TRANSCRIBER’S NOTE

  This was a reference book for typesetters and proofreaders at the
  University Press, Oxford. While primarily covering English words and
  grammar, it also addresses French, German, Latin and Greek
  text in UP books.

  This etext simplifies the original text by using common Unicode
  characters, so that a wide variety of display devices will present
  a more readable book to readers. A few less common characters remain,
  and some devices may not display them correctly.

  Footnote anchors are denoted by [number], and the footnotes have been
  placed at the end of each major section. Many footnotes have more
  than one anchor; in these cases the second and third anchors have been
  denoted by {number}.

  In this etext italic text is denoted by _underscores_.

  A superscript is denoted by ^x or ^{xx}, for example y^e or
  C^{10}H^{12}.

  A subscript is denoted by _{x}, for example P_{1}.

  The original book had many German words and phrases in Fraktur
  (blackletter) font, primarily in Appendix III. This etext has
  replaced each Fraktur letter with the corresponding roman letter,
  and the Fraktur text string is denoted by =equalsigns=.

  Appendix III addresses printing of German Fraktur text. There are
  many digraphs (a pair of letters printed as one type-letter) in the
  Fraktur text in the original book. They are shown in this etext as
  a pair of letters in roman, for example ch, ck, ff, ſſ, ſt, ſz. The
  printed long-s character, ſ, has been retained and _not_ changed to
  the modern short s character. In the original book a Fraktur
  word-division was indicated by an = (for example an=fangen); in this
  etext a tilde ~ is used instead (an~fangen).

  Page 98 shows a page of printed text with dozens of handwritten
  proofreading correction marks and notes. These are not reproduced in
  this etext, but can be seen in the web and ereader versions of this
  book. Page 99 has the corrected version of that marked-up text.




                        RULES FOR COMPOSITORS
                             AND READERS

                   AT THE UNIVERSITY PRESS, OXFORD

                                  BY
                          HORACE HART, M.A.
                 PRINTER TO THE UNIVERSITY OF OXFORD


                   THE ENGLISH SPELLINGS REVISED BY
         SIR JAMES A. H. MURRAY, M.A., D.C.L., LL.D., D.LITT.
                                 AND
                      HENRY BRADLEY, M.A., PH.D.
                   EDITORS OF THE OXFORD DICTIONARY


                        TWENTY-SECOND EDITION
                     (THE EIGHTH FOR PUBLICATION)


                                LONDON
                   HENRY FROWDE, AMEN CORNER, E.C.
                       OXFORD: 116 HIGH STREET
                                 1912




These Rules apply generally, and they are only to be departed from
when the written instructions which accompany copy for a new book
contain an express direction that they are _not_ to be followed in
certain specified cases.

[Illustration: (light bulb; end of section marker)]


          _First Edition, April 1893. Reprinted, Dec. 1894._
                    _Reprinted with alterations_—

         _Jan. 1895_; _Feb. 1895_; _Jan. 1896_; _July 1897_;
        _Sept. 1898_; _April 1899_; _Aug. 1899_; _Jan. 1901_;
         _Feb. 1901_; _Jan. 1902_; _March 1902_; _May 1903_.
               _Fifteenth Edition, revised and enlarged
                the first for publication March 1904._
                   _Sixteenth Edition, April 1904._
                  _Seventeenth Edition, April 1904._
        _Eighteenth Edition, revised and enlarged July 1904._
                   _Nineteenth Edition, July 1905._
                   _Twentieth Edition, July 1907._
                _Twenty-first Edition, January 1909._
                _Twenty-second Edition, January 1912._




_PREFACE_


_It is quite clearly set out on the title-page in previous editions
of these Rules and Examples, that they were intended especially_
for Compositors and Readers at the Clarendon Press. _Consequently
it seems necessary to explain why an edition or impression is now
offered to so much of the General Public as is interested in the
technicalities of Typography, or wishes to be guided to a choice
amidst alternative spellings._

_On the production of the First Edition at the Oxford Press, copies
were placed at the disposal of all Readers, Compositors, and
Compositor-apprentices; and other copies found their way into the
possession of Authors and Editors of books then in the printers’
hands. Subsequently, friends of authors, and readers and compositors
in other printing-offices, began to ask for copies, which were
always supplied without charge. By and by applications for copies
were received from persons who had no absolute claim to be supplied
gratuitously; but as many of such requests came from Officials of
the King’s Government at Home, in the Colonies, and in India, it
was thought advisable, on the whole, to continue the practice of
presentation._

_Recently, however, it became known that copies of the booklet were_
on sale _in London. A correspondent wrote that he had just bought
a copy ‘at the Stores’; and as it seems more than complaisant to
provide gratuitously what may afterwards be sold for profit, there is
no alternative but to publish this little book._

_As to the origin and progress of the work, it was begun in 1864,
when the compiler was a member of the London Association of
Correctors of the Press. With the assistance of a small band of
fellow members employed in the same printing-office as himself, a
first list of examples was drawn up, to furnish a working basis._

_Fate so ordained that, in course of years, the writer became in
succession general manager of three London printing-houses. In each
of these institutions additions were made to his selected list
of words, which, in this way, gradually expanded—embodying what
compositors term ‘the Rule of the House’._

_In 1883, as Controller of the Oxford Press, the compiler began
afresh the work of adaptation; but pressure of other duties deferred
its completion nearly ten years, for the first edition is dated 1893.
Even at that date the book lacked the seal of final approval, being
only part of a system of printing-office management._

_In due course, Sir J. A. H. MURRAY and Dr. HENRY BRADLEY, editors
of the_ Oxford Dictionary, _were kind enough to revise and approve
all the English spellings. Bearing the stamp of their sanction, the
booklet has an authority which it could not otherwise have claimed._

_To later editions Professor ROBINSON ELLIS and Mr. H. STUART JONES
contributed two appendices, containing instructions for the Division
of Words in Latin and Greek; and the section on the German Language
was revised by Dr. KARL BREUL, Reader in Germanic in the University
of Cambridge._

       *       *       *       *       *

_The present issue is characterized by many additions and some
rearrangement. The compiler has encouraged the proofreaders of the
University Press from time to time to keep memoranda of troublesome
words in frequent—or indeed in occasional—use, not recorded in
previous issues of the ‘Rules’, and to make notes of the mode of
printing them which is decided on. As each edition of the book
becomes exhausted such words are reconsidered, and their approved
form finally incorporated into the pages of the forthcoming edition.
The same remark applies to new words which appear unexpectedly,
like new planets, and take their place in what Sir JAMES MURRAY
calls the ‘World of Words’. Such instances as air-man, sabotage,
stepney-wheel, will occur to every newspaper reader._

_Lastly, it ought to be added that in one or two cases, a particular
way of spelling a word or punctuating a sentence has been changed.
This does not generally mean that an error has been discovered in
the ‘Rules’; but rather that the fashion has altered, and that it is
necessary to guide the compositor accordingly._

                                                                 H. H.

  _January 1912._

[Illustration: (light bulb)]




CONTENTS

                                                      _Page_

  SOME WORDS ENDING IN -ABLE                              9

  SOME WORDS ENDING IN -IBLE                             11

  SOME WORDS ENDING IN -ISE OR -IZE                      12

  SOME ALTERNATIVE OR DIFFICULT SPELLINGS, ARRANGED
      IN ALPHABETICAL ORDER                              15

  SOME WORDS ENDING IN -MENT                             24

  HYPHENED AND NON-HYPHENED WORDS                        25

  DOUBLING CONSONANTS WITH SUFFIXES                      29

  FORMATION OF PLURALS IN WORDS OF FOREIGN ORIGIN        31

  ERRATA, ERRATUM                                        33

  PLURALS OF NOUNS ENDING IN -O                          34

  FOREIGN WORDS AND PHRASES, WHEN TO BE SET IN ROMAN
      AND WHEN IN ITALIC                                 35

  SPELLINGS OF FIFTEENTH TO SEVENTEENTH CENTURY
      WRITERS                                            38

  PHONETIC SPELLINGS                                     38

  A OR AN                                                39

  O AND OH                                               39

  NOR AND OR                                             40

  VOWEL-LIGATURES (Æ AND Œ)                              41

  CONTRACTIONS                                           41

  POETRY: WORDS ENDING IN -ED, -ÈD, &C.                  45

  CAPITAL LETTERS                                        46

  LOWER-CASE INITIALS                                    47

  SMALL CAPITALS                                         47

  SPECIAL SIGNS OR SYMBOLS                               48

  SPACING                                                49

  ITALIC TYPE                                            50

  REFERENCES TO AUTHORITIES                              52

  DIVISION OF WORDS—ENGLISH, ITALIAN, PORTUGUESE,
      AND SPANISH                                        53

  PUNCTUATION                                            55

  FIGURES AND NUMERALS                                   68

  APPENDIX I                                          }
    POSSESSIVE CASE OF PROPER NAMES                   }  71
                           BY SIR J. A. H. MURRAY     }

  APPENDIX II                                         }
    WORKS IN THE FRENCH LANGUAGE                      }  73

  APPENDIX III                                        }
    WORKS IN THE GERMAN LANGUAGE                      }  88

  APPENDIX IV                                         }
    DIVISION OF LATIN WORDS                           }  95
                           BY PROF. ROBINSON ELLIS    }

  APPENDIX V                                          }
    DIVISION OF GREEK WORDS                           }  97
                           BY MR. H. STUART JONES     }

  MARKS USED IN THE CORRECTION OF PROOFS                 98

  SOME ENGLISH NAMES OF TYPES                           100

  GENERAL INDEX                                         103


[Illustration: (light bulb)]




RULES FOR SETTING UP ENGLISH WORKS[1]




SOME WORDS ENDING IN -ABLE


Words ending in silent _e_ generally lose the _e_ when -able is
added, as—

  adorable
  arguable
  desirable
  excusable
  indispensable
  leisurable

But this rule is open to exceptions upon which authorities are not
agreed. The following spellings are in _The Oxford Dictionary_, and
must be followed:

  advisable
  analysable
  ascribable
  atonable
  baptizable
  believable
  blameable
  bribable
  chaseable
  confinable
  conversable
  creatable
  datable
  debatable
  defamable
  definable
  delineable
  dilatable
  dissolvable
  drivable
  endorsable
  evadable
  excisable
  exercisable
  finable
  forgivable
  framable
  giveable
  hireable
  immovable
  improvable
  indispensable
  inflatable
  irreconcilable
  lapsable
  likeable
  linable
  liveable
  losable
  lovable
  malleable
  movable
  nameable
  overcomable
  palatable
  partakable
  pleasable
  provable
  rateable
  rebukeable
  receivable
  reconcilable
  removable
  saleable
  solvable
  tameable
  tuneable
  unmistakable

If -able is preceded by _ce_ or _ge_, the _e_ should be retained, to
preserve the soft sound of _c_ or _g_, as—

  bridgeable
  changeable
  chargeable
  knowledgeable
  lodgeable
  manageable
  noticeable
  peaceable
  pledgeable
  serviceable

Words ending in double _ee_ retain both letters, as—agreeable.

In words of English formation, a final consonant is usually doubled
before -able, as—

  admittable
  biddable
  clubbable
  conferrable
  deferrable
  forgettable
  gettable
  incurrable
  rebuttable
  regrettable[2]


FOOTNOTES:

[1] At Oxford especially, it must always be remembered that the Bible
has a spelling of its own; and that in Bible and Prayer Book printing
the Oxford standards are to be exactly followed.—H. H.

[2] For an authoritative statement on the whole subject see _The
Oxford Dictionary_, Vol. I, p. 910, art. _-ble_.




SOME WORDS ENDING IN -IBLE


The principle underlying the difference between words ending in
-able and those ending in -ible is thus stated by _The Oxford
English Dictionary_ (s.v. _-ble_): ‘In English there is a prevalent
feeling for retaining _-ible_ wherever there was or might be a Latin
_-ibilis_, while _-able_ is used for words of distinctly French or
English origin.’ The following are examples of words ending in -ible:

  accessible
  addible
  adducible
  admissible
  audible
  avertible
  collapsible
  comprehensible
  controvertible
  credible
  discernible
  discerpible
  edible
  eligible
  existible
  expressible
  extendible
  feasible
  fencible
  flexible
  forcible
  incomprehensible
  incorruptible
  incredible
  indefeasible
  indefensible
  indelible
  indestructible
  indigestible
  intangible
  intelligible
  irresistible
  legible
  negligible
  ostensible
  permissible
  persuasible
  plausible
  producible
  reducible
  remissible
  reprehensible
  reversible
  tangible
  vendible
  visible




SOME WORDS ENDING IN -ISE or -IZE


The following spellings are those adopted for _The Oxford Dictionary_:

  actualize
  advertise
  advise
  affranchise
  aggrandize
  agonize
  alcoholize
  alkalize
  anathematize
  anatomize
  anglicize
  apologize
  apostrophize
  apprise (_to inform_)
  apprize (_to appraise_)
  authorize
  baptize
  brutalize
  canonize
  capitalize
  capsize
  carbonize
  catechize
  categorize
  catholicize
  cauterize
  centralize
  characterize
  chastise
  christianize
  cicatrize
  circumcise
  civilize
  collodionize
  colonize
  communize
  comprise
  compromise
  contrariwise
  conventionalize
  corporealize
  criticize
  crystallize
  demise
  demoralize
  deodorize
  desilverize
  despise
  devise
  discolorize
  disfranchise
  disguise
  disorganize
  dogmatize
  dualize
  economize
  emphasize
  emprise
  enfranchise
  enterprise
  epigrammatize
  epitomize
  equalize
  eternize
  etherealize
  etymologize
  eulogize
  euphonize
  evangelize
  excise
  exercise
  exorcize
  experimentalize
  extemporize
  familiarize
  feminize
  fertilize
  formalize
  fossilize
  franchise
  fraternize
  gallicize
  galvanize
  generalize
  germanize
  gormandize
  gothicize
  graecize
  harmonize
  hebraize
  hellenize
  hibernize
  humanize
  hydrogenize
  hypnotize
  idealize
  idolize
  immortalize
  improvise
  incise
  italicize
  jacobinize
  japanize
  jeopardize
  kyanize
  laicize
  latinize
  legalize
  legitimatize
  liberalize
  localize
  macadamize
  magnetize
  mainprize
  manumise
  materialize
  memorialize
  memorize
  merchandise
  mesmerize
  methodize
  minimize
  misadvise
  mobilize
  modernize
  monetize
  monopolize
  moralize
  nasalize
  nationalize
  naturalize
  neutralize
  neologize
  normalize
  organize
  ostracize
  oxidize
  ozonize
  paganize
  particularize
  patronize
  pauperize
  penalize
  philosophize
  plagiarize
  pluralize
  polarize
  popularize
  premise
  prise up (_to_)
  prize (_a_)
  pulverize
  rationalize
  realize
  recognize
  reorganize
  reprise
  revolutionize
  rhapsodize
  romanize
  satirize
  scandalize
  scrutinize
  secularize
  seise (_in law_)
  seize (_to grasp_)
  sensitize
  signalize
  silverize
  solemnize
  soliloquize
  specialize
  spiritualize
  sterilize
  stigmatize
  subsidize
  summarize
  supervise
  surmise
  surprise
  syllogize
  symbolize
  sympathize
  syndicalize
  synthesize
  systematize
  tantalize
  temporize
  terrorize
  theorize
  tranquillize
  tyrannize
  utilize
  ventriloquize
  victimize
  villanize
  visualize
  vitalize
  vocalize
  vulgarize

