
  • fiacre
  • fieri facias
  • habeas corpus
  • hacienda
  • hauteur
  • in banc
  • in situ
  • literati
  • literatim
  • Magna Charta
  • mandamus
  • menu
  • mittimus
  • nisi prius
  • nolle prosequi
  • oyer and terminer
  • papier-mache
  • per capita
  • per diem
  • posse comitatus
  • pro rata
  • protégé
  • quasi
  • régime
  • résumé
  • rôle
  • savant
  • seriatim
  • sobriquet
  • status
  • supersedeas
  • via
  • venire
  • venire facias
  • verbatim

CHAPTER III. STYLE.

Before beginning to read proof, a man usually prepares himself by learning how to make the technical marks used in correcting; he then reads a chapter on the use of capitals; takes up a grammar, and reviews the rules of punctuation; and by reading, and conversing with readers, gets such helps as give him a good degree of confidence. But at the very threshold of his duties he is met by a little “dwarfish demon” called “Style,” who addresses him somewhat after this fashion: “As you see me now, so I have appeared ever since the first type was set in this office. Everything here must be done as I say. You may mark as you please, but don’t violate the commands of Style. I may seem to disappear for a time, when there is a great rush of work, and you may perhaps bring yourself to believe that Style is dead. But do not deceive yourself,—Style never dies. When everything is going merrily, and you are rejoicing at carrying out some pet plan of your own, you will find me back again, tearing the forms to pieces, and again asserting my irrevocable authority. Stick to my orders, and all will be well. Don’t tell me of grammarians or lex­i­cog­raphers; say nothing of better ways, or improvements or {p60} progress. I am Style, and my laws are like those of the Medes and Persians.” And Style states his true character.

Unfortunately for the proof-reader, Style seldom writes his laws; or, if at any time written, their visible form presently perishes, and they can only be got at, as one may learn the common law of England, through past decisions. You, my young friend, may in vain consult old proofs; works formerly read, at the desk you now occupy, by some vanished predecessor. Your searching cannot help you much; for authors being without the jurisdiction, are independent of the authority, of Style,—they may allow him to dominate over their works, or they may not. How, then, are you to distinguish, and select as models, those which were read under the direct supervision of Style? In the course of a few years you may come to know a portion of his laws; but the whole code is past finding out.

To drop the personification, every office has a style—an arrangement of details—peculiar to itself. In one, “Government” is spelled with a capital; in a second, “government” is spelled with a lower-case “g”; in this office, the four seasons are always “Spring, Summer, Autumn, and Winter”; in that, they are “spring, summer,” etc., having capitals only when personified: and so of a thousand other cases in cap­i­tal­i­za­tion. In this office, before a quoted extract we put a colon and dash, thus:—while, in the office across the way, the style is to put a colon only: and, a little farther on, is an office which uses {p61} only the dash—yet a fourth, round the corner, puts a comma and dash, thus,—while a fifth undertakes to use all these and even additional methods, as the period, the semicolon, and dash, selecting as the sense or convenience or caprice may dictate.⁠[6] Here, the style requires a comma before and, in “pounds, shillings, and pence”; there, the style is “pounds, shillings and pence.” “Viz,” in Mr. A.’s office, is considered a contraction, and is printed “viz.”—with the period; in Mr. B.’s office, it is not a contraction, and the period is not used; in Mr. C.’s office, “viz” is put entirely under the ban, and compositors and proof-readers are directed to substitute for it the word “namely,” in all cases. As regards orthography, two styles—the Worcester and Webster—have, in almost all offices, alternate sway; and—which complicates matters still more—everywhere there is an “office style.” Each “rules a moment; chaos umpire sits,” etc.

Suppose half-a-dozen works going through the press at the same time, embracing three styles of orthography, and four or five styles in cap­i­tal­i­za­tion; one style which requires turned commas at the beginning only, of a quotation, and one which requires them at the beginning of every line of an extract,—you see at once that a proof-reader, so beset, must needs have his wits about him. For, notice, the first “slip” which comes to hand is in the “Life of {p62} John Smith”; this is in the Worcester style, and requires “traveller” and “jeweller” to be spelled each with two l’s, and “impanelled” with two l’s. The next galley-proof to be read is part of the “Life of James Smith”; this is in the Webster style; and now the reader must change front, and see to it that he spells “traveler” and “jeweler” with one l each, and “impaneled” with one l. Now as these works are in the same size of type, and are very similar in appearance, it would not be strange if now and then the styles were to “cross over”; but, observe, the third slip, the “Life of William Smith,” is “office style,” requiring “traveler” to be spelled with one l, and “jeweller” with two (very absurd, but all styles have something absurd and arbitrary in them), while “empanel” now repudiates an initial i. Further, the publishers of the “Life of John” desire to have it in uniform style with their “watch-pocket series,” in which names of ships were put between quotation-marks; the author of the “Life of James” insists, that, in his work, names of ships shall not be quoted, and shall be set in roman; the “Life of William,” being in office style, requires names of ships to be in italics.

Again, each of these works has, at the commencement of its several chapters, a cast of initial letter differing from the style of the other two,—the first a two-line plain letter, the second a black letter, the third an open-face letter; and still further (there is no “finally”), the “Life of John” has “backwards,” “forwards,” “towards,” all with the final s; and the proof-reader has just received from the outside reader {p63} of the “Life of James,” a sharp note, stating that he has stricken the s from “towards,” as many as ten times, and coolly assuring the said proof-reader that there is no such word as “towards” in the English language. Meanwhile, intermingled with the above readings, are four Sunday-school books, A, B, C, and D. A and B require the words “everything,” “anything,” and “cannot” to be divided respectively into two words,—“every thing,” “any thing,” “can not”; while C and D, with a general direction to follow Webster, want these words printed in the usual manner,—closed up. A and C must have two words of “ ’t is,” “it ’s,” “do n’t,” “could n’t,” “must n’t”; B and D require the same, with the exception of “don’t,” which must be made one word. A and D want an apostrophe in “won’t”; while B and C insist that the change from “will not” is so great, that “wont” is virtually a new word, wherefore they cannot conscientiously permit the apostrophe.

Among these literary foolishnesses and idle discriminations, are inter-readings of pamphlets on the leather trade; the Swamptown Directory, the copy being the pages of an old edition, pasted on broadsides of paper, half the names stricken out, and new ones inserted haphazard on the wide margin, their places in the text indicated by lines crossing and recrossing each other, and occasionally lost in a plexus or ganglion; reports of the Panjandrum Grand Slump Mining Company, the Glenmutchkin Railway Company, and the new and improved Brown Paper {p64} Roofing Company; Proceedings of the National Wool-Pulling Association, and of the Society for promoting the Introduction of Water-Gas for Culinary and Illuminating Purposes; likewise auction-bills, calendars, ball-cards, dunning-letters (some of these to be returned through the post-office, the proof-reader’s own feathers winging the shaft), glowing descriptions of Dyes, Blackings, Polishes, and Varnishes; in short, proofs of the endless variety of matters which constitute the daily pabulum of a book and job office,—and, in all these, style has its requirements.

If all this be borne in mind, it will not seem surprising, especially when we reflect that all individuals in their progress toward a perfect civilization are not yet within sight of their goal,—it will not seem surprising, if now and then an irate brother should rush into the proof-reader’s presence, exclaiming, “What do you mean, sir? I thought I knew something, but it appears I don’t! Here you have put ‘Hudson street’ with a little s, and ‘Hudson River’ with a capital R: what sort of work do you call that?” Should this occur, the schooled reader has but to reply, “That, my dear sir, is the uniform style of this office,—we always ‘put things’ as you have stated,” and the questioner is satisfied, and apologetically withdraws.

As no acknowledged literary Dictator has arisen since Johnson (if we except Webster), and as we have no good grounds to expect one, let us hope there may be a convention of the learned men of the United States, with full powers to legislate upon, and {p65} finally settle, all questions of syntax, orthography, punctuation, and style, and authorized to punish literary dissenters, by banishment from the Republic of Letters.

Were there a common and acknowledged authority to which printer, publisher, proof-reader, and author could appeal, the eye, the pen, and the press would be relieved of much useless labor, and the cost of books would be correspondingly reduced. The Smithsonian Institution would confer a lasting benefit on mankind by establishing a Board or Bureau of scholars, which should publish a dictionary of all English and Anglicized words, without various spellings, and also such other words as might meet the want long felt, and which was expressed in “The Spectator,” so long ago as Aug. 4, 1711,—where the author, having spoken of certain perplexities which beset writers, adds: “[These] will never be decided till we have something like an academy, that by the best authorities and rules drawn from the analogy of languages, shall settle all controversies between grammar and idiom.” When such works from the Smithsonian Institution shall have appeared, and Congress shall have adopted them as standards to which all Departmental work shall conform, the diversities of spelling will disappear from the publications of the Government. Those who would diffuse knowledge among men should have sharp oversight of the vehicle in which knowledge is to be conveyed,—to wit, LANGUAGE,—“the foundation for the whole faculty of thinking.”

CHAPTER IV. GENERAL REMARKS: CON­TAIN­ING SOME IL­LUS­TRA­TIONS OF, AND AD­DI­TIONS TO, THE SUB­JECT-MAT­TER OF THE FORE­GOING THREE CHAP­TERS.

If an author sends his manuscript to the printing-office without any instructions or directions as to cap­i­tal­i­za­tion, punctuation, etc., the printer will follow his own “office style,” and the work will be, within certain limits, correctly done; that is, with as near an approach to uniformity as it is possible for ordinary fallible mortals to attain. But if the manuscript be accompanied with numerous “Directions” to the printer, some of these will be forgotten or overlooked, or become mixed in the minds of compositors and proof-readers with some set of diametrically opposite “Directions,”—and so the work will very likely abound in incongruities.

We have known two works to be in hand at the same time, one with directions to “Capitalize freely,” the other, to “Use capitals sparingly.” The “Directions” are sometimes quite minute, almost microscopic; still, it is the duty of the proof-reader to follow them into the very extremities of their littleness. One writer says, “Put up ‘eastern,’ ‘western,’ etc., in such cases as this: ‘The purple finch sometimes passes the cold season in Eastern {p67} Massachusetts, and even in Northern New Hampshire’”; another directs, “Put compass-points down, as ‘In northern Nevada.’” If the office style is “Hudson and Connecticut Rivers,” a direction will be sent in thus: “In all my work, print ‘Weber and Sevier rivers,’ ‘Phalan’s and Johanna lakes’—not Lakes.” One author wants “VIII-inch gun and 64-pounder”; another looks upon this as numerically and typo­graph­i­cally erroneous, and insists on an “8-inch gun and a LXIV-pounder”; still another prefers arabic figures throughout, and prints an “8-inch gun and 64-pounder”; yet another likes best the first of the above styles, but wishes a period placed after the roman numerals, so it shall read, an “VIII.-inch gun”; one more dislikes “double pointing,” and would retain the period, but strike out the hyphen. “In my novel, spell ‘Marquise De Gabriac’ with a big D, and ‘Madame de Sparre’ with a little ‘d.’”

With hundreds of Reports and reports from Institutions and institutions, from Departments and departments, from Bureaus and bureaus, trials at law, equity cases, interference cases, Revised Statutes, and thousands of documents, all as anxious to attract the public eye as ever Mr. Riddleberger was to catch the Speaker’s, and rushing compositors and proof-readers and steam-presses with a dizzying velocity which almost prohibits nicety of execution, it were far wiser for authors and copyists to attend carefully to the legibility and accuracy of their manuscripts, than to send to the printer blundering haphazard pages, accompanied with directions running counter {p68} to what the writers themselves have exhibited in their manuscripts.

We recollect that a printer once received a manuscript accompanied with minute directions, extending even to syllabication. It was given out to the compositors, and a rough manuscript it was; one found in his take, “One Spanish Mc Krel” and “One caperamber,”—as he and the others in his chapel read the words,—conundrums which after hard study of characteristics and comparison of letters were, by an ingenious old typographic Champollion, solved as “One Spanish mackerel” and “One café-au-lait.”

If Gunther’s “Catalogue of Fishes, British Museum” is to be written, it is proper to abbreviate it to “Gunther’s Cat. Fish., Brit. Mus.” An author who undertook so to write it, jammed the Cat. close to the Fish, and placed the first period above the line. He should not have been surprised when he read in his proof-sheet, “Gunther’s Cat-Fish., Brit. Mus.”,—which, although apparently according to copy, was not “according to Gunther.”

The use of commas and other pause-marks is to bring out the sense, and when capitals will subserve the same purpose it is well to use them also,—whether one finds a printed Rule directing it or not. Thus Stedman writes:

Names of States and Territories, when following names of cities, towns, and post-offices, are usually contracted; as:

But in any other connection, names of States and Territories are spelled in full; as:

In an office where the employees are accustomed to the above rules, absolute uniformity would be attainable, if it were not for the interference of specialists. If, from such office, a book is issued in which you find “Richmond, Virginia,” and, farther on, “Richmond, Va.,” you may be sure that a “direction” to “spell out, in all cases, names of States and Territories” accompanied the manuscript; that one reader, mindful, as it happened, of the important direction, spelled “Virginia,” while another, from force of habit, followed the office style, and made no change from the customary “Va.”; and you may further conclude, that the author of the work, when examining the proof-sheets, had himself become oblivious of the direction he had given.

We have known more than forty special directions {p70} to be sent to a printing-office with the manuscript copy of one book. An author may fancy that numerous minute rulings will ensure uniformity and beauty to his book; but the chances of discrepancy and mistake are increased in direct ratio to the number of such of his rulings as run counter to the office style. His “more requires less,” but produces “more.”

CHAPTER V. PUNCTUATION.

Printers and proof-readers are to take for granted, that, in every work which falls under their supervision, the proper agreement between thought and expression has been effected by the author. He alone has the right to change the words and their collocation; and, if fairly punctuated, the manuscript should be closely followed, word for word, and point for point.

Every person who writes for the press should punctuate his work presentably; but—since the majority of writers are inattentive to punctuation—custom and convenience, if not necessity, have thrown upon the compositor and proof-reader the task of inserting in their proper places the grammatical points, and such other points and marks as shall assist a reader in obtaining a ready apprehension of the author’s meaning. These are the period (.), the colon (:), the semicolon (;), the comma (,), the note of in­ter­ro­ga­tion (?), the note of exclamation (!), the parenthesis ( ), and the dash (—).

Besides these principal characters, there are other marks and signs used in writing and printing,—the hyphen (‐), the apostrophe (’), and others; all which may be found in the concluding division of {p72} this chapter, numbered VIII., and should be referred to as occasion may require.

Books which treat of English grammar speak of four of the points in common use—to wit, the period, the colon, the semicolon, and the comma—as “grammatical” points; while the dash, the note of in­ter­ro­ga­tion, the note of exclamation, and the parenthesis are classified as “rhetorical,”—being used to indicate various effects produced in conversation by changes in the tone of the voice. But as “English grammar is the art of speaking and writing [or printing] the English language with propriety,” and as all points and marks in the printer’s case are necessary to printing with propriety, it is not essential in this work to make the distinctions alluded to above. Nor shall we treat at length, if at all, of technical marks not in common use; as, for instance, signs used in algebra and chemistry, and in various arts and sciences. These can be referred to, should occasion require, in handbooks, and in Webster’s Dictionary, pp. 1864–68, or in Worcester’s, pp. 1773–75.

Our school-books used to tell us, that at the period we should stop long enough to count four; at the colon, three; at the semicolon, two; at the comma, one. But pauses vary in length, as readers and speakers wish to affect or impress their hearers: hence reporters of speeches and orations sometimes—finding ordinary points and marks insufficient—insert, in brackets, some comment indicating that there was a pause made which outreached the time {p73} allowed for an ordinary period. We listened in April, 1861, to a speech by Wendell Phillips, in which, at the close of one sentence, the orator paused long enough to count ten or twelve; the reporters at that place inserted in brackets the words “[An impressive pause].”⁠[7] To denote by distinctive characters every possible length of pause would require an infinitude of signs, types, and cases. We must therefore do the best we can with the few points now in use, leaving much to the taste of authors, printers, and readers. Still, the immense advantage modern students have over those of ancient times is made obvious by a comparison of antique and modern writings,—for punctuation is comparatively a modern affair, whose origin and changes it will be both useful and interesting to trace,—and in doing this, we shall endeavor to avoid the charge of prolixity, by condensing into brief space information gained from a variety of sources.

The most ancient Greek manuscript known is among the papyri of the Louvre. It is a work on astronomy, and is indorsed with deeds of 165 and 164 B.C. This has “a certain sort of separation of words.” In a copy of Homer, written B.C., a wedge-shaped sign > is inserted “between the beginnings of {p74} lines” to mark a new passage. But even these marks were soon lost sight of; subsequent Greek and Latin writing runs on continuously without distinction of words. In the fifth century of our era, the fourth verse of the Second Epistle of John was thus written:

In Greek MSS. this method continued until the fourteenth century.

St. Jerome (A.D. 324–420) wrote a Latin version of the Bible—“the foundation of the Vulgate”—“per cola et commata”; not with colons and commas as we understand those words, but by a stichometric arrangement,—dividing the text into short sentences or lines, according to the sense, chiefly with a view to a better understanding of the meaning, and a better delivery in public reading. It is not until the latter part of the seventh century that there is some separation of words in Latin MSS. In the later Latin (eighth century) the full point in various positions was introduced,—being placed on a level with the top, bottom, or middle of the letters,—as the students of “Andrews and Stoddard” are well aware. In still later MSS. in small letter, the full point on the line or high was first used; then the comma and {p75} semicolon; and the inverted semicolon (), whose power was stronger than the comma.

In early Irish and English MSS., separation of words is quite consistently followed; and in these the common mark of punctuation was the full point, while to denote the final stop or period one or two points with a comma (..,) were used.

Contractions were much used in ancient MSS. to save time and labor. Some of these were denoted by a semicolon ; as b; = bus; q; = que; vi; = videlicet,—this character, in cursive writing, readily became a z, whence we have our viz = videlicet.

The Roman numerals in ancient texts were placed between full points; e.g., .CXL., to prevent confusion.

Punctuation remained very uncertain until the end of the fifteenth century, when the Manutii, three generations of printers,—the elder (1450–1515) the most learned, skillful, and energetic of the three,—increased the number of points, and made rules for their application; and these were so generally adopted, that Aldus Manutius and his son and grandson may be considered inventors of the present system of punctuation, notwithstanding it has been changed, and perhaps improved upon, since their time,—notably in the use of the colon. But scholars differ so widely in some respects as to the insertion of commas, as well as other points, that not many rules are as yet absolutely fixed.