[Illustration: (light bulb)]




SOME ALTERNATIVE OR DIFFICULT SPELLINGS

MORE OR LESS IN DAILY USE, ARRANGED IN ALPHABETICAL ORDER FOR EASY
REFERENCE


  abetter
  abettor (_law_)
  accepter (-or _in law_)
  adaptable
  adapter
  addorsed
  adjutants-general[3] _pl._
  adjudgement
  admonitor
  aerate
  aerial
  aerie
  aeronaut
  aeroplane
  aetiological, -logist
  aetiology
  ageing
  aides-de-camp{3} _pl._
  aline, -ment[4]
  allineation
  almanac[5]
  ambidexterity
  analyse
  aneurysm
  ankle
  apanage
  apophthegm
  apostasy
  apparelled
  archetype
  archidiaconal
  arcking[6]
  armful
  artisan
  ascendancy, -ant
  assessable
  aught (_anything_)
  automobile
  aweing
  awesome
  axe[7]
  ay (_always_)
  aye (_yes—‘the ayes have it’_)
  bandoleer
  banns
  banyan
  Barbadoes
  bark (_ship_)
  basin
  basses (_pl._)
  battalion
  befall
  beldam
  bethrall
  blouse
  bluish
  bodice
  bogie (_a truck_)
  bogy (_apparition_)
  bothy
  brand-new
  brier
  brooch (_ornament_)
  browse
  bryony
  bulrush
  buncombe
  by and by
  by-election
  by-lane
  by-law
  byname
  bypath
  by-play
  by-plot
  by-product
  by-street
  by the by
  by-way
  byword
  caddis
  calendar
  calligraphy
  calliper
  caltrop
  camlet
  camomile
  canst
  canvas (_cloth_)
  canvass (_political_)
  carcass
  carriable
  cartography
  catarrhine
  cat’s-paw
  cauldron (_a vessel_)
  caulk
  celluloid
  censer (_a vessel_)
  censor (_an official_)
  centigram
  centipede
  chaldron (_measure_)
  chalet
  chant
  chaperon
  cheque (_on a bank_)
  chequered (_career_)
  chestnut
  chillness
  chock-full
  choroid
  cider
  cipher
  clangor
  clarinet
  clench (_fists_)
  clerestory
  clinch (_argument_)
  clinometer
  cloak (_not_ cloke)
  clue (_but_ clew _for part of a sail_)
  coalesce
  coco-nut
  cognizance
  colander
  coloration
  colourist
  commonplace
  confidante (_fem._)
  conjurer
  conjuror (_law_)
  connexion
  connivence
  conscience’ sake
  consensus
  contemporary
  conterminous
  contestor
  cony
  copier
  corrupter
  corslet
  corvette
  cosy
  cotillion
  cottar
  couldst
  couldn’t
  coulter
  courts martial (_pl._)
  cousins-german (_pl._)
  craftsman
  crenellate
  crosier
  curtsy
  cyst
  debarkation
  debonair
  decrepit
  deflexion
  demeanour
  dependant (_noun_)
  dependence
  dependent (_adj._)
  desiccate
  detector
  develop, -ment
  devest (_law_)
  dexterously
  diaeresis[8]
  dialyse
  dike
  dinghy
  discoloration
  discolour
  disk
  dispatch (_not_ despatch)
  distension
  distil
  disyllable
  doggerel
  doily
  Domesday Book
  dote
  draft (_prepare_)
  draftsman (_one who drafts documents_)
  draught-board
  draughtsman (_one who makes drawings_)
  draughtsmen (_in game of draughts_)
  dryly
  dullness
  duress
  dyeing (_cloth_)
  ecstasy
  eloin, -ment
  embargo
  embarkation
  embassage
  embed
  embroil
  empanel
  encase
  enclasp
  enclose
  encrust
  endorse
  enroll
  enrolment
  ensconce
  ensure (_make safe_)
  enthral
  entreat
  entrench, -ment
  entrust
  envelop (_verb_)
  envelope (_noun_)
  erector
  ethereal
  exorrhizal
  expense
  faecal
  faeces
  faggot
  fantasy
  favour
  feldspar
  fetid
  filigree
  finicking
  fledgeling
  fleurs-de-lis (_pl._)
  floatage
  floatation
  fluky
  flyer
  foetal
  foetus
  fogy, _pl._ -ies
  forbade
  foregone (_gone before_)
  foretell
  forgather
  forgo[9]
  forme (_printer’s_)
  fount (_of type_)
  frenzy
  frowzy
  fuchsia
  fulfil
  fullness
  fusilier
  fusillade
  gage (_a pledge_)
  gaily
  gauge (_a measure_)
  genuflexion
  gewgaw
  gibe
  gillie
  gimlet
  gipsy
  goodness’ sake
  gourmand
  gramme
  grammetre
  gramophone
  grandam
  granddaughter
  granter (_one who grants_)
  grantor (_in law: one who makes a grant_)
  grey
  grisly (_terrible_)
  grizzly (_grey_)
  grizzly bear
  gruesome
  guerrilla
  gullible
  hadst
  haematite
  haematology
  haemorrhage
  haemorrhoids
  ha! ha! (_laughter_)
  ha-ha (_a fence_)
  hairbreadth
  halberd
  hallo
  handful
  handiwork
  hare-brained
  hauler
  haulm
  havoc
  hearken
  hectogram
  hectolitre
  hectometre
  he’ll (_no space_)
  honour
  horehound
  hornblende
  horsy
  humorist
  humorous
  humour, -less
  hyena
  hypotenuse
  icing
  I’d, I’ll (_no space_)
  idiosyncrasy
  idolater
  impermeable
  inferable
  inflexion
  innocuous
  inoculate
  inquire, -quiry[10]
  install
  instalment
  instil
  insure (_in a society_)
  Inverness-shire, &c.
  inweave
  ipecacuanha
  jail
  jam, _v._ (_not_ jamb)
  jamb (_noun_)
  janizary
  jewellery
  jews’ harp _and_
  jews’ harps
  judgeship
  jugful
  kilogram
  kilogrammetre
  kilolitre
  kilometre
  kilowatt
  kinematograph
  kleptomania
  knick-knack
  lachrymal
  lachrymose
  lackey
  lacquer
  lamb’s-wool
  lantern
  largess
  lateish
  latten
  laverock
  leaf-mould
  lettuce
  licence (_noun_)
  license (_verb_)
  licensee
  lich-gate
  lineament
  Linnaean[11]
  linsey-woolsey
  liny
  liquefy
  liquorice
  litre
  loadstone
  loath (_adj._)
  loathe (_verb_)
  lodestar
  lour (_frown_)
  macintosh
  maelstrom
  maharaja
  mamma
  mandolin
  manikin
  manyplies
  marquess
  mattress
  mayst
  mediaeval
  men-of-war[12] (_pl._)
  metamorphose
  mightst
  mileage
  millennium
  millepede
  milligram
  millimetre
  miscall
  misdemeanour
  misspelling
  mistletoe
  mizen, -mast
  moccasin
  Mohammedan
  mollusc
  moneyed
  moneys
  mould, -ing (_v. & n._)
  naught (_nothing_)
  negotiate
  net (_profits_)
  newsvendor
  novitiate
  nursling
  octet
  omelet
  oneself
  orangeade
  orgy
  osculatory
  osier
  ought (_cipher_)
  ouzel
  overalls
  oyez!
  ozone
  pannikin
  parakeet
  parallelepiped
  paralyse
  parsnip
  parti-coloured
  partisan
  party-wall
  pasha
  pastille
  paten
  pavilion
  paviour
  pedagogy
  pedlar
  peewit
  pendant
  peony
  petrify
  picnicking
  plaguy
  pomace
  poniard
  portray
  postilion
  posy
  pot (_size of paper_)
  potato, _pl._ -es
  practice (_noun_)
  practise (_verb_)
  prehistoric
  premises (_no sing._, _conveyancing_)
  premiss, premisses (_logic_)
  primaeval
  printer’s error, _but_ printers’ errors[13]
  programme
  proletariate
  prophecy (_noun_)
  prophesy (_verb_)
  pundit
  pupilage
  putrefy
  pyjamas
  quartet
  quinine
  quinsy
  quintet
  racket (_bat_)
  rackets (_game_)
  racoon
  radical (_chemistry_)
  radicle (_botany_)
  radium (_small_ r)
  ragi (_grain_)
  raja
  rarefaction
  rarefy
  rase (_to erase_)
  raze (_to the ground_)
  react
  rearward
  recall
  recompense (_v. & n._)
  recompose
  referable
  refill
  reflection[14]
  rhyme (_verse_)[15]
  ribbon
  rigorous
  rigors (_in med._)
  rigour
  rime (_hoar-frost_)
  rodomontade
  rout (_verb_)
  secrecy
  sergeant (_military_)
  serjeant (_law_)
  Shakespeare[16]
  Shakespearian, -iana
  she’ll (_no space_)
  shouldst
  show (_v. & n._)
  shrillness
  sibyl
  sibylline
  siliceous
  singeing
  siphon
  siren
  skilful
  skilless
  slyly
  sons-in-law (_pl._)
  spadeful
  sphinx
  sponge
  spoonful
  stanch
  stationary (_standing still_)
  stationery (_paper_)
  steadfast
  stillness
  story (_of a house_)
  stupefy
  suggester
  swingeing (_blow_)
  sycamore[17]
  sylvan
  syndicalism
  synonymous
  syrup
  tallness[18]
  tease
  tenor
  thyme (_herb_)
  tire (_of a wheel_)[19]
  tiro
  toboggan, -ing
  toilet
  tranquillity
  transcendent
  transferable
  tranship, -ment
  transplendent
  trousers
  Tuileries
  tumour
  unmistakably
  vender (_as generally used_)
  vendor (_in law_)
  vermilion
  villany
  visor
  wabble
  wagon
  weasand
  we’ll (_no space_)
  whilom
  whisky
  whitish
  wilful
  woe, woful
  wooed, woos
  wouldst
  zoogloea

[Illustration: (light bulb)]


FOOTNOTES:

[3] Compound words of this class form their plurals by a change in
the first word.—H. H.

[4] ‘The Eng. form _alinement_ is preferable to _alignment_, a bad
spelling of the French.’—_O.E.D._

[5] But the _k_ is retained in _The Oxford Almanack_, following the
first publication in 1674.—H. H.

[6] ‘In derivatives formed from words ending in _c_, by adding
a termination beginning with _e_, _i_, or _y_, the letter
_k_ is inserted after the _c_, in order that the latter may
not be inaccurately pronounced like _s_ before the following
vowel.’—WEBSTER.

[7] In _The Oxford Dictionary_, Vol. I, p. 598, Sir James Murray
says, ‘The spelling _ax_ is better on every ground ... than _axe_,
which has of late become prevalent.’ (But as authors generally still
call for the commoner spelling, compositors must follow it.—H. H.)

[8] The sign [¨] sometimes placed over the second of two vowels in an
English word to indicate that they are to be pronounced separately,
is so called by a compositor. By the way, this sign is now used
only for learned or foreign words; not in _chaos_ or in _dais_, for
instance. _Naïve_ and _naïveté_ still require it, however (see pp.
35, 37).—H. H.

[9] In 1896, Mr. W. E. Gladstone, not being aware of this rule,
wished to include, in a list of errata for insertion in Vol. II of
_Butler’s Works_, an alteration of the spelling, in Vol. I, of the
word ‘forgo’. On receipt of his direction to make the alteration,
I sent Mr. Gladstone a copy of _Skeat’s Dictionary_ to show that
‘forgo’, in the sense in which he was using the word, was right,
and could not be _corrected_; but it was only after reference to
Sir James Murray that Mr. Gladstone wrote to me, ‘Personally I am
inclined to prefer forego, on its merits; but authority must carry
the day. _I give in._’—H. H.

[10] ‘This is now usual. See _O.E.D._, s.v. Enq-.’—J. A. H. M.

[11] But Linnean Society.

[12] Compound words formed of two nouns connected by a preposition
form their plurals by a change in the first word.—H. H.

[13] Sir James Murray thinks that where there is any ambiguity a
hyphen may also be used, as ‘bad printers’-errors,’—H. H.

[14] ‘Etymology is in favour of _reflexion_, but usage seems to be
overpoweringly in favour of the other spelling.’—H. B.

[15] The older form ‘rime’ is occasionally used by modern writers,
and in such cases the copy should be followed.—H. H.

[16] ‘Shakspere is preferable, as—The New Shakspere Society.’—J.
A. H. M. (But the Clarendon Press is already committed to the more
extended spelling.—H. H.)

[17] The ‘sycomore’ of the Bible is a different tree—the
fig-mulberry.—H. H.

[18] It is generally agreed that words ending in _ll_ should drop one
_l_ before _less_ (as in _skilless_) and _ly_; but there is not the
same agreement in dropping an _l_ before _ness_.—H. H.

[19] ‘But the bicycle-makers have apparently adopted the
non-etymological _tyre_.’—J. A. H. M.




SOME WORDS ENDING IN -MENT


In words ending in -ment print the _e_ when it occurs in the
preceding syllable, as—abridgement, acknowledgement, judgement,
lodgement.[20] But omit the _e_ in development, envelopment, in
accordance with the spelling of the verbal forms develop, envelop.