Modern writers tell us that “points are used to mark the sense rather than the pauses.” We would {p76} substitute “as well as” for “rather.” In writing from dictation we place points where the dictator makes pauses; and in reading we make pauses where the writer has put the points. For example, note the difference in sense and pause, according as the comma is placed before or after “to the end,” in the following sentence:

Murray’s large octavo English Grammar and countless common-school grammars, from Murray’s time to the present day, contain rules for aiding students and writers to decide where points, and what points, should be placed. These are of great utility, and every young person should familiarize himself with them as found, briefly stated, in books now in use. It should be borne in mind, however, that a close and slavish adherence to stated forms, without ascertaining their bearings in individual cases, tends to becloud the judgment, and may cause an author’s meaning to be obscured, or even concealed, rather than elucidated.

In books issued by different houses will be found great diversity in the manner of pointing similar and even the same sentences; and some part of what we have called “style” results from the effort of a {p77} house to be consistent with itself, and to establish a uniformity among its own issues.

The rules given in this chapter, and the observations accompanying them, are mainly the results of our own training and experience as compositor and proof-reader at different periods, covering in the aggregate more than twenty years. To bring out by punctuation the sense of difficult and involved sentences—which are of frequent occurrence—requires close attention and careful study,—attention not the less close, nor study the less careful, because prompted by the necessity of immediate practical application.

As all rules suitable to guide human conduct lie folded up in the golden rule, so all rules for pointing sentences are embraced in this: Punctuate so as to bring out the author’s meaning. And by their consonance with this great rule all special rules must be judged. Yet in this, as in all other matters, men disagree in their judgments; and we must be content in our diversities, until the academy desiderated by the “Spectator” shall have become an actual institution, invested with a quasi grammatical infallibility.

For instance, as to placing a comma between a nominative phrase or sentence and the predicate, the best authorities differ. Wilson’s rule is,—

The “Practical Grammar,” by S. W. Clark, A.M., published by A. S. Barnes & Co., New York, gives the following rule: {p78}

Of course the examples under the rule exhibit a corresponding difference.

Ingersoll’s Grammar (Portland, 1828) and Kerl’s—which last is now very extensively used—agree with Clark. Both have the same example as Wilson, but pointed as follows:—

Goold Brown (Grammar of Grammars) inserts the comma. Cobbett’s Grammar omits it.

Take up the first dozen books that come to hand, and you will find diversity of practice.

The better method is to omit the comma, except in those cases where its insertion would prevent ambiguity; as in the quotation above, from Stanley, where there should have been a comma after “fostered”; {p79} as it stands, the word “long” may qualify either the word before or after it.

So, if you examine any number of volumes with reference to placing a comma before and, or, or nor, when three or more words, in the same category, are connected,—in some you will find “Faith, and hope, and charity”; in others, “Faith and hope and charity.” We have just met with the following lines in a well-known paper:

Wilson’s example is (p. 38),—

In view of these and similar differences of practice, and contradiction of rules, one is tempted to say that it is of no moment whether the commas are inserted or not. But, leaving “style” out of the question, a proof-reader should endeavor to have a reason for every omission he allows, and for every insertion he makes. We advise him, then, in the first place to note which method seems required by the golden rule of elucidating the meaning; then consider, further, if the sentence already contains commas, whether inserting more would offend the eye. Let him decide each case on its own merits; leaning, when in doubt, in favor of such grammatical rule as he may have adopted. But use judgment; for the most precise grammarians lay down pages of exceptions; and Cobbett (Grammar, Letter XIV.) cannot be gainsaid when {p80} he writes, “It is evident, that, in many cases, the use of the comma must depend upon taste.”

When a phrase or clause, in its nature parenthetic, is quite closely connected with the parts of the sentence in which it is placed, the insertion of the comma before and after such phrase or clause “must depend upon taste.” The former comma especially, may often be omitted (see Obs. 10, under Rule 16, post). If the commas are inserted, we have a specimen of what is called “close pointing”; if omitted, we have “liberal pointing.”

Close pointing prevails in almost all publications except law-work, and in all doubtful cases puts in the comma. Liberal pointing, on the other hand, omits the points except when absolutely necessary to avoid ambiguity.

A middle course, retaining the spirit rather than adhering to the letter of the rules, will be found the safest. When, as will often be the case, a passage occurs, the meaning of which varies with the insertion or omission of a comma, while it would be grammatical either way, the compositor should follow the copy; the proof-reader should mark the passages with his quære; but if he first notices the fault when reading the press-proof, he should suffer it to stand as the author left it, letting all responsibility remain where it rightfully belongs.

Abbreviated words, besides the period denoting their ab­bre­vi­a­tion, require the same pointing as if they were spelled in full. Thus “Jno. Smith, Esq., of Worcester; Abel Soane, M.D.; and James Doe, {p81} LL.D.,—were appointed a comm. to take care of books, docs., etc., etc.,” has the same pointing as “John Smith, Esquire, of Worcester; Abel Soane, Doctor of Medicine; and James Doe, Doctor of Laws,—were appointed a committee to take care of books, documents, and so forth, and so forth.” But in some classes of work, as Directories, Catalogues of books, Genealogies, and where titles and ab­bre­vi­a­tions are of frequent occurrence, double pointing may be partially avoided by omitting the comma after a period which denotes an ab­bre­vi­a­tion.

Neatness requires the omission of the comma before leaders; thus,

is more pleasing to the eye than

Preambles to resolutions and laws are usually begun with “Whereas.” After this word a comma is sometimes heedlessly inserted, although the introductory word is not followed by a parenthetic clause. We append the most improved forms for punctuating and cap­i­tal­iz­ing preambles, resolves, and provisos:

The semicolon should be placed before as, in an enumeration of particulars following a general statement; thus:

But when as is not preceded by a general or formal statement, no point is necessary unless as is followed by a parenthetic clause; as:

But in liberal pointing, the commas before and after “for instance” would be omitted.

In regard to the points or marks connected with “viz.,” “namely,” and “to wit,” the punctuation varies according to the structure of the sentences in which they occur; but this does not prevent a publishing-house from having a style of its own. It is interesting to note the varieties which different offices present. We annex a few examples, which may be serviceable; to wit:

When viz. or namely or as follows ends a paragraph, the colon is commonly inserted; but the dash or comma-dash or colon-dash may sometimes be noticed,—it is a matter of office style. (See Punctuation, Rule 8, post.)

But if, referring to a succeeding sentence or paragraph, the words “the following” or “as follows” appear, the sentence in which they occur should be closed with the colon or colon-dash, as in the following examples: {p84}

The hyphen is used to connect the parts of a compound word; to show the divisions of words into syllables; it is placed at the end of a line when a word is not finished; and it is sometimes placed between vowels, to show that they belong to different syllables (as “co-ordinate”). In regard to its use in compound words great diversity exists; and the proof-reader can have, as we believe, no fixed system which will apply to all varieties of work. In specifications for bridges, buildings, etc., the better way is to avoid compounding; for, in everything of that kind, one will find so many “door-sills,” “newel-posts,” “stair-balusters,” “pulley-stiles,” etc., that if he begin marking in the hyphens he will scarcely make an end of it, and many hyphens sadly deform a page: better put “door knobs,” “window frames,” “stair nosings,” etc., omitting hyphens.

Here, too, the dictionaries can scarcely be said to assist, if they do not even mislead. Worcester has “brickwork,” “brasswork,” without hyphens; {p85} “wood-work,” “iron-work,” with them. “Greenhouse” is closed up, while “school-house” is not; “wood-house” has a hyphen, “almshouse” has none. (Wilson writes “schoolhouse.”) Webster has “brick-work” with the hyphen, “woodwork” without it,—just reversing Worcester. Again, Worcester writes, “humblebee” and “bumblebee”: Webster, under B, has “bumble-bee, . . . . sometimes called humble-bee”; and, under H, writes “humblebee, . . . . often called bumblebee,” apparently forgetful of his previous hyphens.

To search for authority, then, in the matter of compounding words, will avail next to nothing. In a volume containing “School Committees’ Reports,”—and certainly school committees ought to know many things,—we find “blackboard” and “black-board”; and, on one page, “schoolbooks,” “schoolkeeping,” “schoolmaster,” “school-houses,” “school-checks.” “Semi-annual” is frequently printed with the hyphen, according to Webster; but Worcester, omitting the hyphen, has “semiannual.”

Thus it appears, that, in regard to compounding (by which we mean inserting the hyphen between the parts of a compound word), the proof-reader is left to his own discretion, and can do very much as he pleases. He should, however, adopt some method by which he can approximate to uniformity in his own work; for as to agreeing with anybody else, that is out of the question.

Perhaps as good a rule as can be laid down on this subject is to close up the word when {p86} compounding changes the accentuation; otherwise, insert the hyphen. Thus, “Quartermaster” has a different accentuation from the two words “quarter master”; therefore make one word of it, without the hyphen. “Head-assistant” is accented like the two words “head assistant,”—therefore insert the hyphen. By this rule “schoolhouse” and “blackboard” should be severally closed up; “salt-mine” takes the hyphen,—“saltsea” (adjective) does not.

The word “tree,” with a prefix indicating the kind, should be compounded; as “oak-tree,” “forest-tree,” “pine-tree,” etc. (Webster has a hyphen in “whiffle-tree,” Worcester prints “whiffletree.”)

“Cast-iron” and “wrought-iron” are usually compounded, and should always be so when used as adjectives; as “cast-iron pillars,” “wrought-iron boilers.”

“Temple-street place” (or “Place,” according to style), “Suffolk-street District,” “Pemberton-square School,” are quite correct; the hyphen is too frequently omitted in such cases.

The words ex officio do not require a hyphen, but some very reputable offices insert it.

Hyphens are sometimes used to indicate grotesque pronunciation, as in the following couplet from “Rejected Addresses”:

When two words connected by a conjunction are severally compound parts of a following word, the hyphen is omitted; as: {p87}

Some authors follow the German style, inserting the hyphens; thus:

But this style is rare.

Precision requires that hyphens should be inserted in fractions expressed in words; as “one-half,” “three-fifths,” etc.

There being no hyphen in the above example, the “seven” and “three” are in the same category as “peach” and “apple” in the last previous example. The answer is ten‐fourths, or 2⁠½.

If “seven” is meant to express a whole number, a hyphen should be inserted after “three.”

A prolific source of trouble in correcting is wrong syllabication when it is thought necessary to carry part of a word to the succeeding line. Neither the English method of dividing on vowels, where this can be conveniently done, nor the American method of dividing on syllables, obtains exclusively in this country. Convenience, and the desire of spacing in such a manner as to make the lines look well, frequently determine the dividing letter; so that, in the same work, you may find “pro‐perty” and “prop‐erty,” “trea‐sure” and “treas‐ure.” In a recent English work, we note the following divisions: {p88} Pre‐bendaries, mea‐sure, pre‐decessors, supre‐macy, the Re‐formation, pro‐perty, theo‐logy, bre‐thren, pre‐paration.

But the division on the syllable is the mode most generally practiced in the United States, and we must, however reluctantly, adhere to it as closely as possible, until a convention of publishers shall sanction the adoption of the English usage. Our authorities close the first syllable of “fa‐ther” on the a, of “moth‐er” on the th, so that, practically, the latter word should not be divided at all; the English printer, without hesitation, places the hyphen after the a and the o respectively.

As to the word “discrepancy” there is a discrepancy. Webster accents the second syllable, and divides “discrep‐ancy”; while Worcester accents the first syllable, and divides “discre‐pancy.” In this, printers and readers must be governed by the “style” of the work upon which they are engaged.

One of the most frequently recurring errors noticed in reading first proof is the placing of an s at the end of a line when it should have been carried over. Corres‐pondence, des‐cribe, des‐cription, Aus‐tralian, are wrong, and are corrected daily; and their reappearance proves that in this, as in weightier matters, “error is wrought by want of thought.”

In newspapers, or any work which is to be read once and then cast aside, the carrying over of an ed or ly, or any other syllable of two letters, may perhaps be tolerated; but in bookwork such a division is inexcusable, except in side‐notes, or when the {p89} measure is very narrow. To avoid extremely wide or thin spacing, and to escape the trouble and expense of overrunning pages already imposed, it must be considered admissible, in certain cases, to carry over a consonant preceding the final syllable ed; as, expec‐ted, divi‐ded. We state this with some misgivings; but, as we have known it to be done by excellent readers and skillful printers, even by John Wilson himself, of blessed memory, we lay it down as allowable in extreme cases. Theories are elastic,—are expansible and compressible; but types of metal have set dimensions of extension, and, in some circumstances, absolutely refuse to budge,—wherefore theories must gracefully yield, and allow, it may be, a two‐letter division even in wide measure. Types are tyrannical, and will sometimes perpetrate solecisms under the plea of necessity.

An author can sometimes much improve the appearance of a page, by slight changes in the phraseology.

A good compositor studies to avoid divisions. Some printers, rather than divide a word, will justify a line by separating the words with two three‐em spaces. But no arbitrary rule can be laid down in this regard. A well‐spaced page with several divided words looks much better than a page unevenly spaced in which no divisions occur. The number of hyphens occurring in succession at the end of the lines on any page, should never exceed three.

In manuscript the dash occurs more frequently than any other mark of punctuation, many writers {p90} using it as a substitute for every other point. This habit very much retards the compositor in his task; for, as we have already intimated, he feels obliged to study the sense of his copy, and to waste his valuable time in considering how he shall best supply those aids to meaning which the author has rejected, and without which any work would be wholly unpresentable.

That the author of the paragraph quoted below pointed it with perfect accuracy before sending it to press, does not admit of a doubt. For the nonce, however, we will, with his leave, punctuate the passage in the manner in which the compositor frequently finds passages pointed on his “takes”; thus:

With so many dashes before him, it would not be strange if the compositor were to retain some of them; and the proof might, perhaps, appear as follows:

This is much improved; and, if we substitute commas for the dashes in the first sentence, the punctuation may be considered unobjectionable.

Beginners at the “case” are often puzzled in regard to the insertion of commas before the dashes which {p91} inclose a parenthetic clause. To decide this point, it is enough to notice whether or not a comma would be used, were the parenthetic clause omitted. This, we think, will be readily understood by reference to the following examples:

Now, if a parenthetic clause is inserted before the word “but,” the comma should be retained, and another placed at the end of the inserted clause; thus:

If there is no comma where the clause is to be inserted, dashes alone should be used:

If a parenthetic clause be inserted after “countries,”—where there is no comma,—only dashes are required; thus:

A thin space should be placed before, and also after, a dash.

If a parenthesis is inserted in a part of a sentence {p92} where no point is required, no point should be placed before or after the marks of parenthesis.

As a general rule, if the parenthesis occur after a punctuated clause, the point should be placed after the latter mark of parenthesis.

If a parenthesis which closes with a note of exclamation or in­ter­ro­ga­tion is inserted where a point occurs, that point should precede the first mark of parenthesis.

An exclamation point is often found preceding the first mark of parenthesis.

When a parenthesis occurs within a parenthesis, brackets should be substituted for the first and last parenthetic marks.

“Brackets are generally used . . . to inclose an explanation, note, or observation, standing by itself.”—Parker’s Aids.

A short comment inserted in a paragraph by a reviewer is placed in brackets.

In transcripts of trials at law, brackets are used to inclose statements of things done in court, which things would not appear in a report of the verbal proceedings alone; as,—

Whether the words in brackets should also be in italics is a matter of style. In the following passage from the same report, italics are used: {p94}

For inserting commas or other points after, before, or within brackets, the same rules apply as in case of marks of parenthesis.

Whether when a noun singular terminates in s, its possessive case requires an additional s is yet an open question. We have no hesitation in giving an affirmative answer, especially in the case of proper names. If Mr. Adams were to manufacture ale, one might, perhaps, from prohibitory considerations, advise him to advertise it as “Adams’ ale”; but should Mr. Adams have no fear of the law, he would avoid all misunderstanding by calling it “Adams’s ale.” It may be objected that the position of the apostrophe makes the matter sufficiently clear without the additional s. Yes,—to the eye; but to the ear the propriety of the additional s becomes very apparent. “Jacob’s pillow” and “Jacobs’s pillow” may be of very different materials. But, to avoid too much sibilation, we read “for conscience’ sake,” “for goodness’ sake,” etc.

The apostrophe, with s subjoined, is used to denote the plural of letters and figures.

The apostrophe may be used in denoting the plural whenever its use will assist in avoiding obscurity.

For convenient reference we append a series of rules and examples, which, we think, will be found useful by teachers and scholars, and our friends of the press.

RULES OF PUNCTUATION.

I. PERIOD, OR FULL POINT.

1. The period is used at the end of every complete sentence which is not interrogative or exclamatory.

2. Sentences interrogative and exclamatory in form, sometimes take the period.

3. The period is put after initials when used alone; also after ab­bre­vi­a­tions.

4. Place a period before decimals, and between pounds and shillings.

5. A period should always be put after roman numerals, except when used in the paging of prefaces, etc.

II. COLON.

6. A colon is put at the end of a clause complete in sense, when something follows which tends to make the sense fuller or clearer. (See Rules 9 and 13.)

7. The last of several clauses that introduce a concluding remark or sentiment should be followed by a colon, if the preceding clauses have been punctuated with semicolons.

8. The colon is commonly used whenever an example, a quotation, or a speech is introduced.

III. SEMICOLON.

9. When two or more clauses of a sentence are not so closely connected as to admit the use of a comma, a semicolon is used.

10. When a number of particulars depend on an introductory or a final clause, such particulars may be separated from each other by a semicolon.

11. Loosely connected clauses of a sentence should be separated by semicolons, if those clauses or any of them are subdivided by commas.

12. When two clauses not closely dependent on each other, are connected by but, for, and, or some similar connective, they are separated by a semicolon.

13. Phrases are often set off by a semicolon, viz.:

a. Explanatory phrases.

b. Participial and adjective phrases. {p100}

c. Any phrase, especially if elliptical, or if divisible into smaller portions by commas.

IV. COMMA.

14. Repeated words or expressions; three or more serial terms; two unconnected serial terms,—are separated from each other by the comma.

a. Repeated words or expressions.

b. Three or more serial terms.

c. Two unconnected serial terms.

15. Phrases, clauses, and words, inverted, or otherwise not in their natural position, generally require to be set off by a comma.

16. When the principal sentence is broken to receive an incidental or parenthetic expression, a comma is placed at the break, and another at the end of the inserted clause.

17. Words or phrases expressing contrast, or emphatically distinguished, and terms having a common relation to some other term that follows them, require the comma.

a. Contrast or notable difference.

b. Terms having a common relation to a succeeding term.

18. Correlative terms, or expressions having a reciprocal relation, are separated by a comma.

19. Words used in direct address, and independent and absolute words, with what belongs to them, are separated from the rest of the sentence by commas.

20. The clauses of a compound sentence may be separated by a comma when the connection is too close for the semicolon.

21. A word or phrase used in apposition, to explicate or illustrate a previous word or phrase, should be set off by commas; but if the words in apposition constitute a single phrase or a proper name, they should not be separated.

a. Comma required.

If the position of the terms in apposition is reversed, commas are required.

b. Comma not required.

22. A simple sentence usually requires no point except the period at the end of it.

23. A comma should be placed before or after a word or phrase, to associate it with the group to which it belongs, if, without the comma, the sentence would be equivocal; and generally, a comma may be inserted wherever its use will prevent ambiguity.

24. No comma is put between two words or phrases in apposition, following the verbs think, name, make, consider, and others of a similar meaning.

25. In a compound sentence, the comma is often inserted where a verb is omitted.

26. A short quotation, a remarkable expression, or a short observation somewhat in manner of a quotation, is set off by the comma.

27. Numbers are divided by the comma into periods of three figures each.

28. Restrictive phrases or clauses are not set off by the comma.

V. THE NOTE OF INTERROGATION.

29. The note of Interrogation is placed at the end of a direct question.

VI. THE NOTE OE EXCLAMATION.

30. The note of Exclamation is applied to expressions of sudden or violent emotion; such as surprise, grief, joy, love, hatred, etc.

31. The exclamation point is used in invocations.

32. Several exclamation points are sometimes used together, to express ridicule, or to intensify surprise, etc.

VII. THE DASH.

33. The Dash is used where a sentence breaks off abruptly.

34. The dash is used before and after a parenthetic clause, when not closely enough connected to admit the comma.

35. Several clauses having a common dependence, are separated by a comma and a dash from the clause on which they depend.

36. The dash is used with the comma, the semicolon, and the colon, which it lengthens, or renders more emphatic. {p116}

37. When words are too closely connected to admit a strictly grammatical point, the dash is used to denote a pause.

38. When a word or phrase is repeated emphatically, or echoed, it is preceded by the dash.

39. An equivalent expression, or an idea repeated in different words, is properly set off by the comma and dash. {p117}

40. A dash placed between two numbers indicates that the natural series between those numbers is understood.

41. An Ellipsis of letters is denoted by a dash.

42. When a sentence is abrupted (1) to form a heading, or (2) for a signature, or (3) to admit a {p118} new paragraph, or for other purposes, a dash is used at the break; as:

VIII. VARIOUS MARKS USED IN WRITING AND PRINTING.

The Hyphen is used to denote the division of a
word into syllables; as, in-ter-dict: it is placed at the
end of a line (usually at the close of a syllable),
when a word is not finished: and it connects the
parts of a compound word; as, “At Cambridge,
Cecil was present at the terrible and never-to-be-for-
gotten battle between Cheke and Gardiner on the
pronunciation of the Greek epsilon, which convulsed
the academic world.” (See p. 84, et seq.)

The Apostrophe is used to abbreviate a word; as, ’tis for it is, tho’ for though, don’t for do not. It denotes the possessive case; as, “John’s hat,” “three years’ service,” “one hour’s work,” “two days’ notice,” “Smith & Co.’s shops,” “Brook’s book,” “Brooks’s book.” It appears in names; as, O’Brien; M’[Mac]Mahon. {p119}

In French, no space is put after an apostrophe denoting elision; as, “d’or”: in Italian, a space is inserted, as, “n’ arrivi.”

A turned comma sometimes denotes the ac in Mac; as, MDonough.

Two commas (usually turned) are often used instead of do. (ditto).

Quotation marks [“ ” or  ”] are used to include a copied passage. If the copied passage itself contains a quotation, the latter is denoted by single marks [‘ ’ or  ’]; as, “My father said in banter, ‘James, the notes are not correct.’ The farmer dryly answered, ‘I dinna ken what they may be noo; but they were a’ richt afore ye had your fingers in amang ’em.’”

In some publications a little labor is saved by using single marks for the principal quotations, and double if there happen to be inserted ones; as in a recent novel by Mrs. Humphrey Ward:

The same neat style is used in Max Müller’s Translation of Kant:

Brackets are used to inclose words omitted by a writer or copyist; as, “Were you [on the] deck of the steamer at the [time] of the collision?” (In the Holy Scriptures, supplied words are put in italics: “Because they sought it not by faith, but, as it were, by the works of the law.”) Explanations inserted in text are usually inclosed in brackets; as in the following instance, from “The Life of Dr. Goldsmith”: “You see, my dear Dan, how long I have been talking about myself. [Some mention of private family affairs is here omitted.] My dear sir, these things give me real uneasiness,” etc.

Marks of Parenthesis are used to inclose a sentence, or part of a sentence, which is inserted in another sentence: “One Sunday morning, when her daughter (afterwards Lady Elton) went into the kitchen, she was surprised to find a new jack (recently ordered, and which was constructed on the principle of going constantly without winding up) wholly paralyzed and useless.”

The Index [] is used to draw attention to some particular passage. Sometimes an Asterism [] is used for the same purpose. Where there are many footnotes on a page, the Index is a proper reference mark. {p121}

The Caret [] is used in writing, to denote the point where an interlineation is to be inserted. It is sometimes used in printing when the exact character of a manuscript is to be represented,—as in “exhibits” in law work.

The Brace [] is used to connect a number of words with one common term; and sometimes in poetry, to connect three lines which rhyme together:

Moore’s Works,
Saurin’s Sermons,		$1.75 each.
Lewis’s Plays,

Injustice, swift, erect, and unconfined,
Sweeps the wide earth, and tramples o’er mankind,
While prayers, to heal her wrongs, move slow behind.

Marks of Ellipsis or Omission are the dash; as, “Col. Sm—h”: or asterisks; as, “Col. Sm**h”: or, neatest of all, points; as, “Col. Sm . . h.”

Leaders are dots which lead the eye from something on the left of the page, to some connected matter on the right:

Accents are the Grave [`], the Acute [´], and the Circumflex [^{^}]: è is read by the copy-holder grave e; é, acute e; ê, circumflex e.

Marks of Quantity are the Long, as over o in “shōw”; the Short, or Breve, as over o in “nŏt”; and the Diæresis, which denotes that the latter of {p122} two vowels is not in the same syllable as the former; as, “zoölogy,” “Antinoüs.”

The Cedilla is a curve line under the letter c, to denote that it has the sound of s; as in “garçon,” “façade.” It appears in words from the French language. Worcester uses it also to denote the soft sounds of g, s, and x; as in “mişle,” “eaģģerate.” Webster uses it only to denote the soft sound of c, as in “min-çing-ly.” We remark here, by the way, that in dividing such words as “bra-cing,” “min-cing,” “convin-cing,” etc., the c should be carried over, thereby preserving its proper sound. For a similar reason divide “enga-ging,” “ra-ging,” etc., on the a. Whether “ma-gis-trate” should follow this rule is a matter of style. There are offices which so divide it, while others divide on the g. We prefer to syllable the word as we have written it,—on the a.

The Spanish ñ has the sound of n in onion; as, “Señor,” “cañon.”

Umlaut (pron. ōōmlowt), as defined by Webster, is the change or modification of a vowel sound, peculiar to the Germanic languages; as in German, Mann, man, Männer or Maenner, men. The name Roelker may also be written Rölker.

¶ denotes the beginning of a paragraph, as may be noticed in the Sacred Scriptures. In proof-reading and in manuscript, it is used to denote where a paragraph or break should be made. {p123}

§ denotes a section; §§, sections; as, Gen. Stat., Chap. IX., § 19, and Chap. X., §§ 20 and 21.

Reference to notes at the bottom of the page (commonly termed footnotes) is usually made by the asterisk, *, the obelisk, or dagger, †; the double obelisk, or double dagger, ‡; the section, §; the parallels, ; the paragraph, ¶; and the index, ;—but a neater mode is to use superiors; as, ^{1, 2, 3,} or ^{a, b, c,} commencing with ¹ or ^a on each page where notes occur.

In concluding our chapter on punctuation, we venture to say to our friends at the case, that, in our opinion, no system of pointing can be of uniform and universal application. Men differ as much in style of writing as in personal appearance, and we might as well expect the same robe to fit all forms, as that one set of rules shall nicely apply to the endless diversities of diction.

Other things being equal however, he who has paid most attention to rule will punctuate with the nearest approximation to correctness. With a clear understanding of an author’s meaning, the compositor seldom need go far astray; and if, having done his best, he finds any passage hopelessly involved, or the meaning too subtile to be grasped, he has one safe resource,—and that is, to FOLLOW THE COPY closely and mechanically. Could he have for reference a few pages preceding a doubtful passage, the whole matter might become perfectly clear; but, as that is out of the question, those pages being scattered as {p124} “takes” in other hands, let the compositor adopt the safe course,—FOLLOW COPY,—resting assured that no person whose opinion he need value, could possibly think of finding fault with him for leaving responsibility where it properly belongs.

CHAPTER VI. ORTHOGRAPHY.

Webster defines Orthography as “the art of writing words with the proper letters, according to common usage”; Worcester, as “the art or the mode of spelling words.” They agree in this: that there are some words—two or three thousand, perhaps—whose orthography common usage has not settled. Prefixed to either Dictionary is a list showing in double column the most prevalent methods of spelling words of doubtful orthography; thus:

The first column in the Webster List “presents the orthography recognized in the body of [the] Dictionary as the preferable one, or that in general use.” But “when in this list the word in the first column is followed by or, as ‘Abatis, or Abattis,’ it is implied that the second form is nearly, often quite, in as good use as the first.” When the word in the first column differs in meaning from that in the second, the word in the first is followed by and, as ‘Lunet, and Lunette,’ both words being in use, but applied to different things. {p126}

The orthography in the first column of the Worcester List “is deemed to be well authorized, and in most cases preferable; but with respect to the authority of that in the right-hand column, there is a great diversity. Both orthographies of some of the words are right, the words being differently spelled when used in different senses”; as, “Draught, or Draft,” “Subtle, or Subtile,” etc. Sometimes and is used as the connective; as, “Canvas, and Canvass.” But these double arrangements are of almost no service to the proof-reader or compositor,—for the interchangeable words cannot both be inserted in his work. If he could use the various spellings, it would save the trouble of weighing authorities: we should then have such sentences as these:

Of these various correct spellings, one must be selected to the exclusion of the rest. But there being no common usage, no academy to instruct, and the copy not being uniform, who or what is to guide the printers and proof-readers in making the selection? “For the last eighty years [or more], printers have exercised a general control over English orthography,”—and we, to carry the general control a little farther, propose to set forth for general use one list from Webster’s first column, exhibiting only one single correct spelling, to be used where the Webster style prevails; and a similar list from Worcester’s {p127} first column, to be used where the Worcester style has the precedence. Would there were a Smithsonian Bureau of the English Language, to render two lists unnecessary; and to give one style to Government work,—a style which should have the approval of Congress, and to which all printing done by or for the various Departments of the United States Government should be conformed.

THE WEBSTER LIST.

• A.
  • Abatis
  • Abettor [One who abets another to commit a crime.]
  • Abreuvoir
  • Abridgment
  • [Accessary As used in law.]
  • Accessory [“In its other senses” (than in law); as, “the accessories of a picture.”]
  • Account, -ant, etc.
  • Accouter, etc.
  • Acetimeter
  • Ache
  • Achieve
  • Acknowledgment
  • Addible
  • Adipocere
  • Admittable
  • Adopter (Chem.)
  • Adulterer, -ess
  • Adz
  • Ægis
  • Æolian
  • Aghast
  • Agriculturist
  • Aid-de-camp
  • Ajutage
  • Alcaid
  • Alchemy
  • Alcoran
  • Alkahest
  • Allege
  • Alleluia [If written Halleluiah or Hallelujah, follow copy.]
  • Alloy
  • Alum
  • Almanac
  • Ambassador
  • Ambergris
  • Ambs-ace
  • Amend, -ment
  • Amice
  • Ammoniuret
  • Amortize, -ment
  • Amphitheater
  • Anapest
  • Ancient, -ly
  • Andiron
  • Angiotomy
  • Ankle
  • Annotto
  • Antechamber
  • Anterior
  • Anti-emetic
  • Antihypnotic
  • Apostasy
  • Aposteme [If written Imposthume, follow copy.]
  • Apothegm
  • Appall
  • Appallment
  • [Appanage]
  • Appareled, -ing
  • Appraise, -ed, etc. {p128}
  • Apprise (to notify)
  • Apricot
  • Arbitrament
  • Arbor
  • Archæology
  • Ardor
  • Argol
  • Armor, -er, etc.
  • Arquebuse
  • Arrack
  • Artisan
  • Asafœtida
  • Asbestus
  • Ascendant
  • Ascendency
  • Askance
  • Askant
  • Assuage
  • Atheneum [If written Athenæum, follow copy.]
  • Aught
  • Author, etc.
  • Autocracy
  • Autoptical
  • Awkward
  • Awm
  • Ax
  • Ay [Expressing assent.]
  • Aye [An affirmative vote.]

• B.
  • Backshish
  • Bade (v.)
  • Baldric
  • Balister
  • Balk
  • Baluster
  • Bandana
  • Bandoleer
  • Banderole
  • Banyan (Bot.)
  • Bans [Notice of proposed marriage.]
  • Barbacan
  • Barbecue
  • Barberry
  • Bark
  • Barouche
  • Barytone
  • Basin
  • Bass
  • Bass-viol
  • Bas-relief
  • Bastinade
  • Baton
  • Bateau
  • Battledoor
  • Bauble
  • Bazaar
  • Befall
  • Behavior
  • Behoove
  • Beldam
  • Belligerent
  • Benedict
  • Benumb
  • Bellfounder, [And similar compounds.]
  • Bequeath
  • Bergamot
  • Berth (Nav.)
  • [Bestrown p. p. of Bestrew.]
  • Betel
  • Beveled, -ing
  • Bevile (Her.)
  • Bezant
  • Biasing, -ed, -es, etc.
  • Bigoted
  • Bilge
  • Billiards
  • Billingsgate
  • Bin
  • Binnacle
  • Bister
  • Blende (Min.)
  • Blessed (a.)
  • Blithesome, -ly, etc.
  • Blomary
  • Blouse
  • Bodice
  • Boil (n.)
  • Bombazet
  • Bombazine
  • Bonnyclabber
  • Bourgeois
  • Bourse
  • Bouse
  • Bousy
  • Boweled, -ing, etc.
  • Bowlder
  • Bowsprit
  • Brahmin
  • Brake (Railways)
  • Brazen
  • Brazier
  • Brier
  • Brooch
  • Bryony
  • Buccaneer
  • Buddhism
  • Buffet
  • Buhrstone
  • Bun
  • Buncombe
  • Bur [If written Burr, follow copy.]
  • Burden, -some
  • Burin
  • Burned (imp.)
  • Burganet
  • But-end
  • Butt
  • Byzantine

• C.
  • Caboose
  • Cacique
  • Caddice {p129}
  • Cæsura
  • Cag [If written Keg follow copy.]
  • Caique
  • Caisson
  • Calash
  • Caldron
  • Calendar
  • Calends
  • Caliber
  • Calipash
  • Calipee
  • Calipers
  • Caliph
  • Calk
  • Calligraphy
  • Caloyer
  • Caltrap
  • Calyx
  • Camlet
  • Camomile [If written Chamomile, follow copy.]
  • Camphene
  • Camphor
  • Candor
  • Canceled, -ing, etc.
  • Cannel-coal
  • Cannoneer
  • Canny
  • Cañon (Sp.)
  • Canyon [Eng.] [The Eng. form is the better if writing or printing English. Cañon in an English book seems pedantic.]
  • Cantaloup
  • Cantalever
  • Carbine
  • Carbineer
  • Carapace
  • Carat
  • Caravansary
  • Carcass [In the King James Bible, spelled carcase.]
  • Carnelian
  • Caroled, -ing, etc.
  • Cartography
  • Cask (a vessel)
  • Casque (helmet)
  • Cassava
  • Cassimere [If written Kerseymere, follow copy.]
  • Caster [One who casts; a cruet; a furniture-wheel.]
  • Castor [A genus of animals; a hat; a drug; a heavy cloth.]
  • Catchup
  • Catechise, -er
  • Cauliflower
  • Causeway
  • Caviare
  • Caviler, -ed, etc.
  • Cayman
  • Ceil -ing, -ed
  • Center
  • Centered
  • Centimeter
  • Centiped
  • Ceroon
  • Cess-pool
  • Chalcedony
  • Chameleon
  • Chamois
  • Champaign [Flat, open country.]
  • Champagne (wine)
  • Champerty
  • Channeled, -ing, etc.
  • Chant, -er, -ed, etc.
  • Chap [Both Wb. and Wor. place chăp in the first column, and chop in the second. This preference of chăp to chop harmonizes orthography and pronunciation in three instances: (1) when chăp is v. t., signifying “to cleave or open longitudinally, through the effect of heat, cold, dryness, etc.; as, ‘Heat chăps the russet plain’”; (2) when v. i., as “The hands chăp”; (3) when n., as a cleft in the earth’s surface, or in the hands or feet. Chăp (a youth) was never in doubt; while chaps (the jaws) must continue to be pronounced with the a as in what.]
  • Chase
  • Check (n.)
  • Checker, -ed, etc.
  • Chemist
  • Chemistry
  • Cherif
  • Chestnut
  • Chevron
  • Chilioliter
  • Chiliometer
  • Chine
  • Chintz
  • Chiseled, -ing
  • Chock-full
  • Choir
  • Chorister
  • Choke
  • Choose
  • Chore
  • Cigar
  • Cimeter
  • Cipher
  • Clamor, -ous, etc.
  • Clangor
  • Clarionet
  • Clew
  • Clinch
  • Clinique
  • Clinometer
  • Cloak
  • Clodpoll {p130}
  • Clothe, -ed, etc.
  • Clough
  • Clyster
  • Cockswain
  • Cœliac
  • Cognizor, -zee
  • Coif
  • Coiffure
  • Colander
  • Comb [Unwatered part of valley, etc.]
  • Comfrey
  • Complete
  • Complexion
  • [Comptroller, -ship There is an officer of the U. S. Government whose official title is “Comptroller of the Currency.” The word appears in Wb. 2d column.]
  • Confectionery
  • Connection
  • Contemporary
  • Contra-dance
  • Controller, -ship
  • Control
  • Cony
  • Cooly
  • Coomb (4 bushels)
  • Copaiva
  • Copier
  • Copse
  • Coquette (n.)
  • Coranach
  • Corbel
  • Cosy
  • Cot (a hut)
  • Cot (a bed)
  • Cotillon
  • Councilor [A member of a council.]
  • Counselor [One who gives counsel.]
  • Count
  • Courtesan
  • Courtesy (Law)
  • Cozen, -age
  • Craunch
  • Cray-fish
  • Creak (v.)
  • Creosote
  • Critique
  • Crosslet
  • Cruet
  • Croup [Behind the saddle.]
  • Crupper
  • Cruse (bottle)
  • Cucurbit
  • Cudgeled, -er, -ing
  • Cue [Twist of back hair.]
  • Cuerpo
  • Cuneiform
  • Curb (of a well)
  • Cursed (imperf.)
  • Curtal-ax
  • Cutlass
  • Cyclopedia
  • Cymar
  • Cyst
  • Czar, -ina