FOOTNOTES:

[20] ‘I protest against the unscholarly habit of omitting it
from “abridg_e_ment”, “acknowledg_e_ment”, “judg_e_ment”,
“lodg_e_ment”,—which is against all analogy, etymology, and
orthoepy, since elsewhere _g_ is hard in English when not followed
by _e_ or _i_. I think the University Press ought to set a scholarly
example, instead of following the ignorant to do ill, for the sake of
saving four _e_’s. The word “judgement” has been spelt in the Revised
Version correctly.’—J. A. H. M.




HYPHENED AND NON-HYPHENED WORDS[21]


The hyphen need not, as a rule, be used to join an adverb to the
adjective which it qualifies: as in—

  a beautifully furnished house,
  a well calculated scheme.

When the word might not at once be recognized as an adverb, use the
hyphen: as—

  a well-known statesman,
  an ill-built house,
  a new-found country,
  the best-known proverb,
  a good-sized room.

When an adverb qualifies a predicate, the hyphen _should not_ be
used: as—

  this fact is well known.

Where either (1) a noun and adjective or participle, or (2) an
adjective and a noun, in combination, are used as a compound
adjective, the hyphen _should_ be used:

  a poverty-stricken family, a blood-red hand, a nineteenth-century
  invention.

A compound noun which has _but one accent_, and from familiar use has
become one word, requires no hyphen. Examples:

  bláckbird
  býname
  býword
  háirbrush
  háirdresser
  háirpin
  hándbook
  hándkerchief
  mántelpiece
  nówadays
  schóolboy
  schóolgirl
  seáport
  téapot
  tórchlight
  upstáirs
  wátchcase
  whéelbarrow

The following should also be printed as one word:

  aglow
  anybody
  anyhow
  anything
  anywhere
  bedroom
  childbed
  coeval
  coexist
  coextensive
  coheir
  cornfield
  downhill
  downstairs
  evermore
  everyday (_as adj._)
  everything
  everyway (_adverb_)
  everywhere
  eyewitness
  fairyland
  fatherland
  footsore
  footstep
  freshwater (_as adj._)
  godlike
  goodwill
  harebell
  hopscotch
  horseshoe
  indoor
  ladylike
  lambskin
  lifetime
  maybe
  meantime
  meanwhile
  midday
  motherland
  newfangled
  noonday
  offprint
  offsaddle
  offshoot
  onrush
  outdoor
  overleaf
  oversea
  percentage
  reappear
  reimburse
  reinstate
  reopen
  seaweed
  selfsame
  uphill
  wellnigh
  widespread
  wrongdoing
  zigzag

Compound words of _more than one accent_, as—ápple-trée, chérry-píe,
grável-wálk, wíll-o’-the-wisp, as well as others which follow,
require hyphens:

  aide-de-camp
  air-man
  air-ship
  a-kimbo
  alms-house
  arm-chair
  battle-field
  bird-cage
  bi-weekly
  by-law
  by-way
  child-birth
  come-at-able
  common-sense (_as adj._)
  co-adjust
  co-declination
  co-operate
  co-ordinate
  court-plaster
  cousin-german
  death-bed
  death-rate
  ding-dong
  dumb-bell
  ear-rings
  farm-house
  farm-yard
  first-hand
  foot-note
  foot-stone
  foot-stool
  free-will
  get-at-able
  good-bye
  good-day
  good-humoured
  good-natured
  guide-book
  gutta-percha
  half-crown
  half-dozen
  half-hour
  half-way
  handy-man
  harvest-field
  head-dress
  head-foremost
  head-quarters
  hey-day
  high-flyer
  hill-side
  hill-top
  hoar-frost
  hob-a-nob
  hour-glass
  hymn-book
  ill-fated
  india-rubber
  jaw-bone
  key-note
  knick-knack
  life-like
  looking-glass
  man-of-war
  never-ending
  new-built
  new-comer
  new-mown
  note-book
  note-paper
  off-hand
  oft-times
  one-and-twenty
  one-eighth
  ore-weed
  out-and-out
  out-of-date
  out-of-door
  over-glad
  pre-eminent
  quarter-day
  race-course
  re-bound[22] (_as a book_)
  re-cover (_a chair_)
  re-enter
  re-form (_form again_)
  rolling-pin
  sea-breeze
  sea-shore
  second-hand
  small-pox
  son-in-law
  starting-point
  step-father
  such-like
  table-land
  text-book
  title-deeds
  title-page
  to-day
  top-mast
  topsy-turvy
  up-to-date[23]
  water-course
  week-day
  year-book

Half an inch, half a dozen, &c., require no hyphens. Print the
following also without hyphens:

  any one
  cast iron
  common sense (_adj. and noun together_)
  court martial
  dare say
  easy chair
  every one
  fellow men
  for ever
  good humour
  good nature
  good night
  head master[24]
  high priest
  high road
  ill health
  ill luck
  ill nature
  no one
  plum pudding
  post office
  revenue office
  some one
  union jack

[Illustration: (light bulb)]


FOOTNOTES:

[21] See _Oxford Dict._, Vol. I, page xiii, art. ‘Combinations’,
where Sir James Murray writes: ‘In many combinations the hyphen
becomes an expression of unification of sense. When this unification
and specialization has proceeded so far that we no longer analyse
the combination into its elements, but take it in as a whole, as in
_blackberry_, _postman_, _newspaper_, pronouncing it in speech with a
single accent, the hyphen is usually omitted, and the fully developed
compound is written as a single word. But as this also is a question
of degree, there are necessarily many compounds as to which usage has
not yet determined whether they are to be written with the hyphen or
as single words.’

And again, in _The Schoolmasters’ Year-book_ for 1903 Sir James
Murray writes: ‘There is no rule, propriety, or consensus of usage in
English for the use or absence of the hyphen, except in cases where
grammar or sense is concerned; as in a day well remembered, but a
well-remembered day, the sea of a deep green, a deep-green sea, a
baby little expected, a little-expected baby, not a deep green sea, a
little expected baby.... Avoid Headmaster, because this implies one
stress, Héadmaster, and would analogically mean “master of heads”,
like schoolmaster, ironmaster.... Of course the hyphen comes in at
once in combinations and derivatives, as head-mastership.’

[22] ‘The hyphen is often used when a writer wishes to mark the
fact that he is using not a well-known compound verb, but _re-_ as
a living prefix attached to a simple verb (_re-pair_ = pair again);
also usually before _e_ (_re-emerge_), and sometimes before other
vowels (_re-assure_, usually _reassure_); also when the idea of
repetition is to be emphasized, especially in such phrases as _make_
and _re-make_.’—_The Concise Oxford Dictionary_ (1911), p. 694.

[23] As, up-to-date records; but print ‘the records are up to
date’.—H. H.

[24] See note on page 25.




DOUBLING CONSONANTS WITH SUFFIXES


Words of one syllable, ending with one consonant preceded by one
vowel, double that consonant on adding -ed or -ing: e.g.

  drop    dropped    dropping
  fit     fitted     fitting
  stop    stopped    stopping

Words of more than one syllable, ending with one consonant preceded
by one vowel, and accented on the last syllable, double that
consonant on adding -ed or -ing: e.g.

  allot     allotted     allotting
  commit    committed    committing
  infer     inferred     inferring
  trepan    trepanned    trepanning

But words of this class _not_ accented on the last syllable, _do not
double the last consonant_[25] on adding -ed, -ing: e.g.

  balloted,  -ing
  banqueted, -ing
  bayoneted, -ing
  benefited, -ing
  biased,    -ing
  billeted,  -ing
  bishoped,  -ing
  blanketed, -ing
  bonneted,  -ing
  bracketed, -ing
  buffeted,  -ing
  carpeted,  -ing
  chirruped, -ing
  combated,  -ing
  cricketing
  crocheted, -ing
  crotcheted, -ing, -y
  discomfited, -ing
  docketed,  -ing
  faceted,   -ing
  ferreted, -ing
  fidgeted, -ing, -y
  filleted, -ing
  filliped, -ing
  focused,  -ing
  galloped, -ing
  gibbeted, -ing
  gossiped, -ing, -y
  initialed, -ing
  junketed, -ing
  marketed, -ing
  packeted, -ing
  paralleled, -ing
  pelleted, -ing
  picketed, -ing
  piloted,  -ing
  profited, -ing
  rabbeted, -ing
  rabbiting
  rickety
  riveted,  -ing
  russeted, -ing, -y
  scolloped, -ing
  tennising
  trinketed, -ing
  trousered, -ing
  trumpeted, -ing
  velvety
  visited,  -ing
  wainscoted, -ing

In words ending in _-l_, the final consonant is generally doubled,
whether accented on the last syllable or not: e. g.

  annulled, -ing
  appalled, -ing
  apparelled, -ing
  barrelled
  bethralled, -ing
  caballed, -ing
  channelled, -ing
  compelled, -ing
  cudgelled, -ing
  dishevelled, -ing
  empanelled, -ing
  extolled, -ing
  forestalled, -ing
  grovelled, -ing
  impelled, -ing
  installed, -ing
  kennelled, -ing
  levelled, -ing
  libelled, -ing
  marshalled, -ing
  parcelled, -ing
  quarrelled, -ing
  revelled, -ing
  rivalled, -ing
  shovelled, -ing
  trammelled, -ing
  travelled, -ing
  tunnelled, -ing

[Illustration: (light bulb)]


FOOTNOTES:

[25] ‘We must, however, still except the words ending in _-el_, as
levelled, -er, -ing; travelled, -er, -ing; and also worshipped, -er,
-ing.’—J. A. H. M.




FORMATION OF PLURALS IN WORDS OF FOREIGN ORIGIN


Plurals of nouns taken into English from other languages sometimes
follow the laws of inflexion of those languages. But often, in
non-technical works, additional forms are used, constructed after
the English manner. Print as below, in cases where the author does
not object. In scientific works the scientific method must of course
prevail:

  SING. addendum       PL. addenda[26]
        alkali             alkalis
        alumnus            alumni
        amanuensis         amanuenses
        analysis           analyses
        animalculum        animalcula
        antithesis         antitheses
        apex               apices
        appendix           appendices
        arcanum            arcana
        automaton          automata
        axis               axes
        bandit             banditti
        basis              bases
        beau               beaux
        bronchus           bronchi
        calculus           calculi
        calix              calices
        chrysalis          chrysalises
        coagulum           coagula
        corrigendum        corrigenda{26}
        cortex             cortices
        crisis             crises
        criterion          criteria
        datum              data
        desideratum        desiderata
        dilettante         dilettanti
        effluvium          effluvia
        elenchus           elenchi
        ellipsis           ellipses
        ephemera           ephemerae
        epithalamium       epithalamia
        equinox            equinoxes
        erratum            errata
        focus              focuses (_fam._)
        formula            formulae
        fungus             fungi
        genius             geniuses[27]
        (_meaning a person or persons of genius_)
        genus              genera
        helix              helices
        hypothesis         hypotheses
        ignis fatuus       ignes fatui
        index              indexes[28]
        iris               irises
        lamina             laminae
        larva              larvae
        lemma              lemmas[29]
        libretto           libretti
        matrix             matrices
        maximum            maxima
        medium             mediums (_fam._)
        memorandum         memorandums[30]
        (_meaning a written note or notes_)
        metamorphosis      metamorphoses
        miasma             miasmata
        minimum            minima
        nebula             nebulae
        nucleus            nuclei
        oasis              oases
        papilla            papillae
        parenthesis        parentheses
        parhelion          parhelia
        phenomenon         phenomena
        radius             radii
        radix              radices
        sanatorium         sanatoria
        scholium           scholia
        spectrum           spectra
        speculum           specula
        stamen             stamens
        stimulus           stimuli
        stratum            strata
        synopsis           synopses
        terminus           termini
        thesis             theses
        virtuoso           virtuosi
        volsella           volsellae
        vortex             vortexes (_fam._)


FOOTNOTES:

[26] See reference to these words for another purpose on p. 33.—H. H.

[27] Genius, in the sense of a tutelary spirit, must of course have
the plural genii.—H. H.

[28] In scholarly works, indices is often preferred, and in the
mathematical sense must always be used.—H. H.

[29] But lemmata in botany or embryology.—H.H.

[30] But in a collective or special sense we must print
memoranda.—H. H.




ERRATA, ERRATUM


Do not be guilty of the absurd mistake of printing ‘Errata’ as a
heading for a single correction. When a list of errors has been dealt
with, by printing cancel pages and otherwise, so that only one error
remains, take care to alter the heading from ‘Errata’ to ‘Erratum’.
The same remarks apply to Addenda and Addendum, Corrigenda and
Corrigendum.




PLURALS OF NOUNS ENDING IN -O


The plurals of nouns ending in -o, owing to the absence of any
settled system, are often confusing. _The Concise Oxford Dictionary_
says (p. vi): ‘It may perhaps be laid down that on the one hand
words of which the plural is very commonly used, as _potato_, have
almost invariably _-oes_, and on the other hand words still felt to
be foreign or of abnormal form, as _soprano_, _chromo_, have almost
invariably _-os_.’ The following is a short list, showing spellings
preferred:

  altos
  banjos
  buffaloes
  calicoes
  cantos
  cargoes
  centos
  chromos
  curios
  duodecimos
  electros
  echoes
  embargoes
  haloes
  heroes
  manifestoes
  mosquitoes
  mottoes
  negroes
  octavos
  porticoes
  potatoes
  provisos
  quartos
  ratios
  solos
  sopranos
  tiros
  tomatoes
  volcanoes

[Illustration: (light bulb)]




FOREIGN WORDS & PHRASES WHEN TO BE SET IN ROMAN AND WHEN IN ITALIC


Print the following anglicized words in roman type:

  aide-de-camp
  al fresco
  alibi
  à propos
  aurora borealis
  beau idéal
  bézique
  bizarre
  bona fide
  bouquet
  bravos
  bric-à-brac
  bulletin
  café
  carte-de-visite
  chargé d’affaires
  chauffeur
  chiaroscuro
  cliché
  connoisseur
  cul-de-sac
  débris
  début
  dépôt[31]
  détour
  diarrhoea
  dilettante
  dramatis personae
  éclat
  employé[32]
  ennui
  entrée
  entrepôt
  etiquette[33]
  facsimile
  fête
  fleur-de-lis
  garage
  gratis
  habeas corpus
  hors-d’œuvre
  innuendo, -es
  levée
  littérateur
  litterati
  manœuvre
  menu
  morale
  naïve
  omnibus
  papier mâché
  per annum
  personnel
  post-mortem (_adj. and n._)
  poste restante
  précis
  prestige
  prima facie
  procès-verbal
  protégé
  provenance
  régime
  rendezvous[34]
  rôle
  sabotage
  savants
  seraglio
  sobriquet
  soirée
  versus
  via
  vice versa
  virtuoso
  viva voce
  Zollverein

The following to be printed in italic:

  _ab extra_
  _ab origine_
  _ad nauseam_
  _ad valorem_
  _a fortiori_
  _amende honorable_
  _amour propre_
  _ancien régime_
  _anglice_
  _a priori_
  _au courant_
  _au revoir_
  _bête noire_
  _billet doux_
  _bonhomie_
  _bon ton_
  _bourgeoisie_
  _carte blanche_
  _casus belli_
  _chef-d’œuvre_
  _chevaux de frise_
  _con amore_
  _confrère_
  _cortège_[35]
  _coup d’état_
  _coup de grâce_
  _coup de main_
  _coup d’œil_
  _débâcle_
  _dénouement_
  _de quoi vivre_
  _déshabillé_
  _édition de luxe_
  _élan_
  _élite_
  _en bloc_
  _en masse_
  _en passant_
  _en rapport_
  _en route_
  _entente cordiale_
  _esprit de corps_
  _ex cathedra_
  _ex officio_ (adv. and adj.)
  _ex parte_ (adv. and adj.)
  _facile princeps_
  _factum est_
  _felo de se_
  _garçon_
  _grand monde_
  _habitué_
  _hors de combat_
  _imprimis_
  _in camera_
  _in propria persona_
  _jeu d’esprit_
  _laisser-faire_
  _lapsus linguae_
  _lèse-majesté_
  _mêlée_
  _mise en scène_
  _modus operandi_
  _more suo_
  _multum in parvo_
  _naïveté_
  _née_
  _nemine contradicente_
  _ne plus ultra_
  _noblesse oblige_
  _nolens volens_
  _non est_
  _par excellence_
  _pari passu_
  _per contra_
  _pièce de résistance_
  _plébiscite_
  _pro forma_
  _pro tempore_
  _raison d’être_
  _rapprochement_
  _réchauffé_
  _répertoire_
  _résumé_
  _sang-froid_
  _sans cérémonie_
  _sans-culotte_
  _sine qua non_
  _sotto voce_
  _sub rosa_
  _tabula rasa_
  _tête à tête_ (adv.)
  _tête-à-tête_ (noun)
  _tour de force_
  _vis-à-vis_

The modern practice is to omit accents from Latin words.

For further directions as to the use of italic in foreign words and
phrases see pp. 50-1.

[Illustration: (light bulb)]


FOOTNOTES:

[31] For this and nearly all similar words, the proper accents are to
be used, whether the foreign words be anglicized or not.—H. H.

[32] Employee is more legitimate when it is used in contrast with the
English word employer.—H. H.

[33] Omit the accent from étiquette.—H. H.

[34] Omit the hyphen from rendez-vous.—H. H.

[35] For a statement as to this and other French words now printed
with a grave accent, see pp. 78-9.—H. H.




SPELLINGS OF FIFTEENTH TO SEVENTEENTH CENTURY WRITERS


When it is necessary to reproduce the spellings and printed forms of
old writers the following rules should be observed:

Initial _u_ is printed _v_, as in vnderstande. Also in such
combinations as wherevpon.

Medial _v_ is printed _u_, as in haue, euer.

Initial and medial _j_ are printed _i_, as in iealousie, iniurie.

In capitals the U is non-existent, and should always be printed with
a V, initially and medially, as VNIVERSITY, FAVLCONRIE.

In y^e and y^t the second letter should be a superior, and without a
full point.

[Illustration: (light bulb)]




PHONETIC SPELLINGS


Some newspapers print phonetic spellings, such as program, hight (to
describe altitude), catalog, &c. But the practice has insufficient
authority, and can be followed only by special direction.




A OR AN


  a European
  a ewe
  a ewer
  a herb
  a herbal
  a heroic
  a hospital
  a humble
  a unanimous
  a uniform
  a union
  a unique
  a universal
  a university
  a useful
  a usurper
  an habitual[36]
  an heir
  an heirloom
  an historical{36}
  an honest
  an honour
  an hotel
  an hour

Print _a_, not _an_, before contractions beginning with a consonant:
e.g. a L.C.C. case, a MS. version.


FOOTNOTES:

[36] This is in accordance with what seems to be the preponderance of
modern usage. Originally the cover of _The Oxford Dictionary_ had ‘a
historical’, and the whole question will be found fully treated in
that work, arts. A, An, and H.—H. H.




O AND OH


When used in addressing persons or things the vocative ‘O’ is printed
with a capital and without any point following it; e.g. ‘O mighty
Caesar! dost thou lie so low’; ‘O world! thou wast the forest to this
hart’; ‘O most bloody sight!’ Similarly, ‘O Lord’, ‘O God’, ‘O sir’.
But when not used in the vocative, the spelling should be ‘Oh’, and
separated from what follows by a punctuation mark; e.g. ‘Oh, pardon
me, thou bleeding piece of earth’; ‘For if you should, oh! what would
become of it?’




NOR AND OR


Print: (1) Neither one nor the other; neither Jew nor Greek; neither
Peter nor James. (2) Either one or the other; either Jew or Greek;
either Peter or James.

Never print: Neither one or the other; neither Peter or James;—but
when the sentence is continued to a further comparison, _nor_ and
_or_ must be printed (in the continuation) according to the sense.[37]

Likewise note that the verb should be in the singular, as ‘Neither
Oxford nor Reading is stated to have been represented’.

[Illustration: (light bulb)]


FOOTNOTES:

[37] The necessity of giving strict attention to this rule was once
exemplified in my experience, when the printing of a fine quarto was
passing through my hands in 1882. The author desired to say in the
preface, ‘The writer neither dares nor desires to claim for it the
dignity or cumber it with the difficulty of an historical novel’
(_Lorna Doone_, by R. D. Blackmore, 4to, 1883). The printer’s reader
inserted a letter _n_ before the _or_; the author deleted the _n_,
and thought he had got rid of it; but at the last moment the press
reader inserted it again; and the word was printed as _nor_, to the
exasperation of the author, who did not mince his words when he found
out what had happened.—H. H.




VOWEL-LIGATURES[38] (Æ AND Œ)


The combinations _ae_ and _oe_ should each be printed as two letters
in Latin and Greek words, e.g. Aeneid, Aeschylus, Caesar, Oedipus;
and in English, as mediaeval, phoenix. But in Old-English and in
French words use the ligatures _æ_, _œ_, as Ælfred, Cædmon, manœuvre.




CONTRACTIONS


_NOTE.—Some abbreviations of Latin words such as_ ad loc., _&c., to
be set in roman, are shown on page 51._

Names of the books of the Bible as abbreviated where necessary:


_Old Testament._

  Gen.
  Exod.
  Lev.
  Num.
  Deut.
  Joshua
  Judges
  Ruth
  1 Sam.
  2 Sam.
  1 Kings
  2 Kings
  1 Chron.
  2 Chron.
  Ezra
  Neh.
  Esther
  Job
  Ps.
  Prov.
  Eccles.
  Song of Sol.
  Isa.
  Jer.
  Lam.
  Ezek.
  Dan.
  Hos.
  Joel
  Amos
  Obad.
  Jonah
  Mic.
  Nahum
  Hab.
  Zeph.
  Hag.
  Zech.
  Mal.


_New Testament._

  Matt.
  Mark
  Luke
  John
  Acts
  Rom.
  1 Cor.
  2 Cor.
  Gal.
  Eph.
  Phil.
  Col.
  1 Thess.
  2 Thess.
  1 Tim.
  2 Tim.
  Titus
  Philem.
  Heb.
  Jas.
  1 Pet.
  2 Pet.
  1 John
  2 John
  3 John
  Jude
  Rev.


_Apocrypha._

  1 Esdras
  2 Esdras
  Tobit
  Judith
  Rest of Esth.
  Wisd. of Sol.
  Ecclus.
  Baruch
  Song of Three Childr.
  Susanna
  Bel and Dragon
  Pr. of Manasses
  1 Macc.
  2 Macc.

Abbreviate the names of the months:

  Jan.
  Feb.
  Mar.
  Apr.
  May
  June
  July
  Aug.
  Sept.
  Oct.
  Nov.
  Dec.

Where the name of a county is abbreviated, as Yorks., Cambs., Berks.,
Oxon., use a full point; but print Hants (no full point) because it
is not a modern abbreviation.

4to, 8vo, 12mo,[39] &c. (sizes of books), are symbols, and should
have no full point. A parallel case is that of 1st, 2nd, 3rd, and so
on, which also need no full points.

Print lb. for both sing. and pl.; not lbs. Also omit the plural _-s_
in the following: cm., cwt., dwt., gr., grm., in., min., mm., oz.

When beginning a footnote, the abbreviations e.g., i.e., p. or pp.,
and so on, to be all in lower-case.

Use ETC. in a cap. line and ETC. in a small cap. line where an
ampersand (&) will not range. Otherwise print &c.; and Longmans,
Green & Co.; with no comma before ampersand in the name of a firm.

Print the symbolic letters I O U, without full points.

The points of the compass, N. E. S. W., when separately used, to have
a full point: but print NE., NNW. These letters to be used only in
geographical or similar matter: do not, even if N. is in the copy,
use the contraction in ordinary composition; print ‘Woodstock is
eight miles north of Carfax’.

MS. = manuscript, MSS. = manuscripts, to be spelt out when used in
a general sense. But in printing bibliographical details, and in
references to particular manuscripts, the contracted forms should be
used; e.g. the Worcester MS., the Harleian MSS., Add. MS. 25642.

Print PS. (not P.S.) for postscript or postscriptum; MM. (messieurs),
SS. not S.S. (steamship); but H.M.S. (His Majesty’s Ship); H.R.H.;
I.W. (Isle of Wight); N.B., Q.E.D., and R.S.V.P., because more than
one word is contracted.

Print ME. and OE. in philological works for Middle English and Old
English. When an author prefers M.E., O.E., do not put a space
between the letters.

Abbreviations of titles, such as M.P., D.D., M.A., or of occupations
or parties, such as I.C.S., I.L.P., to have no space between the
letters.

When titles of books are represented by initials, put a thin space
only between each letter; e.g. _J. T. S._, _S. B. E._

Mr., Mrs., Dr., &c. must be printed with a full point, but not Mme,
Mlle.

In printing S. or St. for Saint, the compositor must be guided by the
manuscript. Ordinarily St. should be used, but if S. is consistently
written this must be assumed as the form in which the author wishes
it printed.

Print Bt. for Baronet, and Kt. for Knight.

Apostrophes in similar abbreviations to the following should
join close up to the letters—don’t, ’em, haven’t, o’er, shan’t,
shouldn’t, ’tis, won’t, there’ll, I’d, I’ll, we’ll.[40]

An apostrophe should not be used with hers, ours, theirs, yours.

_Apostrophes in Place-Names._[41]—1. Use an apostrophe after the ‘s’
in Queens’ College (Cambs.). But

2. Use an apostrophe before the ‘s’ in Connah’s Quay (Flints.),
Hunter’s Quay (N.B.), Orme’s Head (Carn.), Queen’s Coll. (Oxon.),
St. Abb’s Head (N.B.), St. John’s (Newfoundland), St. John’s Wood
(London), St. Mary’s Loch (N.B.), St. Michael’s Mount (Cornwall), St.
Mungo’s Well (Knaresboro’), St. Peter’s (Sydney, N.S.W.).

3. Do not use an apostrophe in—All Souls (Oxon.), Bury St. Edmunds,
Husbands Bosworth (Rugby), Johns Hopkins University (U.S.A.), Millers
Dale (Derby), Owens College (Manchester), St. Albans, St. Andrews,
St. Bees, St. Boswells, St. Davids, St. Helens (Lancs., and district
in London), St. Heliers (Jersey), St. Ives (Hunts. and Cornwall),
St. Kitts (St. Christopher Island, W.I.), St. Leonards, St. Neots
(Hunts., but St. Neot, Cornwall), Somers Town (London).

[Illustration: (light bulb)]


FOOTNOTES:

[38] The separately written _oe_, _ae_ are ‘digraphs’, because the
sounds they represent are in modern pronunciation _not_ diphthongs,
though they were such in classical Latin; but _ch_, _ph_, _sh_ are
also digraphs. _Æ_, _æ_, _Œ_, _œ_, are rather single letters than
digraphs, though they might be called ligatured digraphs.—H. B.

[39] To justify the use in ordinary printing of these symbols (as
against the use of 4^o, 8^o, 12^o, a prevailing French fashion
which is preferred by some writers), it may suffice to say that
the ablative cases of the ordinal numbers _quartus_, _octavus_,
_duodecimus_, namely _quarto_, _octavo_, _duodecimo_, are according
to popular usage represented by the forms or symbols 4to, 8vo, 12mo;
just as by the same usage we print 1st and 2nd as forms or symbols of
the English words _first_ and _second_.—H. H.

[40] See page 49 for an exception to this rule.

[41] The selection is arbitrary; but the examples are given on
the authority of the Oxford University and Cambridge University
Calendars, the Post Office Guide, Bartholomew’s Gazetteer, Bradshaw’s
Railway Guide, Crockford’s Clerical Directory, Keith Johnston’s
Gazetteer, and Stubbs’s Hotel Guide.




POETRY


Words ending in -ed are to be spelt so in all cases; and with a grave
accent when the syllable is separately pronounced, thus—èd. (’d is
not to be used.)

This applies to poetical quotations introduced into prose matter, and
to new works. It must not apply to reprints of standard authors, nor
to quotations in works which reproduce old spellings, &c.

Whenever a poetic quotation, whether in the same type as the text
or not, is given a line (or more) to itself, it is not to be placed
within quotation marks; but when the line of poetry runs on with the
prose then quotation marks are to be used.

On spacing poetry, see p. 49.




CAPITAL LETTERS


Avoid beginning words with capitals as much as possible; but use them
in the following and similar cases:

Act, when referring to Act of Parliament or Acts of a play; also in
Baptist, Christian, Nonconformist, Presbyterian, Puritan, Liberal,
Conservative, and all denominational terms and names of parties.

His Majesty, Her Royal Highness, &c.

The King of England, the Prince of Wales.