• D.
  • Dactyl
  • Damasken
  • Damson
  • Dandruff
  • Danegelt
  • Debarkation
  • Debonair, -ly, -ness
  • Decrepit
  • Defense, -less, etc.
  • Deflection
  • Deflour
  • Delf
  • Delphin
  • Deltoid
  • Demeanor
  • Demesne (Law)
  • Dentiroster
  • Dependent
  • Dependence
  • Deposit
  • Desert (n.)
  • Deshabille
  • Dessert
  • Detecter
  • Detortion
  • Deuce
  • Develop, -ment
  • Dexterous [But if written Dextrous follow copy, to avoid subsequent change.]
  • Diæresis
  • Diarrhea
  • Diarrhetic
  • Dike
  • Diocese
  • Disheveled, -ing, etc.
  • Disk
  • Dispatch, -ed, -ing
  • Disseize, -in, -or
  • Distention
  • Distill
  • Distrainor
  • Diversely
  • Divest, -ed, etc. [But in Law, Devest is commonly used; in law work, follow copy.]
  • Docket
  • Doctress
  • Dolor, -ous
  • Domicile
  • Doomsday-book
  • Dory
  • Dormer-window
  • Dote
  • Dotage
  • Doubloon
  • Dowry
  • Downfall {p131}
  • Dram [A weight; a minute quantity; a potation.]
  • [Drachm This word is in second column, connected to Dram by and. Its meaning seems to be properly limited, however, to an ancient Greek coin, and a Greek weight (Drachma).]
  • Draff
  • Draft [1. The act of drawing or pulling as by beasts of burden. 2. Drawing of men for a military corps. 3. An order for payment of money; a bill of exchange. 4. An allowance in weighing. 5. A drawing of lines for a plan; a figure described on paper; delineation; sketch; plan delineated; an outline to be filled in or completed for composition. In any other sense than these five, use the original spelling, Draught.]
  • [Draught (See supra.)]
  • Dragoman
  • Dribblet
  • Drier
  • Driveler, -ing, etc.
  • Drought
  • Dryly
  • Duchy
  • Duchess
  • Dueler, -ing, -ist
  • Dullness
  • Dungeon
  • Dunghill
  • Duress
  • Dye, etc. (color)

• E.
  • Eavesdropper
  • Eccentric, -al, etc.
  • Economy
  • Ecstasy
  • Ecstatic
  • Ecumenic, -al
  • Edematous
  • Edile, -ship
  • Eloign, -ment
  • Emarginate
  • Embalm, -ed, etc.
  • Embalmer, -ment
  • Embank, -ed, etc.
  • Embargo
  • Embark, -ed, etc.
  • Embarkation
  • Embassy
  • Embassage
  • Embed, -ded, etc.
  • Embezzle
  • Emblaze
  • Emblazon, -ed, etc.
  • Embody, -ied, etc.
  • Embolden, -ed, etc.
  • Emborder, etc.
  • Embosom [If written Imbosom, follow copy.]
  • Emboss, -ed, etc.
  • Embowel, -ed, -ing
  • Emboweler, -ment
  • Embower, -ed, etc.
  • Embrace, -ed, etc.
  • Embracer, -ment
  • Embrasure
  • Embrocation
  • Embroil, -ed, etc.
  • Emerods [The Biblical spelling; in ordinary work, Hemorrhoids.]
  • Emir
  • Empale, -ed, etc.
  • Emperor
  • Empoison
  • Empower, -ed, etc.
  • Emprise
  • Empurple
  • Emu
  • Enameled, -ing, etc.
  • Enamor, -ed, -ing
  • Encage, -ed, etc.
  • Encamp, -ed, etc.
  • Enchant
  • Enchiseled, -ing
  • Encloister
  • Encounter, etc.
  • Encroach, etc.
  • Encumber, -ed, etc.
  • Encyclopedia
  • Endear
  • Endeavor, -ed, etc.
  • Endow, etc.
  • Endue
  • Endure, -ance
  • Enforce, -ed, etc.
  • Engage, -ed, etc.
  • Engender
  • Engorge, -ed, etc.
  • Engross
  • Enhance
  • Enigma
  • Enjoin, etc.
  • Enkindle, -ed, etc.
  • Enlarge, etc.
  • Enlist
  • Enroll
  • Enrollment
  • Enshrine
  • Enshroud
  • Ensphere
  • Enstamp
  • Entail (Arch.)
  • Entangle, etc.
  • Enterprise
  • Enthrone, -ed, etc.
  • Entire, -ly, etc.
  • Entitle, -ed, etc.
  • Entrance, -ed, etc.
  • Entrap, -ped, etc.
  • Entreat, -ed, etc. {p132}
  • Entreaty
  • Entresol
  • Entwine, -ed, etc.
  • Envelop (v.)
  • Envelope (n.)
  • Envelopment
  • Envenom
  • Eolipile
  • Epaulet
  • Epauleted, -ing
  • Equaled, -ing
  • Equiangular
  • Equivoque
  • Era
  • Error, etc.
  • Escalade
  • Escapement
  • Escarp (Fort.) [But if written Scarp, follow copy.]
  • Eschalot
  • Escheat
  • Escritoire
  • Escutcheon
  • Estafet
  • Esthetics
  • Estoppel
  • Estrich
  • Etiology
  • Étui [A French word, anglicized as Etwee; follow copy.]
  • Exactor
  • Expense
  • Exsiccate, -ed, -ing, etc.
  • Exsiccation
  • Exsuccous
  • Exudation
  • Exude, etc.
  • Eyrie

• F.
  • Fæces
  • Fagot, -ed, -ing
  • Fairy
  • Fakir
  • Falchion
  • Falcon, -er, -ry
  • Fantasy
  • Fantastic
  • Farthingale
  • Fattener
  • Favor, -er, -ed, etc.
  • Fecal
  • Fecula
  • Feldspar
  • Felly
  • Feoffor
  • Fervor
  • Fetal
  • Feticide
  • Fetor
  • Fetus
  • Feud, -al, -atory
  • Feudalize, -ism
  • Fie
  • Filbert
  • Filibuster
  • Filigree
  • Fillibeg [But if written Filibeg or Phillibeg, follow copy.]
  • Finery (a forge)
  • Firman
  • Fishgig
  • Fives [Veterinary]
  • Flageolet
  • Flavor, -ed, etc.
  • Flier
  • Floatage (Law)
  • Flotsam
  • Flour (of grain)
  • Flower-de-luce [If French is wanted,—Fleur-de-lis.]
  • Fluke (Naut.)
  • Fluke (Zoöl.)
  • Fogy
  • Font (Typog.)
  • Forbade
  • Foray
  • Fosse
  • Foundery [Very few writers so spell: if written Foundry, follow copy.]
  • Franc (coin)
  • Frantic
  • Frenzy
  • Frieze (Arch.)
  • Frouzy
  • Frumenty
  • Frustum
  • Fueled, -ing
  • Fulfill, -ment
  • Fullness
  • Further
  • [Farther When space or time is indicated.]
  • Furtherance
  • Furthermore
  • Furthest
  • [Farthest When space or time is indicated.]
  • Fuse (n.) [In U. S. Govt. work Fuze is the common usage, to distinguish it from the verb to Fuse. Follow copy.]
  • Fusil (gun)
  • Fusileer

• G.
  • Gabardine
  • Galiot
  • Garish
  • Gallias [So spelled in the first column; but in the defining columns of the Dictionary, the s is doubled. Follow copy.]
  • Gamboled, -ing
  • Gamut {p133}
  • Gang (Min.) [If written Gangue, follow copy.]
  • Gantlet [A military punishment.]
  • Gasteropod
  • Gargoyle (Arch.)
  • Gauge
  • Gault
  • Gauntlet [A large glove of mail.]
  • Gayety
  • Gayly
  • Gazelle
  • Genet
  • Gerfalcon
  • Germane
  • Germ
  • Ghibelline
  • Gibe
  • Gimbals
  • Gimlet
  • Girasole
  • Girt (v.)
  • [Girth (n.)]
  • Glair
  • Glamour
  • Glave
  • Gloze
  • Gnarled
  • Gore
  • Good-by
  • Good-humor
  • Gormand
  • Governor
  • Graft, -ed
  • Grandam
  • Granddaughter
  • Granite
  • Graveled, -ing [The l in graveling should not be doubled.]
  • Gray, -ish, etc.
  • Grenade
  • Grenadier
  • Greyhound
  • Grewsome
  • Griffin
  • Grisly [If written Grizzly, follow copy.]
  • Groats
  • Grogram
  • Grommet
  • Grotesque, -ly
  • Groundsel
  • Groveler, -ing
  • Group (v.)
  • Guaranty [If written Guarantee, follow copy.]
  • Guelder-rose
  • Guelf [If written Guelph, follow copy.]
  • Guerrilla
  • Guilder (coin)
  • Guillotine
  • Gulf
  • Gunwale
  • Gurnard
  • Gypsy
  • Gyrfalcon
  • Gyves

• H.
  • Hackle
  • Hagbut
  • Haggard
  • Haggess
  • Ha-ha
  • Haik
  • Hake
  • Halberd
  • Halibut
  • Hallelujah [But if written Alleluia, or Halleluiah, follow copy, to avoid “correcting.”]
  • Halloo
  • Halidom
  • Halyard
  • Handicraft
  • Handiwork
  • Handsome
  • Handsel
  • Handseled
  • Harbor, -ed, etc.
  • Harebell
  • Harebrained
  • Harem
  • Haricot
  • Harrier
  • Harry
  • Haslet
  • Hasheesh
  • Hatti-sherif
  • Haulm
  • Haul
  • Haunch
  • Hautboy
  • Hawser
  • Headache
  • Hearse
  • Hectoliter
  • Hectometer
  • Hegira
  • Height, -en, etc.
  • Heinous, -ly, -ness
  • Hematite
  • Hematology
  • Hemistich
  • Hemorrhoids
  • Heretoch
  • Hermit, -age
  • Herpetology
  • Hexahedron
  • Hibernate
  • Hiccough
  • Hinderance [If written Hindrance, follow copy. See remark under Foundery, in loco.]
  • Hindoo, -ism
  • Hip (Pom.)
  • Hipped-roof {p134}
  • Hippogriff
  • Hippocras
  • Ho
  • Hoarhound
  • Hockey
  • Hodge-podge
  • Hoiden, -ish
  • Holiday [If written Holyday, follow copy.]
  • Hollo
  • Holster
  • Hominy
  • Homeopathy
  • Homonym
  • Honeyed
  • Honor, -ed, etc.
  • Hoop (v.)
  • Hoopoe
  • Hornblende
  • Horror
  • Hostelry
  • Hostler
  • Hough
  • Housewife
  • Howdah
  • Howlet
  • Hummock
  • Humor
  • Hurra
  • Hydrangea
  • Hypæthral
  • Hyperstene
  • Hypotenuse
  • Hyssop

• I.
  • Icicle
  • Illness
  • Imbibe
  • Imbitter
  • Imbrue
  • Imbue, -ed, -ing
  • Immarginate
  • Impanel, -ed, -ing [Wb. has also Empaneled, -ing, etc., in his first column under E. One way is enough; but to avoid changes in author’s proof, compositor had better follow copy.]
  • Imparlance
  • Impassion
  • Impeach
  • Imperiled
  • Implead
  • Imposthume [See Aposteme.]
  • Impoverish
  • Imprint
  • Incase
  • Inclasp
  • Inclose, -ure, etc.
  • Increase
  • Incrust
  • Incumbrance [But Wb. prefers Encumber for the verb.]
  • Indefeasible
  • Indelible
  • Indict (Law)
  • Indictment
  • Indite, -er
  • Indocile
  • Indoctrinate
  • Indorse, -ed, -ing
  • Indorser, -ment
  • Induce, -ment
  • Inferior
  • Inferable
  • Inflection
  • Infold
  • Infoliate
  • Ingraft, -er, -ment
  • Ingrain
  • Ingulf
  • Inkle
  • Innuendo
  • Inquire, -er, -y, etc.
  • Inscribe
  • Inscroll
  • Insnare
  • Install
  • Installment
  • Instate
  • Instill
  • Instructor
  • Insure, -ed, -ing
  • Insurer, -ance
  • Intenable
  • Intercessor
  • Interior
  • Inthrall
  • Intrench
  • Intrust
  • Inure
  • Inurement
  • Inveigle
  • Inventor
  • Inwheel
  • Inwrap
  • Inwreathe
  • Isocheimal
  • Ixolite

• J.
  • Jacobin
  • Jaconet
  • Jail, -er, etc.
  • Jalap
  • Jam (Min.)
  • Janizary
  • Jasmine
  • Jaunt, -y, -ily
  • Jean
  • Jenneting
  • Jeremiad
  • Jetsam
  • Jetty
  • Jeweled
  • Jewelry
  • Jointress
  • Jonquil
  • Jostle
  • Jowl {p135}
  • Judgment
  • Jupon
  • Just [A mock encounter on horseback.]

• K.
  • Kaffer
  • Kale
  • Kayle
  • Keelhaul
  • Keelson
  • Keg
  • Kenneled, -ing
  • Khan
  • Kiln (n.)
  • Kilogram
  • Kiloliter
  • Kilometer
  • Knob
  • Koran
  • Kyanite

• L.
  • Labeled, -ing
  • Labor, -ed, -ing, etc.
  • Lachrymal
  • Lac (coin)
  • Lackey
  • Lacquer (n.)
  • Lacquer, -ed, -ing
  • Lagoon
  • Lambdoidal
  • Landau
  • Landscape
  • Lantern
  • Lanyard
  • Lapsided
  • Larum
  • Launch
  • Leaven
  • Lecher, -y, -ous
  • Lecturn
  • Ledgement [Sic; the retention of e after g seems somewhat remarkable.]
  • Ledger
  • Leger-line
  • Leggin
  • Lemming
  • Lettuce
  • Leveled, -ing, -er
  • Libeled, -ing, etc.
  • License
  • Lickerish
  • Licorice
  • Lief
  • Lilac
  • Linguiform
  • Linnæan
  • Linseed
  • Linstock
  • Liter
  • Lithontriptic
  • Llama (Zoöl.)
  • Loadstar, -stone
  • Loath (a.)
  • Lode (Min.)
  • Lodgment
  • Logogriph
  • Longiroster
  • Louver
  • Lower
  • Luff
  • Lunet [A little moon, or satellite. Obsolete.]
  • Lunette [A detached bastion, etc.]
  • Lunge
  • Lustring
  • Lye

• M.
  • Macaw
  • Maccaboy
  • Maggoty
  • Maim [Mayhem, Law.]
  • Mal (prefix) [Here, in Wb., first column, appears “Mall,” followed by “or Maul”; but, since Maul also appears in first column, both as noun and verb, we omit Mall, as not preferable to Maul.]
  • Malkin
  • Mamaluke
  • Mamma
  • Mandatary (n.)
  • Manikin
  • Maneuver
  • Mantel (Arch.)
  • Mantel-piece
  • Marc (coin)
  • Magaron
  • Marquee
  • Marque (letter of)
  • Marquess [Till of late, marquis was the usual spelling, but it is now to a great extent superseded by marquess, except in the foreign title.—Smart.]
  • Marshal
  • Marshaled, -ing
  • Martin (Ornith.)
  • Martinet (Naut.)
  • Martingale
  • Marveled, -ing, etc.
  • Mark
  • Maslin
  • Mastic
  • Matrice [If written Matrix, follow copy.]
  • Mattress
  • Mauger
  • Maul (n. and v.)
  • Mayhem (Law)
  • Meager, -ly, etc.
  • Merchandise {p136}
  • Meter
  • Mileage
  • Milleped
  • Milligram
  • Milliliter
  • Millimeter
  • Milrea
  • Misbehavior
  • Miscall
  • Misdemeanor
  • Misspell
  • Misspend
  • Misspent
  • Misstate
  • Mistletoe
  • Miter, -ed
  • Mizzen
  • Mizzle
  • Moccasin
  • Mode (Gram.)
  • Mocha-stone
  • Modeled, -ing
  • Modillion
  • Mohammedan
  • Mohawk
  • Molasses
  • Mold
  • Molt
  • Moneyed
  • Mongrel
  • Moresque
  • Morris
  • Mortgageor (Law)
  • Mortgager
  • Mosque
  • Mosquito
  • Mullein
  • Multiped
  • Mummery
  • Murder, etc.
  • Murky
  • Murrhine
  • Muscadel
  • Muscle (a shell fish) [If written Mussel, follow copy.]
  • Musket
  • Mustache

• N.
  • Nankeen
  • Narwal
  • Naught
  • Negotiate, -or, etc.
  • Neighbor, -ing, etc.
  • Net (a.)
  • Neb (Orn.)
  • Niter
  • Nobless [If written Noblesse, follow copy.]
  • Nomads
  • Nombles
  • Nonesuch
  • Novitiate
  • Nylghau

• O.
  • Oaf
  • Ocher
  • Octahedron
  • Octostyle
  • Odalisque
  • Odor
  • Offense
  • Olio
  • Omber
  • Omer
  • Oolong
  • Opaque
  • Opobalsam
  • Orach
  • Orang-outang
  • Orchestra
  • Oriel
  • Oriflamb
  • Orison
  • Osier
  • Osprey
  • Otolite
  • Ottar (of roses)
  • Outrageous
  • Oxide
  • Oyes