The Duke of Wellington, Bishop of Oxford, Sir Roger Tichborne, &c.

British Army, German Navy.

Christmas Day, Lady Day, &c.

Dark Ages, Middle Ages.

House of Commons, Parliament, &c.

Government, Cabinet, Speaker.

In geography: Sun, Earth, Equator, the Continent.

In geological names: Upper Greensand, London Clay, Tertiary, Lias, &c.

In names of streets, roads, &c., as—Chandos Street, Trafalgar
Square, Kingston Road, Addison’s Walk, Norreys Avenue.

Figure, Number, Plate (Fig., No., Pl.), should each begin with a
capital, whether contracted or not, unless special instructions are
given to the contrary.

Pronouns referring to the Deity should begin with capitals—He, Him,
His, Me, Mine, My, Thee, Thine, Thou; but print—who, whom, and whose.

Also capitalize the less common adjectives derived from proper names;
e.g. Homeric, Platonic.




LOWER-CASE INITIALS

FOR ANGLICIZED WORDS, ETC.


christianize, frenchified, herculean, italic, laconic, latinize,
puritanic, quixotic, roman, satanic, tantalize, vulcanize.

Also for the more common words derived from proper names,
as—boycott, doily, guernsey, hackney, hansom-cab, holland,
inverness, japanning, latinity, may (blossom), morocco, russia,
stepney-wheel.

When ‘In the press’ occurs in publishers’ announcements, print
‘press’ with a lower-case initial.




SMALL CAPITALS


Put a hair space between the letters of contractions in small
capitals:

  A.U.C. Anno urbis conditae
  A.D. Anno Domini
  A.H. Anno Hegirae
  A.M. Anno mundi
  B.C. Before Christ.

a.m.[42] (ante meridiem), p.m.{42} (post meridiem), should be
lower-case, except in lines of caps. or small caps.

When small caps, are used at foot of title-page, print thus: M DCCCC
IV[43]

Text references to caps. in plates and woodcuts to be in small caps.

The first word in each chapter of a book is to be in small caps. and
the first line usually indented one em; but this does not apply to
works in which the matter is broken up into many sections, nor to
cases where large initials are used. (See p. 50 as to indentation.)


FOOTNOTES:

[42] It is a common error to suppose that these initials stand for
ante-meridian and post-meridian. Thus, Charles Dickens represents one
of his characters in _Pickwick_ as saying ‘Curious circumstance about
those initials, sir,’ said Mr. Magnus. ‘You will observe—P.M.—post
meridian. In hasty notes to intimate acquaintance, I sometimes
sign myself “Afternoon”. It amuses my friends very much, Mr.
Pickwick.’—DICKENS, _Pickwick Papers_, p. 367. Oxford edit.,
1903.—H. H.

[43] ‘Or better M CM IV’—J. A. H. M.




SPECIAL SIGNS OR SYMBOLS


The signs + (plus), - (minus), = (equal to), > (‘larger than’, in
etymology signifying ‘gives’ or ‘has given’), < (‘smaller than’,
in etymology signifying ‘derived from’), are now often used in
printing ordinary scientific works, and not in those only which are
mathematical or arithmetical.

In such instances +, -, =, >, <, should in the matter of spacing be
treated as words are treated. For instance, in—

  spectabilis, _Bœrl. l. c._ (= Haasia spectabilis)

the = belongs to ‘spectabilis’ as much as to ‘Haasia’, and the sign
should not be put close to ‘Haasia’. A thin space only should be used.

In Philological works an asterisk * prefixed to a word signifies a
reconstructed form, and must be so printed; a dagger † signifies
an obsolete word. The latter sign, placed before a person’s name,
signifies deceased.

In Medical books the formulae are set in lower-case letters, j being
used for i both singly and in the final letter, e.g. gr.j (one
grain), ℥viij (eight ounces), ʒiij (three drachms), ℈iij (three
scruples), ♏︎iiij (four minims).




SPACING


Spacing ought to be even. Paragraphs are not to be widely spaced
for the sake of making breaklines. When the last line but one of a
paragraph is widely spaced and the first line of the next paragraph
is more than thick-spaced, extra spaces should be used between the
words in the intermediate breakline. Such spaces should not exceed en
quads, nor be increased if by so doing the line would be driven full
out.

In general, close spacing is to be preferred; but this must be
regulated proportionately to the manner in which a work is leaded.

Breaklines should consist of more than five letters, except in narrow
measures. But take care that bad spacing is not thereby necessitated.

Poetical quotations, and poetry generally when in wide measure,
should be spaced with en quadrats. But this must not be applied to
reprints of sixteenth and seventeenth century books: in such cases a
thick space only should be used.

Avoid (especially in full measures) printing at the ends of lines—a,
l., ll., p. _or_ pp., I (when a pronoun).

Capt., Dr., Esq., Mr., Rev., St., and so on, should not be separated
from names; nor should initials be divided: e.g. Mr. W. E. |
Gladstone; _not_ Mr. W. | E. Gladstone.

Thin spaces before apostrophes, e.g. that’s (for ‘that is’), boy’s
(for ‘boy is’), to distinguish abbreviations from the possessive case.

In Greek, Latin, and Italian, when a vowel is omitted at the end of a
word (denoted by an apostrophe), put a space before the word which
immediately follows.

Hair spaces to be placed between lower-case contractions, as in e.g.,
i.e., q.v.

Indentation of first lines of paragraphs should be one em for full
measures in 8vo and smaller books. In 4to and larger books the
indentation should be increased.

Sub-indentation should be proportionate; and the rule for all
indentation is not to drive too far in.

Quotations in prose, as a rule, should not be broken off from the
text unless the matter exceeds three lines.

Use great care in spacing out a page, and let it not be too open.

Underlines, wherever possible, to be in one line.




ITALIC TYPE

_NOTE.—A list of foreign and anglicized words and phrases, showing
which should be printed in roman and which in italic, is given on pp.
35-7._


In many works it is now common to print titles of books in italic,
instead of in inverted commas. This must be determined by the
directions given with the copy, but the practice must be uniform
throughout the work.

Words or phrases cited from foreign languages (unless anglicized)
should be in italic.

Short extracts from books, whether foreign or English, should not be
in italic but in roman (between inverted commas, or otherwise, as
directed on p. 63).

Names of periodicals should be in italic. Inconsistency is often
caused by the prefix _The_ being sometimes printed in italic, and
sometimes roman. As a rule, print the definite article in roman, as
the _Standard_, the _Daily News_. _The Times_ is to be an exception,
as that newspaper prefers to have it so. _The_, if it is part of the
title of a book, should also be in italic letters.

Print names of ships[44] in italic. In this case, print ‘the’ in
roman, as it is often uncertain whether ‘the’ is part of the title
or not. For example, ‘the _King George_’, ‘the _Revenge_’; also put
other prefixes in roman, as ‘H.M.S. _Dreadnought_’.

ad loc., cf., e.g., et seq., ib., ibid., id., i.e., loc. cit., q.v.,
viz.[45], not to be in italic. Print _c._ (= _circa_), _ante_,
_infra_, _passim_, _post_, _supra_, &c.

Italic _s._ and _d._ to be generally used to express shillings and
pence; and the sign £ (except in special cases) to express the pound
sterling. But in catalogues and similar work the diagonal sign / or
‘shilling-mark’ is sometimes preferred to divide figures representing
shillings and pence. The same sign is occasionally used in dates, as
4/2/04.

In Mathematical works, theorems are usually printed in italic.


FOOTNOTES:

[44] Italicizing the names of ships is thus recognized by Victor
Hugo: ‘Il l’avait nommé _Durande_. La Durande,—nous ne l’appellerons
plus autrement. On nous permettra également, quel que soit l’usage
typographique, de ne point souligner ce nom Durande, nous conformant
en cela à la pensée de Mess Lethierry pour qui la Durande était
presque une personne.’—V. HUGO, _Travailleurs de la mer_, 3rd (1866)
edit., Vol. I, p. 129.—H. H.

[45] This expression, although a symbol rather than an abbreviation,
must be printed with a full point after the z.—H. H.




REFERENCES TO AUTHORITIES


Citation of authorities at the end of quotations should be printed
thus: HOMER, _Odyssey_, ii. 15, but print HOR. _Carm._ ii. 14. 2;
HOM. _Od._ iv. 272. This applies chiefly to quotations at the heads
of chapters. It does not refer to frequent citations in notes, where
the author’s name is usually in lower-case letters, and the title of
the book sometimes printed in roman.

As an example: Stubbs, _Constitutional History_, vol. ii, p. 98; or
the more contracted form—Stubbs, _Const. Hist._ ii. 98, will do
equally well; but, whichever style is adopted after an examination of
the manuscript, it must be uniform throughout the work.

References to the Bible in ordinary works to be printed thus—Exod.
xxxii. 32; xxxvii. 2. (For full list of contractions see p. 41.)

References to Shakespeare’s plays thus—_I Henry VI_, III. ii. 14;
and so with the references to Act, scene, and line in other dramatic
writings.

Likewise in references to poems divided into books, cantos, and
lines; e. g. Spenser, _Faerie Queene_, IV. xxvi. 35.

References to MSS. or unprinted documents should be in roman.

As to use of italic, see also above, p. 50.




DIVISION OF WORDS


I. ENGLISH

Such divisions as en-, de-, or in- to be allowed only in very narrow
measures, and there exceptionally.

Disyllables, as ‘into’, ‘until’, &c., are only to be divided in very
narrow measures.

The following divisions to be preferred:

  abun-dance
  appli-cable
  corre-spon-dence
  depen-dent
  dimin-ish
  dis-connect
  estab-lish-ment
  impor-tance
  inter-est
  minis-ter
  pun-ish
  respon-dent

Avoid such divisions as—

  star-vation,
  obser-vation,
  exal-tation,
  gene-ration,
  imagi-nation,
  origi-nally;

but put starva-tion, &c.

The principle is that the part of the word left at the end of a line
should suggest the part commencing the next line. Thus the word
‘happiness’ should be divided happi-ness, _not_ hap-piness.[46]

Roman-ism, Puritan-ism; but Agnosti-cism, Catholi-cism, criti-cism,
fanati-cism, tauto-logism, witti-cism, &c.

The terminations -cial, -cian, -cious, -sion, -tion should not be
divided when forming one sound, as in so-cial, Gre-cian, pugna-cious,
condescen-sion, forma-tion.

Atmo-sphere, micro-scope, philo-sophy, tele-phone, tele-scope,
should have only this division. But always print episco-pal (not
epi-scopal), &c.[47]

A divided word should not end a page, if it is possible to avoid it.


II. SOME ITALIAN, PORTUGUESE, AND SPANISH WORDS

_Italian._—Divide si-gnore (gn = _ni_ in ‘mania’), trava-gliare (gli
= _lli_ in ‘William’), tra-scinare (sci = _shi_ in ‘shin’), i.e.
take over gn, gl, sci. In such a case as ‘all’ uomo’ Italians divide
‘al-l’ uomo’ when occasion arises.[48]

_Portuguese._—Divide se-nhor (nh = _ni_ in ‘mania’), bata-lha (lh =
_lli_ in ‘William’), i.e. take over nh, ll.

_Spanish._—Divide se-ñora (ñ = _ni_ in ‘mania’), maravi-lloso (ll =
_lli_ in ‘William’), i.e. take over ñ, ll.


III. For the division of French words, see p. 81; German, p. 90;
Latin, p. 95; and Greek, p. 97.


FOOTNOTES:

[46] I was once asked how I would carry out the rule that part
of the word left in one line should suggest what followed in the
next, in such a case as ‘disproportionableness’, which, according
to Sir James Murray, is one of the longest words in the English
language; or ‘incircumscriptibleness’, used by one Byfield, a
divine, in 1615, who wrote, ‘The immensity of Christ’s divine nature
hath ... incircumscriptibleness in respect of place’; or again,
‘antidisestablishmentarians’, quoted in the biography of Archbishop
Benson, where he says that ‘the Free Kirk of the North of Scotland
are strong antidisestablishmentarians’.—H. H.

[47] ‘Even the divisions noted as preferable are not free from
objection, and should be avoided when it is at all easy to do
so.’—H. B.

[48] Italians follow this rule, but it is better avoided in printing
Italian passages in English books.—H. H.




PUNCTUATION


The compositor is recommended to study attentively a good
treatise[49] on the whole subject. He will find some knowledge of
it to be indispensable if his work is to be done properly; for most
writers send in copy quite unprepared as regards punctuation, and
leave the compositor to put in the proper marks. ‘Punctuation is
an art nearly always left to the compositor, authors being almost
without exception either too busy or too careless to regard it.’[50]
Some authors rightly claim to have carefully prepared copy followed
absolutely; but such cases are rare, and the compositor can as a rule
only follow his copy exactly when setting up standard reprints. ‘The
first business of the compositor’ says Mr. De Vinne, ‘is to copy and
not to write. He is enjoined strictly to follow the copy and never to
change the punctuation of any author who is precise and systematic;
but he is also required to punctuate the writings of all authors who
are not careful, and to make written expression intelligible in the
proof.... It follows that compositors are inclined to neglect the
study of rules that cannot be generally applied.’[51]

It being admitted, then, that the compositor is to be held
responsible in most cases, he should remember that loose
punctuation,[52] especially in scientific and philosophical works,
is to be avoided.[53] We will again quote Mr. De Vinne: ‘Two systems
of punctuation are in use. One may be called the close or stiff,
and the other the open or easy system. For all ordinary descriptive
writing the open or easy system, which teaches that points be used
sparingly, is in most favor, but the close or stiff system cannot
be discarded.’[54] The compositor who desires to inform himself
as to the principles and theory of punctuation will find abundant
information in the works mentioned in the footnote on p. 55; in our
own booklet there is space only for a few cautions and a liberal
selection of examples; authority for the examples, when they are
taken from the works of other writers, being given in all cases.


_The Comma._

Commas should, as a rule, be inserted between adjectives preceding
and qualifying substantives, as—

  An enterprising, ambitious man.

  A gentle, amiable, harmless creature.

  A cold, damp, badly lighted room.[55]

But where the last adjective is in closer relation to the substantive
than the preceding ones, omit the comma, as—

  A distinguished foreign author.

  The sailor was accompanied by a great rough Newfoundland dog.{55}

Where _and_ joins two single words or phrases the comma is usually
omitted; e.g.

  The honourable and learned member.

But where more than two words or phrases occur together in a sequence
a comma should precede the final _and_; e.g.