• P.
  • Packet
  • Painim
  • Palanquin
  • Palestra
  • Palet
  • Palmiped
  • Panada
  • Pander
  • Pandore
  • Pandour
  • Panel (Law)
  • Paneled, -ing
  • Pantograph
  • Papoose
  • Paralyze
  • Parceled, -ing
  • Parcenary
  • Parlor
  • Parol (a.)
  • Parquet
  • Parsnip
  • Parrakeet
  • Partible
  • Partisan
  • Pasha
  • Pashalic
  • Pask
  • Patrol (n.)
  • Paver
  • Pawl
  • [Peaked We insert this word as of the first column, because Picked (in Wb. first col.) has definitions not applicable to Peaked.]
  • Pean
  • Peart {p137}
  • Pedicel
  • Peddler
  • Pedobaptist
  • Pemmican
  • Penciled, -ing
  • Pennant
  • Pentahedral
  • Peony
  • Periled, -ing
  • Peroxide
  • Persimmon
  • Persistence
  • Pewit (Orn.)
  • Phantasm
  • Phantom
  • Phenomenon
  • Phenix
  • Phial [But if written Vial, follow copy.]
  • Philter, -ed
  • Phthisic
  • Piaster
  • Picked
  • Picket
  • Pie
  • Piebald
  • Piepoudre
  • Pimento
  • Pimpernel
  • Pinchers
  • Pistoled, -ing
  • Placard
  • Plaice (Ichth.)
  • Plain [Plane, in some senses.]
  • Plane-sailing
  • Plaster
  • Plait (v.)
  • Plat (n.)
  • Plethron
  • Pliers
  • Plow
  • Plumber
  • Plumiped
  • Pluviometer
  • Point-device
  • Poise
  • Polacca
  • Pole-ax
  • Poltroon
  • Polyhedron, -drous
  • Polyglot (n.)
  • Polyp
  • Pommel
  • Pommeled, -ing
  • Ponton
  • Pony
  • Poniard
  • Porgy (Ichth.)
  • Porpoise
  • Portray
  • Porteress
  • Possessor
  • Postilion
  • Potato
  • Potsherd
  • Powter (Orn.)
  • Pozzolana
  • Practice (v.)
  • Præmunire
  • Prænomen
  • Predial
  • Premise
  • Pretense
  • Pretermit
  • Pretor
  • Profane
  • Protector
  • Programme
  • Protoxide
  • Prunella
  • Pumpkin
  • Puppet
  • Purblind
  • Purr
  • Purslane
  • Putrefy
  • Pygmy
  • Pyx

• Q.
  • Quadroon
  • Quarantine
  • Quarrel (an arrow)
  • Quarreled, -ing
  • Quartet
  • Quaterfoil
  • Quay, -age
  • Questor
  • Quinsy
  • Quintain
  • Quintet
  • Quoin

• R.
  • Rabbet (Carp.)
  • Rabbi
  • Raccoon
  • Raddock (Orn.)
  • Ramadan
  • Rancor, -ous, -ly
  • Ransom
  • Rare (adj.)
  • Rarefy
  • Raspberry
  • Rattan
  • Raveled, -ing
  • Raven (plunder)
  • Raze, -ed, -ing
  • Rasure
  • Real (coin)
  • Rearward
  • Recall
  • Recompense
  • Reconnoiter
  • Redoubt
  • Referable
  • Reflection
  • Reglet
  • Reindeer
  • Re-enforce
  • Re-install, -ment
  • Relic
  • Remiped {p138}
  • Renard
  • Rencounter
  • Rennet
  • Replier
  • Reposit
  • Resin
  • Rosin [The resin left, after distilling off the volatile oils from the different species of turpentine.]
  • Resistance, etc.
  • Restive, -ly, -ness
  • Retch (to vomit)
  • Reveled, -ing, -er
  • Reverie
  • Ribbon
  • Reversible
  • Rigor, -ous, etc.
  • Risk
  • Rivaled, -ing
  • Riveted, -ing
  • Roc (Orn.)
  • Rodomontade
  • Rondeau
  • Ronyon
  • Roquelaure
  • Rotunda
  • Route
  • Ruble (coin)
  • Ruche
  • Rummage
  • Rumor, etc.
  • Rye

• S.
  • Sabian
  • Saber, -ed, etc.
  • Sackbut
  • Sainfoin
  • Salam
  • Salep
  • Salic
  • Saltpeter
  • Samester
  • Sandaled
  • Sandarac
  • Sandever
  • Sanskrit
  • Sapajo
  • Sapodilla
  • Sarcenet
  • Sat
  • Satchel
  • Satinet
  • Sauer-kraut
  • Savanna
  • Savior
  • [Saviour We insert this as of first column, it being in universal use when referring to Christ.]
  • Savor
  • Scallop, -ed, -ing
  • Scath
  • Scepter, -ed
  • Scherif [Preferring this form to Cherif, we insert it here. Both spellings appear in Wb. first column.]
  • Schist
  • Schorl
  • Sciagraphy
  • Scion
  • Scirrhosity
  • Scirrhus
  • Scissors
  • Sconce
  • Scot-free
  • Scow
  • Scrawny
  • Scythe
  • Seamstress
  • Sear
  • Secretaryship
  • Sedlitz
  • Seethe
  • Seignior
  • Seigniorage, -ory.
  • Seine
  • Seizin
  • Seleniuret
  • Sellender
  • Selvage
  • Sentinel
  • Sentry
  • Sepawn
  • Sepulcher
  • Sequin
  • Sergeant
  • Set (n.)
  • Sevennight
  • Shad
  • Shah
  • Shawm
  • Shampoo
  • Shard
  • Sheathe (v.)
  • Sheik
  • Sherbet
  • Sherry
  • Shill-I-shall-I [But if written Shilly-shally, follow copy.]
  • Shore (n.)
  • Shorl
  • Shoveled, -er, -ing
  • Show
  • Shrillness
  • Shriveled, -ing
  • Shuttlecock
  • Shyly, -ness
  • Sibyl
  • Sidewise
  • Silicious
  • Sillabub
  • Simoom
  • Siphon
  • Siren
  • Sirloin
  • Sirup
  • Sizar
  • Skein
  • Skeptic
  • Skillful, -ly, -ness
  • Skill-less
  • Skull (cranium) {p139}
  • Slabber
  • Sleight
  • Slyly, -ness
  • Smallness
  • Smolder
  • Smooth (v. and a.)
  • Snapped (imp.)
  • Sniveler, -ing
  • Socage
  • Socle
  • Solan-goose (n.)
  • Solder, etc.
  • Soliped
  • Solvable
  • Somber
  • Somersault
  • Sonneteer
  • Soothe (v.)
  • [Sorel]
  • Sorrel
  • Souchong
  • Spa
  • Spelt (n.)
  • Specter
  • Spew
  • Spinach
  • Spinel
  • Spiritous [Spirituous is the more common form. Follow copy.]
  • Spite
  • Splendor
  • Sponge
  • Sprite
  • Spirt
  • Spunk
  • Staddle
  • Stanch
  • Stationery (n.)
  • Steadfast
  • Steelyard
  • Stillness
  • Stockade
  • Story (a floor)
  • Strait (n.)
  • Strengthener
  • Strew
  • Strop (n.)
  • Stupefy
  • Sty
  • Style
  • Styptic
  • Subpœna
  • Subtile (thin)
  • Subtle (artful)
  • Successor
  • Succor
  • Suite
  • Suitor
  • Sulphureted
  • Sumac
  • Superior
  • Suretyship
  • Surname
  • Surprise, etc.
  • Survivor, -ship
  • Swainmote
  • Swale (v.)
  • Swap
  • Swart (adj.)
  • Swathe (bandage)
  • Swiple
  • Swob, -ber, etc. [But if written Swab, Swabber, etc., follow copy.]
  • Swollen
  • Syenite
  • Symploce
  • Synonym
  • Syphilis

• T.
  • Tabard
  • Tabbinet
  • Tabor, etc.
  • Taffeta [If written Taffety, follow copy.]
  • Taffrail
  • Tailage
  • Talc
  • Tallness
  • Tambour
  • Tambourine
  • Tarantula
  • Tarpaulin
  • Tasseled, -ing
  • Tasses
  • Taut (Nav.)
  • Tawny
  • Tease
  • Teasel
  • Teetotal
  • Tenable
  • Tenor
  • Tenuirosters
  • Terror
  • Tetrahedron
  • Tetrastich
  • Theater
  • Thole
  • Thorp
  • Thralldom
  • Thrash
  • Threshold
  • Throe (n.)
  • Ticking (n.)
  • Tidbit
  • Tie (n. and v.)
  • Tier
  • Tierce
  • Tiger
  • Tincal
  • Tithe
  • Toll (v. t.)
  • Tollbooth
  • Ton (the weight)
  • [Tun (the cask)]
  • Tonnage
  • Tormentor
  • Tourmaline
  • Toweling
  • Trammeled, -ing
  • Tranquilize
  • Transferable
  • Transference {p140}
  • Transship, -ment
  • Trapan (a snare)
  • Traveler, -ed, -ing
  • Traverse
  • Travesty
  • Treadle
  • Trebuchet
  • Treenail
  • Trestle
  • Trigger
  • Trevet
  • Tricolor
  • Trihedral
  • Trod
  • Trousers
  • Troweled
  • Truckle-bed
  • Tryst
  • Tumbrel
  • Tumor
  • Tunneled, -ing
  • Turquois
  • Turnip
  • Turnsole
  • Tutenag
  • Tweedle
  • Twibil
  • Tymbal
  • Tyro

• U.
  • Umber
  • Unbiased
  • Unboweled [And others of the same class.]
  • Unroll
  • Until

• V.
  • Vaivode [If written Waiwode or Wayvode, follow copy.]
  • Valise
  • Valor, -ous, -ously
  • Vantbrace
  • Vapor
  • Vat
  • Veil
  • Vedette
  • Vender [But Vendor, as correlative of Vendee.]
  • Venomous
  • Veranda
  • Verderer
  • Verdigris
  • Vermin
  • Verst
  • Vertebra
  • Vervain
  • Vicious, -ly, -ness
  • Victualed, -er, -ing
  • Vigor, -ous, etc.
  • Villain [But in feudal law, often spelled Villein, follow copy.]
  • Villainy, -ous
  • Vise
  • Visitor
  • Visor
  • Vitiate
  • Vizier
  • Volcano

• W.
  • Wadsett
  • Wagon
  • Waive
  • Wale (n.)
  • Walrus
  • Warranter [In law, Warrantor.]
  • Warrior
  • Warwhoop
  • Waucht
  • Waul (as a cat)
  • Wear (v. Naut.)
  • Wear (n.)
  • Weasand
  • Welsh
  • Whang
  • Whelk (n.)
  • Whippletree
  • Whippoorwill
  • Whisky
  • Whoop
  • Whooping-cough [If written Hooping-cough, be careful to follow copy. We have known some trouble to be caused by a change of the initial in alphabetical tabular work from hospitals, ships, etc.]
  • Whortleberry
  • Widgeon
  • Willful, -ly, -ness
  • Windlass
  • Wintery [If written Wintry, follow copy.]
  • Wiry
  • Witch-elm
  • Witch-hazel
  • Withe
  • Wivern
  • Wizard
  • Wizen
  • Woe
  • Woful
  • Wondrous
  • Woodbine
  • Woolen, -ette.
  • Worshiper, -ed, etc.
  • Wrack (to rack)
  • Wye [If written Y, follow copy.]

• Y.
  • Yataghan
  • Yaup
  • Yawl (n.)
  • Yelk
  • Yttria, -um

• Z.
  • Zaffer
  • Zinc
  • Zinciferous
  • Zonnar
  • Zymometer

THE WORCESTER LIST.

• A.
  • Aam
  • Abatis
  • Abbey
  • Abetter [In a good sense; nearly or quite obsolete.]
  • Abettor [Law. One who abets an unlawful act.]
  • Abnormal
  • Abreuvoir
  • Abridgment
  • Accessary [When used in Law.]
  • Accessory (Art.)
  • Accountant
  • Acetimeter
  • Ache
  • Achieve
  • Acknowledgment
  • Acronycal
  • Addible
  • Adipocere
  • Adjudgment
  • Admittible
  • Adopter [One who adopts, or assumes as one’s own.]
  • [Adapter Tube used in Chemistry.]
  • Adscititious
  • Adulteress
  • Advertise
  • Advoutry
  • Advowee
  • Advowson
  • Adze
  • Æolic
  • Affector
  • Affeer
  • Affiliate
  • Affiliation
  • Afraid
  • Aghast
  • Agriculturist
  • Aide-de-camp
  • Aisle (church)
  • Ajutage
  • Alchemical
  • Alchemist
  • Alchemy
  • Alcoran
  • Alexipharmic
  • Alkahest
  • Alkali
  • Allege
  • Allocution
  • Alloy
  • Almacantar
  • Almanac
  • Almonry
  • Alnager
  • Alum
  • Amassment
  • Ambassador
  • Ambergris
  • Ambs-ace
  • Amercement
  • Amiability
  • Amice
  • Amortise
  • Anademe
  • Ananas
  • Anapest
  • Anapestic
  • Anbury
  • Ancestral
  • Ancient
  • Ancientry
  • Andiron
  • Anemone
  • Angiography
  • Angiology
  • Angiotomy
  • Ankle
  • Annotto
  • Antechamber
  • Antelope
  • Antiemetic
  • Apanage
  • Apostasy
  • Aposteme [If written Imposthume, follow copy.]
  • Apothegm
  • Appall
  • Appalment
  • Appraise
  • Appraisement
  • Appraiser
  • Apprise
  • Appurtenance
  • Apricot
  • Arbitrament
  • Archæological
  • Archæology
  • Archduchess
  • Archil
  • Argol
  • Arquebuse
  • Arrack
  • Artisan
  • Arvel {p142}
  • Asbestos
  • Ascendency
  • Ascendent
  • Askance
  • Askant
  • Askew
  • Assafœtida
  • Assize
  • Assizer
  • Assuage
  • Athenæum
  • Auger
  • [Augur A soothsayer.]
  • Aught
  • Autocracy
  • Avoirdupois
  • Awkward
  • Awn
  • Axe

• B.
  • Baccalaureate
  • Bachelor
  • Bade, from bid
  • Balance
  • Baldrick
  • Balk
  • Ballister
  • Baluster
  • Bandanna
  • Bandoleer
  • Bandore
  • Bandrol
  • Banian
  • Banns
  • Barbacan
  • Barbecue
  • Barberry
  • Bark
  • Barouche
  • Baryta
  • Barytone
  • Basin
  • Bass (Mus.)
  • Bass-viol
  • Bastinado
  • Bateau
  • Battledoor
  • Bawble
  • Bazaar
  • Beadle
  • Beaver
  • Befall
  • Behoove
  • Bellflower
  • Belligerent
  • Bellman
  • Bellmetal
  • Bellwether
  • Benumb
  • Bequeath
  • Bergamot
  • Bergander
  • Berth (in ship)
  • Bestrew
  • [Bestrewn p. p. of Bestrew.]
  • Betel
  • Bevel
  • Bezant
  • Biassed
  • Biestings
  • Bigoted
  • Bilge
  • Billiards
  • Billingsgate
  • Binnacle
  • Bistre
  • Bivouac
  • Bizantine
  • Blanch
  • Blende (Min.)
  • Blithely
  • Blitheness
  • Blithesome
  • Blomary
  • Blouse
  • Bodice
  • Boil (a tumor)
  • Bolt
  • Bombard
  • Bombast
  • Bombazette
  • Bombazine
  • Borage
  • Bourgeois
  • Bourn
  • Bourse
  • Bouse
  • Bousy
  • Bowlder
  • Bowsprit
  • Brakeman
  • Bramin
  • Brawl
  • Brazen
  • Brazier
  • Brazil
  • Brier
  • Brokerage
  • Bronze
  • Brooch
  • Brunette
  • Bryony
  • Buccaneer
  • Buffalo
  • Buhrstone
  • Bulimy
  • Bumblebee
  • Bunn
  • Bunyon
  • Burden
  • Burdensome
  • Burganet
  • Burin
  • Burlesque
  • Burr
  • Buzz
  • By (n.)

• C.
  • Cabob
  • Cacique
  • Cæsura
  • Calcareous
  • Caldron {p143}
  • Calendar
  • Calends
  • Caliber (Gun)
  • [Calibre Generally so spelled when used in a figurative sense; as “a mind of inferior calibre”; and in this sense retains the French pron. Ka·le·bur.]
  • Calipers
  • Caliph
  • Calk
  • Calligraphy
  • Calotte
  • Caloyer
  • Caltrop
  • Calyx
  • Cameo
  • Camlet
  • Camomile [If written Chamomile, follow copy.]
  • Camphor
  • Cannel (-coal)
  • Cannoneer
  • Canoe
  • Cantilever
  • Canvas
  • [Canvass]
  • Capriole
  • Car
  • Carabine
  • Carabineer
  • Carat
  • Caravansary
  • Caravel
  • Caraway
  • [Carcase Scripture.]
  • Carcass
  • Carle
  • Carnelian
  • Carolytic
  • Cartel
  • Cartridge
  • Cassada
  • Cassimere [If spelled Kerseymere, follow copy.]
  • Cassowary
  • [Cast]
  • Caste, class
  • Castellan
  • Caster [One who casts; a cruet; a furniture-wheel.]
  • [Castor A genus of animals; a hat; a drug.]
  • Castlery
  • Castrel
  • Catchpoll
  • Catchup
  • Catechise
  • Catherine
  • Cauliflower
  • Causeway
  • Cavazion (Arch.)
  • Caviare
  • Caw
  • Cayman
  • Cedilla
  • Ceiling
  • Celt
  • Celtic
  • Centiped
  • Cess
  • Chalcedony
  • Chaldron
  • Chalice
  • Chameleon
  • Chamois
  • Champaign [Flat, open country,—Deut. 11 : 30.]
  • [Champagne, wine]
  • Champerty
  • Chant
  • Chap [See remark on this word, in Wb. List, ante.]
  • Chaps
  • Char [A small job. So spelled in England, and in Departments at Washington, where “charwomen” are employed. But—
  • Chore Is the common orthography in the United States,—and if so written, follow copy.]
  • Chase
  • Chastely
  • Chasteness
  • Check
  • Checker
  • Cheer
  • Chemical
  • Chemist
  • Chemistry
  • Chestnut
  • Chiliahedron
  • Chillness
  • Chimb
  • Chintz
  • Chloride
  • Choir
  • Choke
  • Choose
  • Chorister
  • Chyle
  • Chylifactive
  • Cider
  • Cigar
  • Cimeter
  • Cipher
  • Clam (v.)
  • Clarinet
  • Cleat
  • Clew
  • Clinch
  • Cloak
  • Clodpoll
  • Cloff
  • Clothe
  • Clothes {p144}
  • Cluck
  • Clyster
  • Cobbler
  • Cocoa
  • Coddle
  • Cœliac
  • Coif
  • Coiffure
  • Coke
  • Colander
  • Colic
  • College
  • Colliery
  • Colter
  • Comfrey
  • Commandery
  • Commissariat
  • Compatible
  • Complete
  • Concordat
  • Confectionery
  • Confidant (n.)
  • Congealable
  • Connection
  • Connective
  • Consecrator
  • Contemporary
  • Contra-dance
  • Contributory
  • Control
  • Controllable
  • Controller
  • [Comptroller 2d column. See Wb. list.]
  • Conversable
  • Cony
  • Cony-burrow
  • Coomb (4 bushels)
  • Copier
  • Coping
  • Copse
  • Coquette (n.)
  • Coranach
  • Corbel
  • Cordovan
  • Corpse
  • Correlative
  • Cosey
  • Cot
  • Cotillon
  • Counsellor [One who gives advice.]
  • [Councillor A member of a council.]
  • Courant
  • Courtesan
  • Courtesy
  • [Curtesy (Law)]
  • Covin
  • Covinous
  • Cozen
  • Cozenage
  • Craunch
  • Crawfish
  • Creak (v.)
  • Crier
  • Croslet
  • Crowd
  • Crowfoot
  • Cruet
  • Crumb
  • Crusade
  • Cruse (cruet)
  • Crystal
  • Cucurbit
  • Cue
  • Cuerpo
  • Cuish
  • Cuneiform
  • Cupel
  • Curb
  • Curb-stone
  • Curtain
  • Cutlass
  • Cyclopædia
  • Cyst
  • Cysted
  • Czar

• D.
  • Dactyl
  • Daily
  • Daisied
  • Damaskeen (v.)
  • Damson
  • Dandruff
  • Danegelt
  • Daub
  • Dawdle
  • Dearn
  • Debarkation
  • Debonair
  • Decoy
  • Decrepit
  • Defence
  • Defier
  • Deflection
  • Deflour
  • Delft
  • Delphine
  • Deltoid
  • Demesne
  • Demarcation
  • Democrat
  • Denizen
  • Dependant (n.)
  • Dependence
  • Dependent (a.)
  • Deposit
  • Desert (n.)
  • Desolater
  • Despatch [Dispatch also appears in Wor. 1st column. Follow copy.]
  • Dessert (n.)
  • Detecter
  • Detorsion
  • Detractor
  • Develop
  • Development
  • Devest
  • Dexterous [If written Dextrous follow copy.]
  • Diadron {p145}
  • Diæresis
  • Diarrhœa
  • Dike
  • Dime
  • Diocese
  • Disburden
  • Discount
  • Disfranchise
  • Disfranchisement
  • Dishabille
  • Disinthrall
  • Disk
  • Disseize
  • Disseizin
  • Disseizor
  • Dissolvable
  • Distention
  • Distil
  • Distrainor
  • Diversely
  • Divest
  • Docket
  • Doctress
  • Dodecahedron
  • Doggerel
  • Domicile
  • Doomsday-book
  • Dory
  • Dote
  • Doubloon
  • Dowry
  • Downfall
  • Drachm [Properly limited to the Greek coin or weight.]
  • Dram [A denomination in apothecaries’ and avoirdupois weight; a small quantity; a potation.]
  • Dragoman
  • Draught [This, the original and proper orthography, should be retained in all senses other than the five mentioned under Draft.]
  • Draft [1. Act of drawing or pulling. 2. A body of men drawn for or from a military organization. 3. An order by which one person draws on another for money; also the money so drawn. 4. An allowance in weighing. 5. The drawing of lines for a plan; the plan so drawn.]
  • Dreadnaught
  • Driblet
  • Drier
  • Drought
  • Dryly
  • Dryness
  • Duchess
  • Duchy
  • Dulness
  • Dungeon
  • Dunghill
  • Duress
  • Dye (color)
  • Dyeing (coloring)

• E.
  • Eavesdropper
  • Eccentric
  • Echelon
  • Economics
  • Ecstasy
  • Ecstatic
  • Ecumenical
  • Edile
  • Eke
  • Embalm
  • Embank
  • Embankment
  • Embargo
  • Embark
  • Embarkation
  • Embase
  • Embassy
  • Embed
  • Embedded
  • Embezzle
  • Embezzlement
  • Emblazon
  • Embody
  • Embolden
  • Emborder
  • Embosk
  • Embosom
  • Emboss
  • Embowel
  • Embower
  • Embrasure
  • Empale
  • Empanel [This orthography is recommended. (Wb. has Empaneled in first column.) There are so many correct ways of spelling this word, that a man who would get it wrong should be very ingenious.]
  • Empoison
  • Empower
  • Empress
  • Encage
  • Encenia
  • Enchant
  • Enchase
  • Encircle
  • Encroach
  • Encumber
  • Encumbrance
  • Encyclopædia
  • Endamage
  • Endear
  • Endow
  • Endue
  • Enfeeble
  • Enfeoff
  • Enfranchise
  • Engender
  • Engorge {p146}
  • Enhance
  • Enigma
  • Enjoin
  • Enlard
  • Enlarge
  • Enlighten
  • Enlist
  • Enlumine
  • Enroll
  • Enrolment
  • Enshrine
  • Entail
  • Entangle
  • Enterprise
  • Enthrone
  • Enthymeme
  • Entice
  • Entire
  • Entirety
  • Entitle
  • Entomb
  • Entrance (v.)
  • Entrap
  • Entreat
  • Envelop (v.)
  • Envelopment
  • Eolipile
  • Epaulet
  • Epigraph
  • Equerry
  • Equiangular
  • Equivoke
  • Era
  • Eremite
  • Escalade
  • Eschalot
  • Escritoire
  • Escutcheon
  • Estafette
  • [Esthetic]
  • Esthetics
  • Estoppel
  • Etiology
  • Exactor
  • Expense
  • Exsanguious
  • Exsect
  • Exsiccate
  • Exsiccation
  • Exsiccative
  • Exsuccous
  • Extrinsical
  • Exudation
  • Exude
  • Eyry

• F.
  • Fæces
  • Fagot
  • Fairy
  • Fakir
  • Falchion
  • Falcon
  • Fantasy
  • Farther
  • Farthest [Present tendency is, to employ farther and farthest in indicating space or time; in other senses, further and furthest.]
  • Farthingale
  • Fattener
  • Fearnaught
  • Fecal
  • Felly
  • Felon
  • Felspar
  • Ferrule
  • [Ferule This word is in second column; but as its signification is wholly distinct from ferrule, it should have place here.]
  • Feud
  • Feudal
  • Feudality
  • Feudatory
  • Feuillemorte
  • Fie
  • Filanders
  • Filbert
  • Filigrane
  • Filigree
  • Fillibeg
  • Filly
  • Finery (a forge)
  • Firman
  • Fizgig
  • Flageolet
  • Fleam
  • Flier
  • Flotage
  • Flotsam
  • Flour (meal)
  • Fleur-de-lis
  • Flugelman
  • Fluke
  • Fluoride
  • Fœtus
  • Forestall
  • Foretell
  • Forray
  • Forte (strong side)
  • Fosse
  • Foundery [But if written Foundry, follow copy.]
  • Franc (coin)
  • Frenetic
  • Frenzy
  • Frieze
  • Frigate
  • Frit
  • Frizzle
  • Frowzy
  • Frumentaceous
  • Frumenty
  • Frustum
  • Fuel
  • Fulfil
  • Fulfilment
  • Fulness
  • Furlough
  • Further
  • Furthest [See Farthest.] {p147}
  • Fusee
  • Fusileer
  • Fuze (n.)

• G.
  • Gabardine
  • Galiot
  • Gallipot
  • Galoche
  • Gamut
  • Gangue (in ore)
  • Gantlet [A military punishment.]
  • Garish
  • Garreteer
  • Gauge
  • Gauger
  • Gault
  • Gauntlet (glove)
  • Gayety
  • Gayly
  • Gazelle
  • Gear
  • Gelatine
  • Genet
  • Gerfalcon
  • Germ
  • Ghastly
  • Ghibelline
  • Ghyll (ravine)
  • Gibberish
  • Gibe
  • Giglot
  • Gimlet
  • Gimmal
  • Girasole
  • Girth
  • Glair
  • Glave
  • Glazier
  • Glede
  • Gloar
  • Gloze
  • Glue
  • Gluey
  • Gnarled
  • Gneiss
  • Good-by
  • Gore
  • Gourmand
  • Gormandize
  • Governante
  • Graft
  • Grandam
  • Granddaughter
  • Granite
  • Grasshopper
  • Gray
  • Greeze (a step)
  • Grenade
  • Grenadier
  • Greyhound
  • Griffin
  • Grizzled
  • Grocer
  • Grogram
  • Grotesque
  • Groundsill
  • Group
  • Guarantee
  • Guild
  • Guilder (coin)
  • Guillotine
  • Gulf
  • Gunwale
  • Gurnet
  • Gypsy
  • Gyre
  • Gyve

• H.
  • Haggard
  • Haggess
  • Ha-ha
  • Hake
  • Halberd
  • Hale (healthy)
  • Halibut
  • Halyards
  • Halloo
  • Hame
  • Handicraftsman
  • Handiwork
  • Hards
  • Harebell
  • Harebrained
  • Harem
  • Harrier
  • Harslet
  • Hatchel
  • Haul (to drag)
  • Haum
  • Haunch
  • Haust (cough)
  • Hautboy
  • Havoc
  • Hawser
  • Hazel
  • Headache
  • Hearse
  • Heartache
  • Height
  • Heighten
  • Heinous
  • Hemistich
  • Hemorrhoids
  • Heptamerede
  • Herpetology
  • Hexahedron
  • Hibernate
  • Hibernation
  • Hiccough
  • Hinderance [If written Hindrance, follow copy. In one of the largest printing-offices in the world, an effort was made a few years since to get the e into Dexterous, Foundery, and Hinderance (style of Wb. and Wor.); but so much trouble ensued,—presumably from outside orthographers,—that compositors and proof-readers were erelong instructed to leave the e out. Follow copy.] {p148}
  • Hip (v).
  • Hip (n).
  • Hippocras
  • Hodge-podge
  • Hoiden
  • Holiday
  • Holster
  • Hominy
  • Homonyme
  • Hone
  • Honeyed
  • Hoot
  • Horde
  • Horehound
  • Hornblende
  • Hostler
  • Household
  • Housewife
  • Howlet
  • Hub
  • Hurrah
  • Hydrangea
  • Hypothenuse

• I.
  • Icicle
  • Illness
  • Imbitter
  • Imbound
  • Imbox
  • Imbrue
  • Impair
  • Imparlance
  • Impassion
  • Implead
  • Imposthume [“This seems . . . to have been written erroneously for aposteme.”—Johnson. Follow copy, whether spelled aposteme, apostume, impostem, imposthume, or impostume,—any other orthography might possibly be incorrect.]
  • Impoverish
  • Incase
  • Inclasp
  • Incloister
  • Inclose
  • Inclosure
  • Incondensable
  • Increase
  • Incrust
  • Indefeasible
  • Indelible
  • Indict
  • Indictment
  • Indite
  • Inditer
  • Indocile
  • Indorsable
  • Indorse
  • Indorsement
  • Indorser
  • Inferrible
  • Inflection
  • Infold
  • Infoliate
  • Ingraft
  • Ingraftment
  • Ingrain
  • Ingulf
  • Innuendo
  • Inquire
  • Inquirer
  • Inquiry
  • Insnare
  • Install
  • Instalment
  • Instil
  • Instructor
  • Insurance
  • Insure
  • Insurer
  • Intenable
  • Interlace
  • Interplead
  • Interpleader
  • Inthrall
  • Intrinsical
  • Intrust
  • Intwine
  • Inure
  • Inurement
  • Invalid (n.)
  • Inveigle
  • Inventor
  • Inwheel
  • Inwrap
  • Inwreathe
  • Isle

• J.
  • Jackal
  • Jacobin
  • Jag
  • Jagghery
  • Jail
  • Jailer
  • Jalap
  • Jamb (n.)
  • Janizary
  • Janty
  • Jasmine
  • Jaunt
  • Jelly
  • Jenneting
  • Jetty
  • Jewellery [Thus in 1st column, as “the more regularly formed word”; but jewelry is the more common. Follow copy.]
  • Jiffy
  • Jingle
  • Jointress
  • Jole [If written jowl, follow copy.]
  • Jonquille
  • Judgment
  • Julep
  • Junket
  • Just (n.)
  • Justle [If written jostle, compositor and proof-reader had better follow copy, to save the trouble and expense of correcting.] {p149}

• K.
  • Kale
  • Kamsin
  • Kayle
  • Keelhaul
  • Keelson
  • Keg
  • Khan
  • Knapsack
  • Knell

• L.
  • Lackey
  • Lacquer
  • Lair
  • Lambdoidal
  • Lance
  • Landscape
  • Landsman
  • Lantern
  • Lanyard
  • Launch
  • Laundress
  • Laureate
  • Lavender
  • Lea (a plain)
  • Leach
  • Leaven
  • Ledger
  • Lettuce
  • License
  • Lickerish
  • Licorice
  • Lief
  • Lilac
  • Lily
  • Linguiform
  • Liniment [An embrocation.]
  • [Linament (Lint, etc.)]
  • Lintstock
  • Litharge
  • Llama (animal)
  • Loadstar
  • Loadstone
  • Loath (a.)
  • Loathe (v.)
  • Lode (a vein)
  • Lodgement
  • Lower
  • Luff
  • Luke
  • Lustring
  • Lye (from ashes)

• M.
  • Maggoty
  • Maim
  • [Mayhem (Law)]
  • Maize
  • Maleadministration
  • Malecontent
  • Malefeasance
  • Malepractice
  • Maltreat
  • Malkin
  • Mall
  • Malanders
  • Mameluke
  • Mandarin
  • Mandatary
  • Mandrel
  • Manifestable
  • Manikin
  • Manœuvre
  • Mantle
  • Mark
  • Marque (license)
  • Marquee
  • Marquis
  • Marshal
  • Marten
  • Martingale
  • Mask
  • Maslin
  • Mastic
  • Matins
  • Mattress
  • Meagre
  • Mediæval
  • Meliorate [If written ameliorate, follow copy.]
  • Menagerie
  • Merchandise
  • Mere (a pool)
  • Metre
  • Mew
  • Mewl
  • Mileage
  • Milleped
  • Millrea
  • Miscall
  • Misspell
  • Misspend
  • Misy (Min.)
  • Mistletoe
  • Mitre
  • Mizzen
  • Moccason
  • Mocha-stone
  • Modillion
  • Molasses
  • Moneyed
  • Mongrel
  • Monodrame
  • Mood
  • Moresque
  • Morion
  • Mortgageor
  • Mosque
  • Mosquito
  • Mould
  • Moult
  • Mulch
  • Mullin
  • Multiped
  • Mummery
  • Murder
  • Murderous
  • Murky
  • Murrhine
  • Muscle [Animal tissue.] {p150}
  • [Mussel (A shell-fish.)]
  • Musket
  • Mustache
  • Myth

• N.
  • Nankeen
  • Naught
  • Negotiate
  • Net (a., clear)
  • Nib
  • Nobless
  • Nombles
  • Novitiate
  • Nozle
  • Nuisance

• O.
  • Oblique
  • Octahedron
  • Offence
  • Offuscate
  • Olio
  • Omer
  • Opaque
  • Orach
  • Orison
  • Osier
  • Osmazome
  • Osprey
  • Ottar [If written Attar, follow copy.]
  • Outrageous
  • Oxidate
  • Oxidation
  • Oxide
  • Oxidize
  • Oyes

• P.
  • Pacha
  • Packet
  • Painim
  • Palanquin
  • Palette
  • Palmiped
  • Pandore
  • Panel
  • Pansy
  • Pantagraph
  • Pappoose
  • Parallelopiped
  • Paralyze
  • Parcenary
  • Parol (a.)
  • Paroquet
  • Parral
  • Parsnip
  • Partisan
  • Patin
  • Patrol
  • Paver
  • Pawl
  • Pedler
  • Pedlery
  • Peep
  • Penance
  • Penniless
  • Pentahedral
  • Pentahedron
  • Pentile
  • Peony
  • Perch
  • Persimmon
  • Persistence
  • Pewit
  • Phantasm
  • Phantom
  • Phenomenon
  • Phial [If written Vial, follow copy.]
  • Philter
  • Phlegm
  • Phœnix
  • Phthisic
  • [Piked Ending in a point.]
  • Picked [Spruce; smartly or foppishly dressed.]
  • Picket
  • [Piquet A game at cards.]
  • Picturesque
  • Pie
  • Piebald
  • Pimento
  • Pincers
  • Placard
  • Plain [A level, open field.]
  • [Plane So written in science and the arts.]
  • Plane-sailing
  • Plaster
  • Plat
  • Plethora
  • Pleurisy
  • Pliers
  • Plough
  • Ploughman
  • Ploughshare
  • Plumber
  • Plumiped
  • Pluviameter
  • Poise
  • Poltroon
  • Polyanthus
  • Polyhedral
  • Polyhedron
  • Pomade
  • Pommel
  • Pontoon
  • Pony
  • Porpoise
  • Portray
  • Portress
  • Postilion
  • Potato
  • Pottage
  • Practise (v.) {p151}
  • Præmunire
  • Premise
  • Pretence
  • Preterite
  • Pretor
  • Prison-base
  • Probate
  • Profane
  • Protector
  • Prothonotaryship
  • Prunello
  • Pumpkin
  • [Puisne (Law) Thus written as a technical word.]
  • Puny
  • Pupillary
  • Purblind
  • Purlin
  • Purr
  • Purslain
  • Pursy
  • Putrefy
  • Pygmean
  • Pygmy
  • Pyx

• Q.
  • Quarantine
  • Quartet
  • Quatercousin
  • Quay (a mole)
  • Quinsy
  • Quintain
  • Quintal
  • Quitter
  • Quoit