  A great, wise, and beneficent measure.

The following sentence, containing two conjunctive _and_’s, needs no
commas:

  God is wise and righteous and faithful.{55}

Such words as moreover, however, &c., are usually followed by a
comma[56] when used at the opening of a sentence, or preceded and
followed by a comma when used in the middle of a sentence. For
instance:

  In any case, however, the siphon may be filled.[57]

It is better to use the comma in such sentences as those that
immediately follow:

  Truth ennobles man, and learning adorns him.[58]

  The Parliament is not dissolved, but only prorogued.

  The French having occupied Portugal, a British squadron, under
  Rear-Admiral Sir Samuel Hood, sailed for Madeira.

  I believed, and therefore I spoke.

  The question is, Can it be performed?

  My son, give me thy heart.

  The Armada being thus happily defeated, the nation resounded with
  shouts of joy.

  Be assured, then, that order, frugality, and economy, are the
  necessary supporters of every personal and private virtue.

  Virtue is the highest proof of a superior understanding, and the
  only basis of greatness.{58}

When a preposition assumes the character of an adverb, a comma should
follow it, to avoid awkwardness or ambiguity: ‘In the valley below,
the villages looked very small.’


_The Semicolon._

Instances in which the semicolon is appropriate:

  Truth ennobles man; learning adorns him.

  The temperate man’s pleasures are always durable, because they
  are regular; and all his life is calm and serene, because it is
  innocent.

  Those faults which arise from the will are intolerable; for dull
  and insipid is every performance where inclination bears no part.

  Economy is no disgrace; for it is better to live on a little than
  to outlive a great deal.

  To err is human; to forgive, divine.[59]

  Never speak concerning what you are ignorant of; speak little of
  what you know; and whether you speak or say not a word, do it with
  judgement.{59}

Semicolons divide the simple members of a compound sentence, and a
comma and dash come after the last sentence and before the general
conclusion:

  To give an early preference to honour above gain, when they stand
  in competition; to despise every advantage which cannot be attained
  without dishonest arts; to brook no meanness, and stoop to no
  dissimulation,—are the indications of a great mind, the presages
  of future eminence and usefulness in life.[60]


_The Colon._

This point marks an abrupt pause before a further but connected
statement:

  In business there is something more than barter, exchange, price,
  payment: there is a sacred faith of man in man.

  Study to acquire a habit of thinking: no study is more
  important.[61]

  Always remember the ancient maxim: Know thyself.


_The Period or Full Stop._

Examples of its ordinary use:

  Fear God. Honour the King. Pray without ceasing.

  There are thoughts and images flashing across the mind in its
  highest moods, to which we give the name of inspiration. But whom
  do we honour with this title of the inspired poet?


_The Note of Interrogation._

Examples of its ordinary use:

      Shall little, haughty ignorance pronounce
      His work unwise, of which the smallest part
      Exceeds the narrow vision of the mind?

  Was the prisoner alone when he was apprehended? Is he known to the
  police? Has he any regular occupation? Where does he dwell? What is
  his name?

  What does the pedant mean?

Cases where the note of interrogation must not be used, the speaker
simply stating a fact:

  The Cyprians asked me why I wept.

  I was asked if I would stop for dinner.


_The Note of Exclamation._

Examples of its ordinary use:

      Hail, source of Being! universal Soul!
      How mischievous are the effects of war!
      O excellent guardian of the sheep!—a wolf![62]

      Alas for his poor family!
      Alas, my noble boy! that thou shouldst die!
      Ah me! she cried, and waved her lily hand.
      O despiteful love! unconstant womankind!


_Marks of Parenthesis._

Examples:

  I have seen charity (if charity it may be called) insult with an
  air of pity.

  Left now to himself (malice could not wish him a worse adviser), he
  resolves on a desperate project.[63]


_The Bracket._

These marks are used chiefly to denote an interpolation or
explanation. For example:

      Perhaps (alarming thought!), perhaps he [Death] aims
      Ev’n now the fatal blow that ends my life.[64]

  They [the Lilliputians] rose like one man.


_The Dash._

Em rules or dashes—in this and the next line an example is
given—are often used to show that words enclosed between them are to
be read parenthetically. Thus a verbal parenthesis may be shown by
punctuation in three ways: by em dashes, by ( ), or by commas.[65]

Omit the dash when a colon is used to preface a quotation or similar
matter, whether at the end of a break-line or not.

The dash is used to mark an interruption or breaking off in the
middle of a sentence.[66]


_Marks of Omission._

To mark omitted words three points ... (not asterisks) separated
by en quadrats are sufficient; and the practice should be uniform
throughout the work. Where full lines are required to mark a large
omission, real or imaginary, the spacing between the marks should
be increased; but the compositor should in this case also use full
points and not asterisks.


_Punctuation Marks generally._

The following summary is an attempt to define in few words the
meaning and use of punctuation marks (the capitals are only given for
emphasis):

A Period marks the end of a sentence.

A Colon is at the transition point of the sentence.

A Semicolon separates different statements.

A Comma separates clauses, phrases, and particles.

A Dash marks abruptness or irregularity.

An Exclamation marks surprise.

An Interrogation asks a question for answer.

An Apostrophe marks elisions or possessive case.

Quotation marks define quoted words.

Parentheses enclose interpolations in the sentence.

Brackets enclose irregularities in the sentence.[67]


_Quotation Marks, or ‘Inverted Commas’ (so-called)._

Omit quotation marks in poetry, as instructed on p. 45. Also omit
them in prose extracts broken off in smaller type, unless contrary
instructions are given.

Insert quotation marks in titles of essays: e.g. ‘Mr. Brock read a
paper on “Description in Poetry”.’ But omit quotation marks when the
subject of the paper is an author: e.g. ‘Professor Bradley read a
paper on Jane Austen.’

Single ‘quotes’ are to be used for the first quotation; then double
for a quotation within a quotation. If there should be yet another
quotation within the second quotation it is necessary to revert to
single quotation marks. Sometimes, as in the impossible example in
the footnote, quotation marks packed three deep must be omitted.

All signs of punctuation used with words in quotation marks must be
placed _according to the sense_. If an extract ends with a point,
then let that point be, as a rule,[68] included before the closing
quotation mark; but not otherwise. When there is one quotation within
another, and both end with the sentence, put the punctuation mark
before the first of the closing quotations. These are important
directions for the compositor to bear in mind; and he should examine
the examples which are given in the pages which follow:

  ‘The passing crowd’ is a phrase coined in the spirit of
  indifference. Yet, to a man of what Plato calls ‘universal
  sympathies’, and even to the plain, ordinary denizens of this
  world, what can be more interesting than ‘the passing crowd’?[69]

  If the physician sees you eat anything that is not good for your
  body, to keep you from it he cries, ‘It is poison!’ If the divine
  sees you do anything that is hurtful for your soul, he cries, ‘You
  are lost!’[70]

  ‘Why does he use the word “poison”?’

  But I boldly cried out, ‘Woe unto this city!’[71]

  Alas, how few of them can say, ‘I have striven to the very
  utmost’!{71}

Thus, notes of exclamation and interrogation are sometimes included
in and sometimes follow quotation marks, as in the sentences above,
according to whether their application is merely to the words quoted
or to the whole sentence of which they form a part. The sentence-stop
must be omitted after ? or !, even when the ? or ! precedes the
closing ‘quotes’.

In regard to the use of commas and full points with ‘turned commas’,
the general practice has hitherto been different. When either a comma
or a full point is required at the end of a quotation, the almost
universal custom at the present time is for the printer to include
that comma or full point within the quotation marks at the end of
an extract, _whether it forms part of the original extract or not_.
Even in De Vinne’s examples, although he says distinctly, ‘The proper
place of the closing marks of quotation should be determined by the
quoted words only’, no instance can be found of the closing marks
of quotation being placed to precede a comma or a full point. Some
writers wish to exclude the comma or full point when it does not form
part of the original extract, and to include it when it does form
part of it; and this is doubtless correct.

There seems to be no reason for perpetuating a bad practice. So,
unless the author wishes to have it otherwise, in all new works the
compositor should place full points and commas according to the
examples that follow:

  We need not ‘follow a multitude to do evil’.

  No one should ‘follow a multitude to do evil’, as the Scripture
  says.

  Do not ‘follow a multitude to do evil’; on the contrary, do what is
  right.

When a number of isolated words or phrases are, for any reason,
severally marked off by ‘turned commas’ (e.g. in order to show that
they are not the expressions which the author would prefer to use, or
that they are used in some technical sense), the closing quotation
mark should precede the punctuation mark, thus:

  ‘Such odd-sounding designations of employment as “scribbling
  miller”, “devil feeder”, “pug boy”, “decomposing man”, occur in the
  census reports.’

  _in my voice_, ‘so far as my vote is concerned’. _parlous_,
  ‘perilous’, ‘dangerous’, ‘hard to deal with’.

But when a quotation is complete in itself, either as a sentence or
a paragraph, the final quotation mark is to be placed outside the
point. For example:

  ‘If the writer of these pages shall chance to meet with any that
  shall only study to cavil and pick a quarrel with him, he is
  prepared beforehand to take no notice of it.’ (_Works of Charles
  and M. Lamb_, Oxford edition, i. 193.)

Where a quotation is interrupted by an interpolated sentence, the
punctuation must follow the sense of the passage, as in the following
examples:

  1. ‘At the root of the disorders’, he writes in the Report, ‘lies
  the conflict of the two races.’ In this example the comma is placed
  _outside_ the quotation mark, as it forms no part of the original
  punctuation.

  2. ‘Language is not, and never can be,’ writes Lord Cromer, ‘as in
  the case of ancient Rome, an important factor in the execution of a
  policy of fusion.’ In this example the comma is placed _inside_ the
  quotation mark, as it forms part of the original punctuation.

In the case of dialogues, the punctuation mark should precede the
quotation mark, as:

  ‘You hear him,’ said Claverhouse, smiling, ‘there’s the rock he
  splits upon; he cannot forget his pedigree.’


_Punctuation in Classical and Philological Notes._

In notes on English and foreign classics, as a rule[72] follow the
punctuation in the following examples:

  5. _Falls not_, lets not fall. (That is, a comma is sufficient
  after the lemma where a simple definition follows.)

  17. _swoon._ The spelling of the folios is ‘swound’. (Here a full
  point is used, because the words that follow the lemma comprise a
  complete sentence.)

Note, as to capitalization, that the initial letter of the word or
phrase treated (as in _Falls not_ above) should be in agreement with
the text.

The lemma should be set in italics or clarendon, according to
directions.


_Punctuation Marks and References to Footnotes in juxtaposition._

The relation of these to each other is dealt with on p. 70. Examples
of the right practice are to be found on many pages of the present
work.


_Points in Title-pages, Headlines, &c._

All points are to be omitted from the ends of lines in titles,
half-titles, page-headings, and main cross-headings, in Clarendon
Press works, unless a special direction is given to the contrary.


FOOTNOTES:

[49] e.g. _Spelling and Punctuation_, by H. Beadnell (Wyman’s
Technical Series); _The King’s English_ (Clarendon Press), containing
a valuable chapter on Punctuation; _Stops; or, How to Punctuate_, by
P. Allardyce (Fisher Unwin); _Correct Composition_, by T. L. De Vinne
(New York, Century Co.); or the more elaborate _Guide pratique du
compositeur_, &c., by T. Lefevre (Paris, Firmin-Didot).

[50] _Practical Printing_, by Southward and Powell, p. 191.

[51] De Vinne, _Correct Composition_, pp. 241-2.

[52] How much depends upon punctuation is well illustrated in a
story told, I believe, by the late G. A. Sala, once a writer in the
_Daily Telegraph_, about R. B. Sheridan, dramatist and M.P. In the
House of Commons, Sheridan one day gave an opponent the lie direct.
Called upon to apologize, the offender responded thus: ‘Mr. Speaker I
said the honourable Member was a liar it is true and I am sorry for
it.’ Naturally the person concerned was not satisfied; and said so.
‘Sir,’ continued Mr. Sheridan, ‘the honourable Member can interpret
the terms of my statement according to his ability, and he can put
punctuation marks where it pleases him.’—H. H.

[53] Below is a puzzle passage from the _Daily Chronicle_, first with
no points, and then with proper marks of punctuation: ‘That that is
is that that is not is not is not that it it is.’ ‘That that is, is;
that that is not, is not; is not that it? It is.’—H. H.

[54] De Vinne, _Correct Composition_, p. 244.

[55] Beadnell, pp. 99, 100.

[56] Nevertheless the reader is not to be commended who, being told
that the word however was usually followed by a comma, insisted upon
altering a sentence beginning ‘However true this may be,’ &c., to
‘However, true this _may_ be,’ &c. This is the late Dean Alford’s
story. See _The Queen’s English_, p. 124, ed. 1870.—H. H.

[57] Beadnell, p. 101.

[58] Id., pp. 95-107.

[59] Beadnell, pp. 109, 110.

[60] Id., p. 111.

[61] Id., p. 112.

[62] All the examples are from Beadnell, pp. 113-17.

[63] Beadnell, pp. 118-19.

[64] Id., p. 120.

[65] Some writers mark this form of composition quite arbitrarily.
For instance Charles Dickens uses colons: ‘As he sat down by the old
man’s side, two tears: not tears like those with which recording
angels blot their entries out, but drops so precious that they use
them for their ink: stole down his meritorious cheeks.’—_Martin
Chuzzlewit_, Oxford ed., p. 581.

[66] There is one case, and only one, of an em rule being used in
the Bible (A.V.), viz. in Exod. xxxii. 32; where, I am told by the
Rev. Professor Driver, it is correctly printed, to mark what is
technically called an ‘aposiopesis’, i.e. a sudden silence. The
ordinary mark for such a case is a two-em rule.—H. H.

[67] De Vinne, _Correct Composition_, p. 288.

[68] I say ‘as a rule’, because if such a sentence as that which
follows occurred in printing a secular work, the rule would have to
be broken. De Vinne prints:

‘In the New Testament we have the following words: “Jesus answered
them, ‘Is it not written in your law, “I said, ‘Ye are gods’”?’”’ [H.
H.]

[69] Beadnell, p. 116.

[70] Id., p. 126.

[71] Allardyce, p. 74.

[72] There are exceptions, as in the case of works which have a
settled style of their own.




FIGURES AND NUMERALS

IN ARABIC OR ROMAN


Do not mix old-style and new-face figures in the same book without
special directions.

Nineteenth century, not 19th century.

Figures to be used when the matter consists of a sequence of stated
quantities, particulars of age, &c.

Example:

  ‘Figures for September show the supply to have been 85,690 tons, a
  decrease on the month of 57 tons. For the past twelve months there
  is a net increase of 5 tons.’

  ‘The smallest tenor suitable for ten bells is D flat, of 5 feet
  diameter and 42 cwt.’

In descriptive matter, numbers under 100 to be in words; but print
‘90 to 100’, not ‘ninety to 100’.

Spell out in such instances as—

  ‘With God a thousand years are but as one day’; ‘I have said so a
  hundred times’.

Insert commas with four or more than four figures, as 7,642; but
print dates without commas, as 1908; nor should there be commas in
figures denoting pagination or numbering of verse, even though there
may be more than three figures. Omit commas also in Library numbers,
as—British Museum MS. 24456.

Roman numerals to be preferred in such cases as Henry VIII,
&c.—which should never be divided; and should only be followed
by a full point when the letters end a sentence. If, however, the
author prefers the full title, use ‘Henry the Eighth’, not ‘Henry the
VIIIth’.

Use a decimal point · to express decimals, as 7·06; and print 0·76,
_not_ ·76. When the time of day is intended to be shown, the full
point . is to be used, as 4.30 a.m.

As to dates, in descriptive writing the author’s phraseology should
be followed; e.g. ‘On the 21st of May the army drew near.’ But in
ordinary matter in which the date of the month and year is given,
such as the headings to letters, print May 19, 1862; not May 19th,
1862,[73] nor 19 May, 1862.

To represent pagination or an approximate date, use the least number
of figures possible; for example, print:

  pp. 322-30; pp. 322-4, _not_ pp. 322-24. But print: pp. 16-18,
  _not_ pp. 16-8; 116-18, _not_ 116-8.

In dates: 1897-8, _not_ 1897-98 (use en rules); and from 1672 to
1674, _not_ from 1672-74.

Print: 250 B.C.; but when it is necessary to insert A.D. the letters
should precede the year, as A.D. 250. In B.C. references, however,
always put the full date, in a group of years, e.g. 185-122 B.C.

When preliminary pages are referred to by lower-case roman numerals,
no full points should be used after the numerals. Print:

  p. ii, pp. iii-x; _not_ p. ii., pp. iii.-x.

When references are made to two successive text-pages print pp. 6, 7,
if the subject is disconnected in the two pages. But if the subject
is continuous from one page to the other, then print pp. 6-7. The
compositor in this must be guided by his copy. Print p. 51 sq. if the
reference is to p. 51 and following page; but pp. 51 sqq. when the
reference is to more than a single page following.[74]

In a sequence of figures use an en rule, as in the above examples;
but in such cases as Chapters III—VIII use an em rule.

Begin numbered paragraphs: 1. 2. &c.; and clauses in paragraphs: (1)
(2) (3), &c. If Greek or roman lower-case letters are written, the
compositor must follow copy. Roman numerals (I. II. III.) are usually
reserved for chapters or important sections.

References in the text to footnotes should be made by superior
figures—which are to be placed, as regards punctuation marks,
according to the sense. If a single word, say, is extracted and
referred to, the reference must be placed immediately after the word
extracted and before the punctuation mark. But if an extract be made
which includes a complete sentence or paragraph, then the reference
mark must be placed outside the last punctuation mark. Asterisks,
superior letters, &c., may be used in special cases. Asterisks and
the other signs (* † ‡ &c.) should be used in mathematical works, to
avoid confusion with the workings.

In Mathematics, the inferior in P_{1}′ should come immediately
after the capital letter.


FOOTNOTES:

[73] Sir James Murray says, ‘This is not logical: 19 May 1862 is.
_Begin_ at day, _ascend_ to month, _ascend_ to year; not _begin_ at
month, _descend_ to day, then _ascend_ to year.’ (But I fear we must
continue for the present to print May 19, 1862: authors generally
will not accept the logical form.—H. H.)

[74] In references of this nature different forms are used, as—ff.,
foll., et seq. Whichever form is adopted, the practice should be
uniform throughout the work.




APPENDIX I

POSSESSIVE CASE OF PROPER NAMES


Use ’s for the possessive case in English names and surnames whenever
possible; i.e. in all monosyllables and disyllables, and in longer
words accented on the penult; as—

  Augustus’s
  Charles’s
  Cousins’s
  Gustavus’s
  Hicks’s
  St. James’s Square
  Nicodemus’s
  Jones’s
  Thomas’s
  Zacharias’s
  St. Thomas’s
  Thoms’s

In longer names, not accented on the penult, ’s is also preferable,
though ’ is here admissible; e. g. Theophilus’s.

In ancient classical names, use ’s with every monosyllable, e. g.
Mars’s, Zeus’s. Also with disyllables not in -es; as—

  Judas’s    Marcus’s    Venus’s

But poets in these cases sometimes use s’ only; and Jesus’ is a
well-known liturgical archaism. In quotations from Scripture follow
the Oxford standard.[75]

Ancient words in -es are usually written -es’ in the possessive, e. g.

  Ceres’ rites    Xerxes’ fleet

This form should certainly be used in words longer than two
syllables, e.g.

  Arbaces’
  Aristides’
  Miltiades’
  Themistocles’

To pronounce another ’s (= es) after these is difficult.

This applies only to _ancient_ words. One writes—Moses’ law; and I
used to alight at Moses’s for the British Museum.

As to the latter example, Moses, the tailor, was a modern man, like
Thomas and Lewis; and in using his name we follow modern English
usage.

                                                           J. A. H. M.

French names ending in _s_ or _x_ should always be followed by _’s_
when used possessively in English. Thus, it being taken for granted
that the French pronunciation is known to the ordinary reader, and
using Rabelais = Rabelè, Hanotaux = Hanotō, as examples, the only
correct way of writing these names in the possessive in English is
Rabelais’s (= Rabelès), Hanotaux’s (= Hanotōs).—H. H.

[Illustration: (light bulb)]


FOOTNOTES:

[75] See p. 9 (note).—H. H.




APPENDIX II

WORKS IN THE FRENCH LANGUAGE


The English compositor called upon to set works in the French
language will do well, first of all, to make a careful examination
of some examples from the best French printing-offices. He will find
that French printers act on rules differing in many points from the
rules to which the English compositor is accustomed; and he will not
be able to escape from his difficulties by the simple expedient of
‘following copy’.

For works in the French language, such as classical text-books for
use in schools, the English compositor generally gets reprint copy
for text and manuscript for notes. It is, as a rule, safe for him
to follow the reprint copy; but there is this difficulty, that when
the work forms part of a series it does not always happen that the
reprint copy for one book corresponds in typographical style with
reprint copy for other works in the same series. Hence he should
apply himself diligently to understand the following rules; and
should hunt out examples of their application, so that they may
remain in his memory.[76]

1. _Capital and lower-case letters._—In the names of authors of
the seventeenth century, which are preceded by an article, the
latter should commence with a capital letter: La Fontaine, La
Bruyère.[77] Exceptions are names taken from the Italian, thus: le
Tasse, le Dante, le Corrège.[78] As to names of persons, the usage
of the individuals themselves should be adopted: de la Bruyère (his
signature at the end of a letter), De la Fontaine (end of fable ‘Le
Lièvre et la Tortue’), Lamartine, Le Verrier, Maxime Du Camp. In
names of places the article should be small: le Mans, le Havre, which
the Académie adopts; la Ferté, with no hyphen after the article,
but connected by a hyphen with different names of places, as la
Ferté-sous-Jouarre.

Volumes, books, titles, acts of plays, the years of the Republican
Calendar, are put in large capitals: An IV, acte V, tome VI; also
numerals belonging to proper names: Louis XII; and the numbers of the
arrondissements of Paris: le XV^e arrondissement.

Scenes of plays, if there are no acts, are also put in large caps.:
_Les Précieuses ridicules_, sc. V; also chapters, if they form the
principal division: _Joseph_, ch. VI. If, however, scenes of plays
and chapters are secondary divisions, they are put in small capitals:
_Le Cid_, a. I, sc. II; _Histoire de France_, liv. VI, ch. VII. The
numbers of centuries are generally put in small capitals: au XIX^e
(or XIX^{ème}) siècle.

The first word of a title always takes a capital letter: J’ai
vu jouer _Les Femmes savantes_; on lit dans _Le Radical_. If a
substantive in a title immediately follows _Le_, _La_, _Les_, _Un_,
_Une_, it is also given a capital letter, thus: _Les Précieuses
ridicules_. If the substantive is preceded by an adjective, this
also receives a capital letter: _La Folle Journée_; if, however,
the adjective follows, it is in lower-case: _L’Âge ingrat_. If the
title commences with any other word than le, la, les, un, une, or an
adjective, the words following are all in lower-case: _De la terre à
la lune_; _Sur la piste_.

In titles of fables or of dramatic works the names of the characters
are put with capital initials: Le Renard et les Raisins; Le Lion et
le Rat; Marceau, ou les Enfants de la République.

In catalogues or indexes having the first word or words in
parentheses after the substantive commencing the line, the first
word thus transposed has a capital letter: Homme (Faiblesse de l’);
Honneur (L’); Niagara (Les Chutes du).

If the words in parentheses are part of the title of a work, the
same rule is followed as to capitals as above given: Héloïse (La
Nouvelle); Mort (La Vie ou la).

The words saint, sainte, when referring to the saints themselves,
have, except when commencing a sentence, always lower-case initials:
saint Louis, saint Paul, sainte Cécile. But when referring to names
of places, feast-days, &c., capital letters and hyphens are used:
Saint-Domingue, la Saint-Jean. (See also, as to abbreviations of
Saint, Sainte, p. 82.)


I. Use capital letters as directed below:

(1) Words relating to God: le Seigneur, l’Être suprême, le Très-Haut,
le Saint-Esprit.

(2) In enumerations, if each one commences a new line, a capital is
put immediately after the figure:

  1^o L’Europe.
  2^o L’Asie, &c.

But if the enumeration is run on, lower-case letters are used: 1^o
l’Europe, 2^o l’Asie, &c.

(3) Words representing abstract qualities personified: La Renommée ne
vient souvent qu’après la Mort.

(4) The planets and constellations: Mars, le Bélier.

(5) Religious festivals: la Pentecôte.

(6) Historical events: la Révolution.

(7) The names of streets, squares, &c.: la rue des Mauvais-Garçons,
la place de la Nation, la fontaine des Innocents.

(8) The names of public buildings, churches, &c.: l’Opéra, l’Odéon,
église de la Trinité.

(9) Names relating to institutions, public bodies, religious, civil,
or military orders (but only the word after the article): l’Académie
française, la Légion d’honneur, le Conservatoire de musique.

(10) Surnames and nicknames, without hyphens: Louis le Grand.

(11) Honorary titles: Son Éminence, Leurs Altesses.

(12) Adjectives denoting geographical expressions: la mer Rouge, le
golfe Persique.

(13) The names of the cardinal points designating an extent of
territory: l’Amérique du Nord; aller dans le Midi. (See II. (2).)

(14) The word Église, when it denotes the Church as an institution:
l’Église catholique; but when relating to a building église is put.

(15) The word État when it designates the nation, the country: La
France est un puissant État.


II. Use lower-case initials for—

(1) The names of members of religious orders: un carme (a Carmelite),
un templier (a Templar). But the orders themselves take capitals:
l’ordre des Templiers, des Carmes.

(2) The names of the cardinal points: le nord, le sud. But see I.
(13) above.

(3) Adjectives belonging to proper names: la langue française, l’ère
napoléonienne.

(4) Objects named from persons or places: un quinquet (an argand
lamp); un verre de champagne.

(5) Days of the week—lundi, mardi; names of months—juillet, août.

In plays the dramatis personae at the head of scenes are put in large
capitals, and those not named in even small capitals:

  SCÈNE V.

  TRIBOULET, BLANCHE, HOMMES, FEMMES DU PEUPLE.

In the dialogues the names of the speakers are put in even small
capitals, and placed in the centre of the line. The stage directions
and the asides are put in smaller type, and are in the text, if
verse, in parentheses over the words they refer to. If there are two
stage directions in one and the same line, it will be advisable to
split the line, thus:

    (Revenu sur ses pas.)
  Oublions-les! restons.—
                  (Il l’assied sur un banc.)
                Sieds-toi sur cette pierre.

Directions not relating to any particular words of the text are put,
if short, at the end of the line:

  Celui que l’on croit mort n’est pas mort.—Le
  voici!      (Étonnement général.)


2. _Accented Capitals._—With one exception accents are to be used
with capital letters in French. The exception is the grave accent on
the capital letter A in such lines as—

  A la porte de la maison, &c.;
  A cette époque, &c.;

and in display lines such as—

  FÉCAMP A GENÈVE
  MACHINES A VAPEUR.

In these the preposition A takes no accent; but we must, to be
correct, print Étienne, Étretat; and DÉPÔT, ÉVÊQUE, PRÉVÔT in cap.
lines.[79] Small capitals should be accented throughout, there being
no fear of the grave accent breaking off.


3. _The Grave and Acute Accents._—There has been an important
change in recent years as to the use of the grave and acute accents
in French. It has become customary to spell with a grave accent
(`) according to the pronunciation, instead of with an acute accent
(´), certain words such as collège (instead of collége), avènement
(instead of avénement), &c. The following is a list of the most
common:

  allège
  l’Ariège
  arpège
  avènement
  barège
  collège
  le Corrège
  cortège
  évènement
  florilège
  grège
  lège
  Liège, liège[80]
  manège
  mège
  la Norvège or Norwège
  piège
  privilège
  sacrilège
  sacrilègement
  siège
  solfège
  sortilège
  sphège[81]


4. _Hyphens._—Names of places containing an article or the
prepositions _en_, _de_, should have a hyphen between each component
part, thus: Saint-Germain-des-Prés, Saint-Valery-en-Caux, although
the Académie leaves out the last two hyphens.

Names of places, public buildings, or streets, to which one or more
distinguishing words are added, take hyphens: Saint-Étienne-du-Mont,
Vitry-le-François, rue du Faubourg-Montmartre, le Pont-Neuf, le
Palais-Royal, l’Hôtel-de-la-Monnaie.