• R.
  • Raccoon
  • Raillery
  • Ransom
  • Rarefy
  • Raspberry
  • Ratafia
  • Rattan
  • Raven (prey)
  • Raze
  • Razure
  • Real (coin)
  • Rear
  • Rearmouse
  • Rearward
  • Recall
  • Recognizable
  • Recognizance
  • Recognize
  • Recognizee
  • Recognizor
  • Recompense
  • Reconnoitre
  • Redoubt
  • Redoubtable
  • Reenforcement
  • Referable
  • Reflection
  • Reflective
  • Reglet
  • Reindeer
  • Reinstall
  • Relic
  • Renard [If written Reynard, follow copy.]
  • Rennet
  • Replier
  • Reposit
  • Resin [This is the scientific term for the “inspissated exudations of certain families of plants.”]
  • Rosin [The name of the commonest resin in use, “when employed in a solid state for ordinary purposes.”]
  • Resistance
  • Respite
  • Restiff [If written restive, follow copy.]
  • Restiffness [If written restiveness, follow copy.]
  • Retch (to vomit)
  • Reverie [If written revery, follow copy.]
  • Reversible
  • Rhomb
  • [Rhumb (Nav.)]
  • Ribbon
  • Rider
  • Rinse
  • Risk
  • Riveted
  • Robbin
  • [Robin (Orn.)]
  • Rodomontade
  • Roquelaure
  • Route (course)
  • Rummage
  • Runnet
  • Rye

• S.
  • Sabianism
  • Sag
  • Saic
  • Sainfoin
  • Salic
  • Saltcellar
  • Sandarach
  • Sandiver
  • Sanitary
  • Sarcenet
  • Sat
  • Satchel
  • Satinet
  • Savin
  • Saviour [When the Redeemer is meant, the u should be retained. Worcester’s note under this word says that error, favor, and honor are derived directly from {p152} the Latin, whereas there is no classical Latin word corresponding to the Greek saviour = σωτήρ.]
  • [Savior This orthography is proper when a sacred meaning is not attached to the word.]
  • Scallop
  • Scath
  • Scenery
  • Sceptic
  • Sceptical
  • Scepticism
  • Schist
  • Schistose
  • Scholium
  • Schorl
  • Sciagraphy
  • Sciomachy
  • Scion
  • Scirrhosity
  • Scirrhous [a.]
  • Scirrhus [n.]
  • Scissors
  • Sconce
  • Scotfree
  • Scow
  • Screen
  • Scrofula
  • Scythe
  • Seamstress
  • Sear
  • Searce
  • Secretaryship
  • Seethe
  • Seignior
  • Seine (a net)
  • Seizin
  • Sellenders
  • Selvage
  • Sentinel
  • Sentry
  • Sequin
  • Sergeant
  • Sergeantry
  • Sesspool [If written cesspool, follow copy.]
  • Sevennight
  • Shad
  • Shard
  • Shark (v.) [But shirk is more common, follow copy.]
  • Shawm
  • Sheathe (v.)
  • Sheer (pure)
  • Sheik
  • Shemitic
  • Sherbet
  • Sherry
  • Shorling
  • Show
  • Showbread
  • Shrillness
  • Shroud
  • Shuttlecock
  • Shyly
  • Shyness
  • Sienite
  • Silicious
  • Sill
  • Sillabub
  • Simar
  • Siphon
  • Siren
  • Sirloin
  • Sirocco
  • Sirup
  • Sit (to incubate)
  • Site
  • Sizar
  • Size (glue)
  • Skate
  • Skein
  • Skilful
  • Skulk
  • Skull
  • Slabber
  • Slake (to quench)
  • Sleight (n.)
  • Sley (a reed)
  • Sluice
  • Slyly
  • Slyness
  • Smallness
  • Smirk
  • Smooth (v.)
  • Soap
  • Socage
  • Socle
  • Solan
  • Solder
  • Soldier
  • Soliped
  • Solitaire
  • Solvable
  • Somerset
  • Sonneteer
  • Soothe (v.)
  • Sorrel
  • Souse
  • Spa
  • Spicknel
  • Spinach
  • Spinel
  • Splice
  • Sponge
  • Spongy
  • Spright
  • Sprightful
  • Spunk
  • Spurt
  • Stable
  • Staddle
  • Stanch
  • Stationery (n.)
  • Steadfast
  • Steelyard
  • Sterile
  • Stillness
  • Stockade
  • Strait (n.)
  • Strap
  • Strengthener
  • Strew
  • Stupefy {p153}
  • Sty
  • Style
  • Subtile (thin)
  • Subtle (sly)
  • Subtract
  • Subtraction
  • Suit
  • Suitor
  • Sulky (n.)
  • Sulphuretted
  • Sumach
  • Suretyship
  • Surname
  • Surprise
  • Surreptitious
  • Survivor
  • Survivorship
  • Swale
  • Sward
  • Swath (n.)
  • Sweepstakes
  • Swipple
  • Swop [If written swap, follow copy.]
  • Sycamore
  • Sylvan
  • Synonyme
  • Syphilis
  • Systematize

• T.
  • Tabard
  • Taffety
  • Taffrail
  • Taillage
  • Talc (a stone)
  • Tallness
  • Talmud
  • Tambour
  • Tambourine
  • Tarpauling
  • Tartan
  • Tassel
  • Tawny
  • Tease
  • Teazle
  • Tenable
  • Terrier
  • Tether
  • Tetrastich
  • Theodolite
  • Thraldom
  • Thrash
  • Threshold
  • Throe (a pang)
  • Thyine (wood)
  • Thyme
  • Ticking
  • Tidbit
  • Tie
  • Tier (a row)
  • Tierce
  • Tiger
  • Tincal
  • Tint
  • Tiny
  • Tippler
  • Tithe
  • Toilet
  • Toll (to allure)
  • Tollbooth
  • Ton
  • [Tun (Tun is the usual orthography when a large cask or wine measure [252 gallons] is meant; Ton when a weight of 20 cwt., the space in a ship, or a measure of timber is meant.—Brande.)]
  • Tonnage
  • Tormentor
  • Touchy
  • Tourmaline
  • Trance
  • Tranquillity
  • Tranquillize
  • Transferable
  • Transferrence
  • Treadle
  • Treenail
  • Trellis
  • Trentals
  • Trestle
  • Trevet
  • Trousers
  • Truckle-bed
  • Tumbrel
  • Turkey
  • Turkois
  • Turnip
  • Turnsole
  • Tutenag
  • Tweedle
  • Twibil
  • Tymbal
  • Tyro

• U.
  • Umbles
  • Unbias
  • Unbiassed
  • Unbigoted
  • Unroll
  • Until

• V.
  • Vaivode
  • Vales (money)
  • Valise
  • Vantbrace
  • Vat (a vessel)
  • Vaudevil
  • Vavasor
  • Veil (cover)
  • Vender
  • [Vendor (Law)]
  • Veneer
  • Venomous
  • Verdigris
  • Vermilion
  • Vermin
  • Verst
  • Vertebre [If written Vertebra, follow copy.] {p154}
  • Vervain
  • Vice (a screw)
  • Vicious
  • Villain
  • Villanous
  • Villany
  • Visitatorial
  • Visitor
  • Visor
  • Vitiate
  • Vizier
  • Volcano

• W.
  • Wagon
  • Waif
  • Waive (to defer)
  • Wale
  • Walrus
  • Warranter
  • [Warrantor (Law)]
  • War-whoop
  • Waul
  • Wear (v.)
  • Wear (n.)
  • Weasand
  • Welsh
  • Whang
  • Whelk
  • Whippletree
  • Whippoorwill
  • Whiskey
  • Whitleather
  • Whoop
  • Whooping-cough
  • Widgeon
  • Wilful
  • Windlass
  • Wintry
  • Wiry
  • Witch-elm
  • With (n.)
  • Withal
  • Wizard
  • Woe
  • Woful
  • Wondrous
  • Woodbine
  • Woodchuck
  • Woollen
  • Wreathe (v.)
  • Wreck
  • Wriggle

• Y.
  • Yawl
  • Yearn
  • Yeast
  • Yelk
  • Yerk
  • Yew

• Z.
  • Zaffre
  • Zinc
  • Zymology

There is a large class of words ending either in able or ible, amounting to more than sixteen hundred. For these we know of no general rule which can be given, that would readily indicate the proper termination. In practice, writers and printers, with rare exceptions, are obliged at times to depend on something besides memory to secure correctness; and if the dictionary is not at hand, the wrong termination may—as in fact it often does—get into print. So excellent a work as “The American First Class Book” prints an extract from Webster’s Plymouth oration thus:

And in a periodical which is sent broadcast over the United States, occurs the following paragraph (April 24, 1888), copied from a report made by Henry Clay in 1838:

We append below, for convenient reference, a catalogue of the words referred to, including (1) those in present use; (2) those that are rare; and (3) the obsolete. The latter often occur in reprints, and are sometimes resuscitated or galvanized for a present purpose,—as, for instance, in a recent popular novel, of wide circulation, there occurs three or more times, the word “ineluctable,” denoted by Webster as obsolete. We may have omitted some words that should have been inserted, but believe we have accomplished our object within very negligible limits of error.

A word in parenthesis indicates a various mode of spelling the word immediately preceding.

WORDS ENDING IN ABLE.

• Abatable
• Abdicable
• Abolishable
• Abominable
• Abrogable
• Absolvable
• Absorbable
• Abusable
• Accentuable
• Acceptable
• Acclimatable
• Accomplishable
• Accordable
• Accostable
• Accountable
• Accusable
• Achievable
• Acidifiable
• Acquirable
• Actable
• Actionable
• Adaptable
• Addable
• (Addible)
• Adjustable
• Administrable
• Admirable
• Admittable
• (Admittible)
• Adoptable
• Adorable
• Advantageable
• Advisable
• Affable
• Affilliable
• Affirmable
• Aggrandizable
• Agitable
• Agreeable
• Alienable
• Alkalifiable
• Allegeable
• Allowable
• Alterable
• Amassable
• Ameliorable
• Amenable
• Amendable
• Amiable
• Amicable
• Amusable
• Analyzable
• Anchorable
• Annihilable
• Answerable
• Appealable
• Appeasable
• Appliable
• Applicable
• Appointable
• Appreciable
• Approachable
• Appropriable
• Approvable
• Arable
• Arbitrable
• Arguable
• Argumentable
• Ascertainable
• Ascribable
• Aspectable
• Assailable
• Assaultable
• Assessable
• Assignable
• Assimilable
• Associable
• Atonable
• Attachable
• Attackable
• Attainable
• Attemptable
• Attractable
• Attributable
• Augmentable
• Authorizable
• Available
• Avoidable
• Avouchable
• Avowable
• Bailable
• Bankable
• Batable
• Bearable
• Beggable
• Believable
• Bendable
• Bequeathable
• Bewailable
• Blamable
• Boardable
• Boatable
• Bounceable
• Breakable
• Breathable
• Calcinable
• Calculable
• Capable
• Carriable
• Causable
• Censurable
• Challengeable
• Changeable
• Chargeable
• Charitable
• Chastisable
• Cheatable
• Circulable
• Circumnavigable
• Circumscribable
• Citable
• Civilizable
• Claimable
• Classifiable
• Cleansable
• Cleavable
• Clergyable
• Climbable
• Coagulable
• Cogitable
• Cognizable
• Collatable
• Colorable
• Combatable
• Comfortable
• Commandable
• Commeasurable
• Commemorable
• Commendable
• Commensurable
• Commonable
• Communicable
• Commutable
• Companionable
• Comparable
• Compassable
• Compellable
• Compliable
• Comportable
• Compoundable
• Computable
• Concealable
• Conceivable
• Concordable
• Condemnable
• Condensable
• Conferrable
• Confinable
• Confirmable
• Confiscable
• Conformable
• Confusable
• Confutable
• Congeable
• Congealable
• Conjecturable
• Conquerable
• Conscionable
• Conservable
• Considerable
• Consolable
• Constrainable
• Consumable
• Containable
• Contaminable
• Conterminable
• Contestable
• Continuable
• Contradictable
• Contributable
• Contrivable
• Controllable
• Conversable
• Conveyable
• Countable
• Countermandable
• Covetable
• Creatable
• Creditable
• Criticisable
• Crummable
• Crystallizable
• Culpable
• Cultivable
• Cultivatable
• Culturable
• Curable
• Customable
• Damageable
• Debatable
• Deceivable
• Decidable
• Decipherable
• Declarable
• Declinable
• Decomposable
• Decompoundable
• Decreeable
• Definable
• Deflagrable
• Delectable
• Deliverable
• Deludable
• Demandable
• Demisable
• Demonstrable
• Deniable
• Denominable
• Denotable
• Deplorable
• Deposable
• Deprecable
• Deprivable
• Derivable
• Describable
• Designable
• Desirable
• Despicable
• Detectable
• Determinable
• Detestable
• Devisable
• Diggable
• Dilatable
• Diminishable
• Disagreeable
• Disallowable
• Disciplinable
• Discommendable
• Disconformable
• Discountable
• Discourageable
• Discoverable
• Discreditable
• Disenable
• Dishonorable
• Disintegrable
• Dispensable
• Displaceable
• Disposable
• Disproportionable
• Disprovable
• Dispunishable
• Disputable
• Disreputable
• Disserviceable
• Dissociable
• Dissolvable
• Distillable
• Distinguishable
• Distrainable
• Distributable
• Diversifiable
• Dividable
• Divorceable
• (Divorcible)
• Doubtable
• Dowable
• Drainable
• Dramatizable
• Drawable
• Drinkable
• Dupable
• Durable
• Dutiable
• Eatable
• Effable
• Effaceable
• Electrifiable
• Electrolyzable
• Emendable
• Employable
• Endable
• Endurable
• Enforceable
• (Enforcible)
• Englishable
• Enjoyable
• Enticeable
• Enunciable
• Enviable
• Equable
• Equitable
• Eradicable
• Erasable
• Erectable
• Escapable
• Escheatable
• Estimable
• Evaporable
• Examinable
• Exceptionable
• Exchangeable
• Excisable
• Excitable
• Excommunicable
• Exculpable
• Excusable
• Execrable
• Exemplifiable
• Exercisable
• (Exercisible)
• Exhalable
• Exorable
• Expectable
• Expellable
• Expiable
• Expirable
• Explainable
• Explicable
• Exportable
• Extinguishable
• Extirpable
• Extractable
• (Extractible)
• Extricable
• Exuviable
• Falsifiable
• Farmable
• Fashionable
• Fathomable
• Favorable
• Fellable
• Fermentable
• Figurable
• Finable
• Fixable
• Fordable
• Foreknowable
• Forfeitable
• Forgivable
• Formidable
• Fortifiable
• Framable
• Friable
• Fundable
• Furbishable
• Gainable
• Gaugeable
• Gelable
• Generable
• Generalizable
• Governable
• Grantable
• Graspable
• Guardable
• Guerdonable
• Guessable
• Guidable
• Habitable
• Hammerable
• Handleable
• Hatable
• Hazardable
• Healable
• Heriotable
• Heritable
• Homageable
• Honorable
• Hospitable
• Husbandable
• Hybridizable
• Identifiable
• Illapsable
• Illaudable
• Illimitable
• Illuminable
• Illustrable
• Imaginable
• Imitable
• Immalleable
• Immeasurable
• Immedicable
• Immemorable
• Immensurable
• Immersable
• (Immersible)
• Immitigable
• Immovable
• Immutable
• Impalpable
• Impassable
• Impassionable
• Impeachable
• Impeccable
• Impenetrable
• Imperforable
• Imperishable
• Impermeable
• Imperturbable
• Imperviable
• Implacable
• Impliable
• Imponderable
• Importable
• Imposable
• Impracticable
• Impregnable
• Impressionable
• Impreventable
• Improbable
• Improvable
• Impugnable
• Imputable
• Inaffable
• Inalienable
• Inamovable
• Inappealable
• Inapplicable
• Inappreciable
• Inapproachable
• Inarable
• Incalculable
• Incapable
• Incensurable
• Incinerable
• Inclinable
• Incoagulable
• Incogitable
• Incognizable
• Incommensurable
• Incommunicable
• Incommutable
• Incomparable
• Incompensable
• Incompliable
• Incomputable
• Inconcealable
• Inconceivable
• Incondensable
• Incongealable
• Inconsiderable
• Inconsolable
• Inconsumable
• Incontestable
• Incontrollable
• Increasable
• Incrystallizable
• Inculpable
• Incurable
• Indecimable
• Indecipherable
• Indeclinable
• Indecomposable
• Indefatigable
• Indefinable
• Indelectable
• Indemonstrable
• Indeprecable
• Indeprivable
• Indescribable
• Indesirable
• Indeterminable
• Indictable
• Indiminishable
• Indisciplinable
• Indiscoverable
• Indispensable
• Indisputable
• Indissolvable
• Indistinguishable
• Indomitable
• Indorsable
• Indubitable
• Ineffable
• Ineffaceable
• Inequitable
• Ineradicable
• Inestimable
• Inevitable
• Inexcitable
• Inexcusable
• Inexecutable
• Inexorable
• Inexpiable
• Inexplicable
• Inexplorable
• Inexpugnable
• Inexsuperable
• Inexterminable
• Inextinguishable
• Inextirpable
• Inextricable
• Inferable
• (Inferrible)
• Inflammable
• Inflatable
• Ingelable
• Ingenerable
• Inhabitable
• Inheritable
• Inhospitable
• Inimaginable
• Inimitable
• Inirritable
• Innavigable
• Innumerable
• Inobservable
• Inoculable
• Inoxidizable
• Inquirable
• Insanable
• Insatiable
• Insaturable
• Inscribable
• Inscrutable
• Insecable
• Inseparable
• Inseverable
• Insolvable
• Inspirable
• Instable
• Insufferable
• Insultable
• Insuperable
• Insupportable
• Insupposable
• Insurable
• Insurmountable
• Intastable
• Intenable
• Interchangeable
• Intercommunicable
• Interminable
• Interpolable
• Interpretable
• Intestable
• Intolerable
• Intractable
• Intransmutable
• Invaluable
• Invariable
• Investigable
• Inviolable
• Invitrifiable
• Invulnerable
• Irrebuttable
• Irreclaimable
• Irrecognizable
• Irreconcilable
• Irrecordable
• Irrecoverable
• Irrecusable
• Irredeemable
• Irrefragable
• Irrefutable
• Irrejectable
• Irrelievable
• Irremeable
• Irremediable
• Irremovable
• Irremunerable
• Irreparable
• Irrepealable
• Irrepleviable
• Irreplevisable
• Irrepresentable
• Irreproachable
• Irreprovable
• Irresolvable
• Irrespirable
• Irresuscitable
• Irretraceable
• Irretrievable
• Irreturnable
• Irrevealable
• Irrevocable
• Irrevokable
• Irritable
• Isolable
• Issuable
• Judicable
• Justiciable
• Justifiable
• Knittable
• Knowable
• Lacerable
• Lamentable
• Laminable
• Lapsable
• Laudable
• Laughable
• Learnable
• Leasable
• Lendable
• Leviable
• Levigable
• Liable
• Licensable
• Liftable
• Likable
• Limitable
• Liquable
• Liquefiable
• Litigable
• Loanable
• Lodgeable
• Losable
• Lovable
• Magnifiable
• Mailable
• Mainpernable
• Maintainable
• Malleable
• Manageable
• Manifestable
• (Manifestible)
• Marketable
• Marriageable
• Masticable
• Measurable
• Medicable
• Memorable
• Mendable
• Mensurable
• Mentionable
• Merchantable
• Miserable
• Misinterpretable
• Mistakable
• Mitigable
• Mixable
• Modifiable
• Moldable
• Mollifiable
• Mootable
• Mountable
• Movable
• Multipliable
• Multiplicable
• Mutable
• Namable
• Navigable
• Negotiable
• Nonexcommunicable
• Notable
• Noticeable
• Nourishable
• Numerable
• Objectionable
• Obligable
• Observable
• Obtainable
• Offerable
• Opposable
• Ordainable
• Orderable
• Organizable
• Originable
• Overcapable
• Oxidable
• Oxidizable
• Oxygenizable
• Palatable
• Palpable
• Pardonable
• Partable
• (Partible)
• Passable
• Pasturable
• Patentable
• Pawnable
• Payable
• Peaceable
• Peccable
• Penetrable
• Perceivable
• Perdurable
• Performable
• Perishable
• Permeable
• Permutable
• Perpetuable
• Personable
• Perspirable
• Persuadable
• Picturable
• Pierceable
• Pitiable
• Placable
• Plantable
• Pleadable
• Pleasurable
• Pliable
• Plowable
• Poisonable
• Polarizable
• Polishable
• Polysyllable
• Ponderable
• Portable
• Potable
• Powerable
• Practicable
• Precipitable
• Predeterminable
• Predicable
• Preferable
• Preparable
• Presentable
• Preservable
• Prestable
• Presumable
• Preventable
• Probable
• Procurable
• Profitable
• Prognosticable
• Prolongable
• Pronounceable
• Propagable
• Proportionable
• Proratable
• Prosecutable
• Protrudable
• Provable
• Provokable
• Publishable
• Pulverable
• Pulverizable
• Punishable
• Purchasable
• Pursuable
• Quadrable
• Qualifiable
• Quenchable
• Questionable
• Quotable
• Raisable
• Ratable
• (Rateable)
• Reachable
• Readable
• Realizable
• Reasonable
• Rebukable
• Recallable
• Receivable
• Reclaimable
• Recognizable
• Recommendable
• Reconcilable
• Recoverable
• Rectifiable
• Redeemable
• Redemandable
• Redoubtable
• Reexaminable
• Referable
• (Referrible)
• Refusable
• Refutable
• Regrettable
• Reissuable
• Rejectable
• Relaxable
• Releasable
• Reliable
• Relievable
• Relishable
• Remarkable
• Remediable
• Removable
• Remunerable
• Renderable
• Renewable
• Rentable
• Reobtainable
• Repairable
• Reparable
• Repayable
• Repealable
• Repleviable
• Representable
• Reproachable
• Reprovable
• Repudiable
• Reputable
• Rescindable
• Rescuable
• Resolvable
• Respectable
• Respirable
• Restorable
• Restrainable
• Resumable
• Resuscitable
• Retainable
• Retractable
• (Retractible)
• Retrievable
• Returnable
• Revealable
• Revengeable
• Reviewable
• Revivable
• Revocable
• Rewardable
• Rollable
• Ruinable
• Rulable
• Sailable
• Salable
• Salifiable
• Salvable
• Sanable
• Saponifiable
• Satisfiable
• Saturable
• Savable
• Scalable
• Searchable
• Seasonable
• Securable
• Seizable
• Separable
• Sequestrable
• Servable
• Serviceable
• Shapable
• Shiftable
• Sizable
• Sociable
• Solvable
• Sortable
• Soundable
• Spoilable
• Squeezable
• Statable
• Statutable
• Suable
• Subconformable
• Sublimable
• Subscribable
• Succorable
• Sufferable
• Suitable
• Superserviceable
• Supportable
• Supposable
• Surmountable
• Surpassable
• Sustainable
• Tamable
• Tannable
• Tastable
• Taxable
• Teachable
• Tellable
• Temperable
• Temptable
• Tenable
• Tenantable
• Terminable
• Testable
• Tillable
• Tithable
• Tolerable
• Tollable
• Torturable
• Touchable
• Traceable
• Tractable
• Trainable
• Transferable
• (Transferrible)
• Transformable
• Translatable
• Transmeatable
• Transmutable
• Transpirable
• Transportable
• Transposable
• Traversable
• Treasonable
• Treatable
• Triable
• Triturable
• Tunable
• Ulcerable
• Unacceptable
• Unaccountable
• Unadvisable
• Unagreeable
• Unaidable
• Unamiable
• Unanswerable
• Unappealable
• Unapproachable
• Unaskable
• Unavoidable
• Uncharitable
• Uncleanable
• Uncomeatable
• Uncomfortable
• Uncommunicable
• Unconformable
• Unconscionable
• Uncontrollable
• Uncustomable
• Undauntable
• Undeniable
• Undivinable
• Unexceptionable
• Unextinguishable
• Unfashionable
• Unfathomable
• Unfavorable
• Unforgetable
• Ungovernable
• Unimpeachable
• Unitable
• Unknowable
• Unmalleable
• Unmerchantable
• Unmeritable
• Unmistakable
• Unpassable
• Unpeaceable
• Unpeerable
• Unprofitable
• Unquestionable
• Unreasonable
• Unreconcilable
• Unreliable
• Unrebukable
• Unreckonable
• Unreprovable
• Unsalable
• Unsearchable
• Unseasonable
• Unsociable
• Unspeakable
• Unstable
• Unsuitable
• Unutterable
• Unwarrantable
• Unwedgeable
• Usable
• Utterable
• Valuable
• Vanquishable
• Vaporable
• Vaporizable
• Variable
• Veerable
• Vegetable
• Venerable
• Verifiable
• Veritable
• Viable
• Vindicable
• Violable
• Visitable
• Vitrifiable
• Voidable
• Volatilizable
• Voyageable
• Vulnerable
• Warrantable
• Washable
• Wearable
• Weighable
• Weldable
• Wieldable
• Workable

WORDS ENDING IN “ABLE”; RARE.

• Accomptable (or obs.)
• Accommodable
• Accustomable
• Baptizable
• Burnable
• Borable
• Carriageable
• Catchable
• Commiserable
• Complainable
• Defendable
• Despisable
• Destroyable
• Discontinuable
• Dissipable
• Donable
• Dubitable
• Educable
• Effluviable
• Emulable
• Entreatable
• Equiparable
• Errable
• Esteemable
• Executable
• Expugnable
• Frustrable
• Gatherable
• Gettable
• Hereditable
• Illaqueable
• Imageable
• Impalatable
• Imperceivable
• Impersuadable
• Incicurable
• Inequable
• Innominable
• Manducable
• Marriable
• Matchable
• Medicinable
• Meltable
• Mockable
• Pacificable
• Pregnable
• Quittable
• Razorable
• Recuperable
• Refragable
• Regardable
• Regulable
• Rememberable
• Replantable
• Replevisable
• Repugnable
• Scrutable
• Smokable
• Speakable
• Strangleable
• Subduable
• Superable
• Suspectable
• Tractable
• Thinkable
• Transpassable
• Unalienable
• Unculpable
• Understandable
• Unforeseeable
• Unhabitable
• Unlimitable
• Unmakable
• Unmeasurable
• Unmovable
• Unscrutable
• Untractable
• Unvoyageable
• Walkable
• Weariable
• Wishable
• Worshipable
• Woundable
• Yieldable

WORDS ENDING IN “ABLE”; OBSOLETE.

• Abhominable
• Acetable
• Accompanable
• Accomptable (or rare.)
• Acquaintable
• Animable
• Aptable
• Battable
• Behoovable
• Bowable
• Chanceable
• Colliquable
• Circumstantiable
• Combinable
• Companable
• Companiable
• Compassionable
• Compensable
• Conciliable
• Consortable
• Conspectable
• Conusable
• Convenable
• Counselable
• Covenable
• Creable
• Defatigable
• Delightable
• Dependable
• Depredable
• Destinable
• Devitable
• Disable
• Disadvantageable
• Discomfortable
• Discordable
• Discriminable
• Disfavorable
• Dispraisable
• Disprofitable
• Doctrinable
• Domable
• Dreadable
• Earable
• Effrayable
• Endamageable
• Eterminable
• Exceedable
• Excoriable
• Excreable
• Excruciable
• Exoptable
• Exuperable
• Fatigable
• Fittable
• Flammable
• Foilable
• Frequentable
• Grievable
• Guildable
• Gustable
• Illacerable
• Illeviable
• Immatchable
• Immixable
• Impacable
• Impardonable
• Imperscrutable
• Impetrable
• Impierceable
• Improfitable
• Improportionable
• Inaidable
• Inalterable
• Inamiable
• Incessable
• Incharitable
• Incomformable
• Inconscionable
• Incremable
• Individable
• Indomable
• Indomptable
• Ineluctable
• Inenarrable
• Inerrable
• Inexhalable
• Inexplainable
• Inexuperable
• Infashionable
• Infatigable
• Informidable
• Ingustable
• Injudicable
• Inopinable
• Insociable
• Insuitable
• Intricable
• Inutterable
• Irrecuperable
• Irreputable
• Iterable
• Jaculable
• Justiceable
• Lachrymable
• Leisurable
• Makable
• Maniable
• Markable
• Mercable
• Merciable
• Meritable
• Mingleable
• Mirable
• Miscarriageable
• Moderable
• Modificable
• Moltable
• Narrable
• Oathable
• Objectable
• Occasionable
• Operable
• Opinable
• Optable
• Ordinable
• Overturnable
• Painable
• Parable
• Parallelable
• Perceable
• Perflable
• Perspicable
• Postable
• Praisable
• Replevisable
• Resemblable
• Rowable
• Sacrificable
• Screable
• Scribable
• Semblable
• Spirable
• Strainable
• Suspicable
• Trafficable
• Transmeable
• Troublable
• Unappliable
• Unapplicable
• Uncapable
• Unconceivable
• Uncontestable
• Uncounselable
• Uncovenable
• Uncreditable
• Uncurable
• Undefatigable
• Undepartable
• Undertakable
• Undestroyable
• Undeterminable
• Undisputable
• Undoubtable
• Undubitable
• Undwellable
• Unequalable
• Unevitable
• Unexcusable
• Unextricable
• Unfailable
• Unframable
• Unhospitable
• Unimitable
• Unmasterable
• Unnumerable
• Unpenetrable
• Unperishable
• Unplacable
• Unpracticable
• Unprizable
• Unquarrelable
• Unremovable
• Unreproachable
• Unreputable
• Unsatiable
• Unseparable
• Unshakable
• Unsightable
• Unsucceedable
• Unsufferable
• Unsupportable
• Unswayable
• Untellable
• Untriumphable
• Untrowable
• Unvaluable
• Unvariable
• Unvulnerable
• Vailable
• Vengeable
• Veniable
• Versable
• Vituperable
• Volitable
• Wainable
• Warhable

WORDS ENDING IN IBLE.

• Abhorrible
• Accendible
• Accessible
• Addible
• (Addable)
• Adducible
• Admissible
• Adustible
• Apprehensible
• Ascendible
• Audible
• Bipartible
• Circumscriptible
• Classible
• Coctible
• Coercible
• Cognoscible
• Cohesible
• Collectible
• Combustible
• Compactible
• Compatible
• Comprehensible
• Compressible
• Concrescible
• Conducible
• Conductible
• Confluxible
• Contemptible
• Contractible
• Controvertible
• Conversible
• Convertible
• Convincible
• Correctible
• Corrigible
• Corrodible
• Corrosible
• Corruptible
• Credible
• Decoctible
• Deducible
• Deductible
• Defeasible
• Defectible
• Defensible
• Descendible
• Destructible
• Diffusible
• Digestible
• Discernible
• Dissectible
• Distensible
• Distractible
• Divertible
• Divestible
• Divisible
• Divorcible
• (Divorceable)
• Docible
• Edible
• Educible
• Effectible
• Effervescible
• Eligible
• Eludible
• Enforcible
• (Enforceable)
• Evincible
• Exercisible
• (Exercisable)
• Exhaustible
• Expansible
• Expressible
• Extendible
• Extensible
• Extractible
• (Extractable)
• Fallible
• Feasible
• Fencible
• Fermentescible
• Flexible
• Fluxible
• Forcible
• Frangible
• Fungible
• Fusible
• Gullible
• Horrible
• Ignitible
• Illegible
• Immersible
• (Immersable)
• Immiscible
• Impartible
• Impassible
• Impedible
• Imperceptible
• Impersuasible
• Implausible
• Impossible
• Imprescriptible
• Impressible
• Imputrescible
• Inaccessible
• Inadmissible
• Inapprehensible
• Inaudible
• Incircumscriptible
• Incoercible
• Incombustible
• Incommiscible
• Incompatible
• Incomprehensible
• Incompressible
• Inconcussible
• Incontrovertible
• Inconvertible
• Inconvincible
• Incorrigible
• Incorrodible
• Incorruptible
• Incredible
• Indefeasible
• Indefectible
• Indefensible
• Indelible
• Indeprehensible
• Indestructible
• Indigestible
• Indiscernible
• Indiscerptible
• Indivisible
• Indocible
• Inducible
• Ineffervescible
• Ineligible
• Ineludible
• Inevasible
• Inexhaustible
• Inexpansible
• Inexpressible
• Infallible
• Infeasible
• Inferrible
• (Inferable)
• Inflexible
• Infrangible
• Infusible
• Inscriptible
• Insensible
• Instructible
• Insuppressible
• Insusceptible
• Intactible
• Intangible
• Intelligible
• Interconvertible
• Intervisible
• Invendible
• Inventible
• Invertible
• Invincible
• Invisible
• Irascible
• Irreducible
• Irrefrangible
• Irremissible
• Irreprehensible
• Irrepressible
• Irresistible
• Irresponsible
• Irreversible
• Legible
• Manifestible
• (Manifestable)
• Marcescible
• Miscible
• Negligible
• Nexible
• Omissible
• Ostensible
• Partible
• (Partable)
• Passible
• Perceptible
• Perfectible
• Permiscible
• Permissible
• Persuasible
• Pervertible
• Plausible
• Possible
• Prehensible
• Prescriptible
• Producible
• Productible
• Putrescible
• Quadrible
• Receptible
• Redemptible
• Redressible
• Reducible
• Re-eligible
• Referrible
• (Referable)
• Reflectible
• Reflexible
• Refrangible
• Remissible
• Renascible
• Rend-ible (from rend)
• Ren-dible (from render)
• Reprehensible
• Resistible
• Responsible
• Retractible
• (Retractable)
• Reversible
• Revertible
• Risible
• Seducible
• Sensible
• Sponsible
• Subdivisible
• Subvertible
• Supersensible
• Suppressible
• Susceptible
• Suspensible
• Tangible
• Terrible
• Transferrible
• (Tranferable)
• Transfusible
• Transmissible
• Transmittible
• Tripartible
• Vendible
• Vincible
• Visible
• Vitrescible

WORDS ENDING IN “IBLE”; RARE.

• Affectible
• Cessible
• Committible
• Compossible
• Convictible
• Cullible
• Discerpible
• Discerptible
• Evadible
• Evasible
• Exigible
• Impatible
• Impermissible
• Incognoscible
• Infractible
• Insubmergible
• Suasible
• Tensible
• Traducible
• Transvertible
• Unadmissible
• Unadmittible
• Unexhaustible
• Unexpressible
• Unflexible
• Unfusible
• Unrepressible
• Unresponsible

WORDS ENDING IN “IBLE”; OBSOLETE.

• Agible
• Appetible
• Alible
• Comestible
• Comminuible
• Competible
• Comptible
• Conceptible
• Conclusible
• Congestible
• Deceptible
• Decerptible
• Depectible
• Depertible
• Deprehensible
• Erigible
• Exemptible
• Expetible
• Fensible
• Fulcible
• Ignoscible
• Immarcescible
• Imperdible
• Impertransible
• Inamissible
• Incompossible
• Inconceptible
• Inconsumptible
• Indefeisible
• Indicible
• Indiscerpible
• Indistinctible
• Inextinguible
• Intransgressible
• Inquisible
• Intenible
• Irremittible
• Miscible
• Obedible
• Odible
• Offensible
• Patible
• Regible
• Sejungible
• Sepelible
• Suadible
• Suasible
• Subjicible
• Unaccessible
• Uncorrigible
• Uncorruptible
• Uncredible
• Undefeasible
• Uneligible
• Unfallible
• Unfrangible
• Unpossible
• Unresistible
• Unsensible
• Untangible
• Unvisible

NOUNS ENDING IN O.

Errors sometimes occur in forming the plural of nouns in o. We frequently see frescoes, mottos,—both wrong. The general rule is, If the final o has a vowel before it, form the plural by adding s: as “cameo, cameos”; if a consonant precede the final o, add es; as “archipelago, archipelagoes.” Such exceptions to the general rule as are most frequently met with, and a few that are rare, we here subjoin: {p168}

But “albugo” has pl. “albugines”; and to “imago” we should probably have to write pl. “imagines.” There are many nouns ending in o, for whose plurals we have not found any authority beyond the general rule. With the exceptions given above, the rule may be safely followed. The plural of “portico” is a matter of style: and there is some authority for “quartoes.”

WORDS ENDING IN ISE.

Words ending with the sound of ize are variously spelled ise or ize. Of this class the correct spelling of the following words is ise; nearly if not quite all others take ize. {p169}

• Advertise
• Advise
• Affranchise
• Apprise
• Catechise
• Chastise
• Circumcise
• Comprise
• Compromise
• Criticise
• Demise
• Despise
• Devise
• Disfranchise
• Disguise
• Divertise
• Emprise
• Enfranchise
• Enterprise
• Exercise
• Exorcise
• Franchise
• Merchandise
• Misprise
• Premise
• Reprise
• Revise
• Supervise
• Surmise
• Surprise

EI AND IE.