In numbers hyphens are used to connect quantities under 100: e. g.
vingt-quatre; trois cent quatre-vingt-dix; but when _et_ joins two
cardinal numbers no hyphen is used, e.g. vingt et un; cinquante et
un. But print vingt-et-unième.


5. _Spacing._—No spaces to be put before the ‘points de suspension’,
i.e. three points close together, cast in one piece, denoting an
interruption (...). In very wide spacing a thin space may be put
before a comma,[82] or before or after a parenthesis or a bracket.
Colons, metal-rules, section-marks, daggers, and double-daggers take
a space before or after them exactly as words. Asterisks and superior
figures, not enclosed in parentheses, referring to notes, take a thin
or middle space before them. Points of suspension are always followed
by a space. For guillemets see pp. 86, 87.

A space is put after an apostrophe following a word of two or more
syllables (as a Frenchman reckons syllables, e.g. bonne is a word of
two syllables):—

  Bonn’ petite...    Aimabl’ enfant!...

Spaces are put in such a case as 10 h. 15 m. 10 s. (10 hours 15 min.
10 sec.), also printed 10^h 15^m 10^s.

Chemical symbols are not spaced, thus C^{10}H^{12}(OH)CO.OH.


6. _Awkward divisions: abbreviated words and large numbers expressed
in figures._—One should avoid ending a line with an apostrophe,
such as: Quoi qu’ | il dise?

If a number expressed in figures is too long to be got into a line,
or cannot be taken to the next without prejudice to the spacing, a
part of the number should be put as a word, thus: 100 mil- | lions.


7. _Division of words._—Words should be divided according
to syllables, as in what the French call épellation (i.e.
syllabication). Therefore a consonant should never be separated from
the vowel following. Thus divide: amou-reux, cama-rade; and always
take over _vr_: li-vraison. If a consonant is doubled, the consonants
may be divided: mil-lion, pil-lard, in-nocent. It is optional to
divide ob-scurité or obs-curité, according to convenience. Vowels are
divided only in compound words: e.g. extra-ordinaire; not Mo-abite,
mo-yen.

In compound words an apostrophe may be divided from a consonant
following; thus: grand’-mère, grand’-route.

Divide sei-gneur, indi-gnité (gn pronounced as _ni_ in ‘mania’), i.e.
take gn over.

The following divisions should be avoided: Ma-ximilien, soi-xante,
Me-xique; é-légant. In a narrow measure a syllable of two letters
may stand at the end of a line: ce-pendant, in-décis; but a syllable
of two letters must not be taken over to the next line; therefore
élégan-ce, adversi-té, are not permissible; but élégan-ces, mar-que,
abri-cot, are tolerated.

Avoid terminating a paragraph with only the final syllable of a word
in the last line.

Verbs taking the so-called euphonic _t_ should always be divided
before the latter, thus: Viendra- | t-il?

Avoid dividing abbreviated words.

Etymological division finds no favour in French, unless it is in
accord with épellation, or syllabication, as in trans-porter,
trans-poser. But divide transi-tion, transi-ger.

Mute syllables may be turned over to the next line, thus: ils
mar-quent, les hom-mes.


8. _Abbreviations._—Such words as article, chapitre, scène, titre,
figure, are abbreviated only when in parentheses, as references; in
the text they are put in full. If, in works divided into articles,
the first article is put in full (thus: Article premier), those that
follow may be in figures and abbreviated (as Art. 2).

Saint, sainte, when they occur very often, as in religious works,
may be abbreviated, taking a capital letter: S. Louis, Ste
Marie. But not when they form part of the name of a place, e.g.
Saint-Germain-des-Prés; in which case Saint- and Sainte- take a
capital and are followed by a hyphen.[83] (See also p. 75.)

The words monsieur, madame, monseigneur, messeigneurs, messieurs,
mesdames, mademoiselle, mesdemoiselles, are written in full and all
in lower-case when addressing a person: Oui, madame; Non, monsieur
le duc. Also in the following instances: J’espère que monseigneur
viendra; j’ai vu monsieur votre père. In most other cases M. (for
monsieur), M^{me} (for madame), Mgr. or M^{gr} (for monseigneur), and
so on, are used. The words Sa Majesté, Son Éminence, Leurs Altesses,
when followed by another title, are put as initials, thus S. M.
l’Empereur; but not otherwise.

The name Jésus-Christ is abbreviated only when in parentheses after
a date, thus: (337 avant J.-C.). This is more frequently printed 337
A.J.C.

Other examples of abbreviations:

  liv.         (livre)
  ch.          (chapitre)
  t.           (tome)
  d^o          (ditto)
  f^o          (folio)
  in-f^o       (in-folio)
  in-8^o       (in-octavo)
  in-4^o       (in-quarto)
  ms.          (manuscrit)
  mss.         (manuscrits)
  n^o          (numéro)
  P.-S.        (post-scriptum)
  I^{er} }     (premier)
  1^{er} }
  II, 2^e      (deuxième)
  etc.         (et cætera)
  c.-à-d.      (c’est-à-dire)
  C^{ie}       (compagnie)
  D^r          (docteur)
  M^e          (maître)
  M^{lle}      (mademoiselle)
  N.-S. J.-C.  (Notre-Seigneur Jésus-Christ)
  C^{te}       (comte)
  M^{is}       (marquis)
  V^{ve}       (veuve)
  S.A.         (Son Altesse)
  LL. AA. II.  (Leurs Altesses Impériales)

Abbreviations of metric signs:

  [84]Mm.       (myriamètre)
  {84}Km.       (kilomètre)
  {84}Hm.       (hectomètre)
  dam.         (décamètre)
  m.           (mètre)
  dm.          (décimètre)
  cm.          (centimètre)
  mq.          (mètre carré)
  mm.          (millimètre)
  mmq.         (millimètre carré)
  mmc.         (millimètre cube)
  ha.          (hectare)
  a.           (are)
  ca. or m^2.  (centiare)
  das.         (décastère)
  s. or m^3.   (stère)
  ds.          (décistère)
  t.           (tonne)
  q.           (quintal métrique)
  kg.          (kilogramme)
  hg.          (hectogramme)
  dag.         (décagramme)
  g.           (gramme)
  dg.          (décigramme)
  cg.          (centigramme)
  mg.          (milligramme)
  kl.          (kilolitre)
  hl.          (hectolitre)
  dal.         (décalitre)
  l.           (litre)
  dl.          (décilitre)
  cl.          (centilitre)
  ml.          (millilitre)

Put: 20 francs, 20 mètres, 20 litres, 20 milligrammes. If, however,
followed by fractions, then put—20 fr. 50, or 20^{fr},50; 20 m. 50,
or 20^m,50; 20 l. 50, or 20^l,50; 20 kilog. 5, or 20^{kilo},5.

In works crowded with figures, one can even put—0^m,5 for 5
décimètres; 0^m,15 for 15 centimètres; 0^m,008 for 8 millimètres.

The cubic metre followed by a fraction is given thus: 4^{mc},005 or
4^{m3},005 (= 4 mètres cubes 5 millimètres cubes); the square metre
thus: 4^{mq},05 or 4^{m2},05 (= 4 mètres carrés 5 décimètres carrés).

The French use a decimal comma instead of a decimal point—2,3 = 2·3.

The words kilogrammes, kilomètres, and kilogrammètres, followed
by fractions, are given thus: 50 kg. 3 or 50^{kg},3; 5 km. 3 or
5^{km},3; 2 kgm. 4 or 2^{kgm},4.

Per cent. is generally put 0/0, but pour 100, p. 100, and % are also
used. In business letters pour cent is always pour %, e.g. A trente
jours, 3 pour % d’escompte.

9. _Numerals._—When cardinal numbers are expressed in Roman
lower-case letters, the final unit should be expressed by a j, not an
i, thus: ij, iij, vj, viij.

Numbers are put in full if only occasionally occurring in the text.
If used statistically, figures are used.

Degrees of temperature are generally given thus: 15°, 15 (in English
15° 15′).

Age or the time of day must be given in full: huit ans, six heures
(eight years, six o’clock).

Dates, figures, &c., are put in full in legal documents: l’an mil
neuf cent quatre (the year one thousand nine hundred and four).

One should not put ‘de 5 à 6,000 hommes’, but ‘de 5,000 à 6,000
hommes’.

Commas in figures are used as in English, thus: 20,250 fr. 25 or
20,250^{fr},25. But dates, and numbers in general, are always put
without a comma: l’année 1466; page 1250; Code civil, art. 2000.

Fractions with a horizontal stroke are preferred in mathematical and
scientific works; but in ordinary works the diagonal stroke is used,
thus: 1/2, 2/3 (½, ⅔).

In logarithm tables the fractional part of a logarithm is printed
with spaces, thus: Log. 2670 = 3, 426 5113; and also: Log. 2670 = 3,
4 265 113.

10. _Roman and italic._—In algebraical formulae the capital letters
are always put in roman and the small letters in italic. If, however,
the text is in italic, the small letters are put in roman type.

The titles of works, of plays, of journals, names of ships, of
statues, and titles of tables mentioned in the text, are put in
italic; thus: La pièce _La Chatte blanche_; J’ai vu _Les Rois en
exil_; On lit dans _Le Figaro_; le journal _Le Temps_; le transport
_Bien-Hoa_.

Foreign words[85] and quotations are, as in English, italicized: Agir
_ab irato_; _Cave canem!_ lisait-on....

Superior letters in words italicized should be in italic, thus:
_Histoire de Napoléon I^{er}_.

11. _Reference figures._—References to notes are generally rendered
thus: (1), or thus: ^1. Sometimes an asterisk between parentheses (*)
or standing alone *, or italic superior letters (^_a_), are used. The
second example (^1) is the best from the English point of view.

The figure in the note itself is put either 1. or (1) or ^1. In many
works the reference figure is put ^1, and the note-figure 1.

12. _Metal-rules._—These serve in French to denote conversational
matter, and take a thick space (or more, if necessary) after them. In
fact, metal-rules, as in German, always have a space before or after,
and are never put close to a word as in English. They are likewise
never put after colons.

They are also used to give more force to a point: Il avait un cœur
d’or, — mais une tête folle; et vraiment, — je puis le dire, — il
était d’un caractère très agréable.

They are likewise used, as in English, for intercalations: Cette
femme — étrangère sans doute — était très âgée.

13. _Quotation marks._—The French use special quotation marks « »
(called guillemets). A guillemet is repeated at the head of every
subsequent paragraph belonging to the quotation.

In conversational matter, guillemets are sometimes put at the
commencement and end of the remarks, and the individual utterances
are denoted by a metal-rule (with a space after). But it is more
common to dispense with guillemets altogether, and to denote the
commencement of the conversation by only a metal-rule. This is an
important variation from the English method.

If the » comes after points de suspension, a middle space is put
before and after it:

  La cour a décrété qu’ « attendu l’urgence... » .

If, in dialogues, a passage is quoted, the « is put before the
metal-rule:

  « — Demain, à minuit, nous sortirons enfin! »

In tables and workings the » is used to denote an absent quantity:

  125 . 15    130   »
   10   »      15 . 25

If a sentence contains a citation, the point at the end of the latter
is put before the », and the point belonging to the sentence after:

  « Prenez garde au chien! » , lisait-on à l’entrée des maisons
  romaines.

If the matter quoted ends with a full stop, and a comma follows in
the sentence, the full stop is suppressed:

  « C’est par le sang et par le fer que les États grandissent » , a
  dit Bismarck.

Also, if the point at the end of the citation is a full stop, and the
sentence ends with a note of interrogation or exclamation, the full
stop is suppressed:

  A-t-il dit: « Je reviendrai » ?

If citation and sentence end with the same point, or if the sentence
ends with a full stop, only the citation is pointed:

  Quel bonheur d’entendre: « Je vous aime! »
  A-t-il dit: « Qui est ici? »
  Il a dit: « Je viendrai. »

But if the punctuation of the citation differs from that of the
sentence, both points are put:—

  A-t-il dit: « Quel grand malheur! » ?

Guillemets should have before and after them the same space as
between words.

In the case of a citation within a citation, the « must stand at the
commencement of each line of the enclosed citation:

  On lit dans _Le Radical_: « Une malheureuse erreur a été commise
  par un de nos artistes du boulevard. Ayant à dire: « Mademoiselle,
  je ne « veux qu’un mot de vous! » , il a fait entendre ces paroles:
  « Mademoiselle, je ne veux qu’un mou de « veau! »

In passages quoted down the side put an en quad after the «
commencing each line.

Only one » is put at the end of two citations ending simultaneously.


FOOTNOTES:

[76] I am greatly indebted to M. Désiré Greffier, author of _Les
Règles de la composition typographique, à l’usage des compositeurs,
des correcteurs et des imprimeurs_, and to his publisher, M. Arnold
Muller, of the Imprimerie des Beaux-Arts, 36 Rue de Seine, Paris,
for permission to translate and make extracts from this useful
brochure.—H. H.

[77] M. Greffier carefully explains that in putting capitals to the
articles in the case of these and similar names he differs from the
Académie française.—H. H.

[78] Many now write ‘Dante’ for ‘le Dante’; ‘Tasse’ is also met with
for ‘le Tasse’.—H. H.

[79] M. Reyne, proof-reader in the National Government
Printing-Office, Paris, tells me that there is no uniformity of
practice in French printing-offices in regard to the accentuation of
capital letters generally, although there is a consensus of opinion
as to retaining accents for the letter E. As to the grave accent on
the capital letter A, the two extracts which follow are sufficient
authority:

‘The letter A, when a capital, standing for à, is never accented by
French printers. This, I know, is a rule without exception; and one
of the reasons given is that the accented capital is “ugly”. A better
reason is that the accent often “breaks off”.’—Mr. LÉON DELBOS,
M.A., _late Instructor in French to Royal Naval Cadets in H.M.S.
‘Britannia’_.

‘The practice of omitting the grave accent on the preposition A
(whatever the reason of it may be) is all but universal.’—Mr. E. G.
W. BRAUNHOLTZ, M.A., Ph.D., _Reader in the Romance Languages in the
University of Cambridge_. [H. H.]

[80] ‘The rule about è instead of é, as in collège instead of
collége, should be strictly adhered to, as it now is by most French
people. However, é cannot be changed into è unless it have that
sound; hence it is not right to say Liègeois, for the sound is that
of é; but Liège is correct. Note that Liégeois takes an e after the
g.’—Mr. LÉON DELBOS.

[81] The list is from Gasc’s _Dictionary of the French and English
Languages_: G. Bell & Sons, 1889.

[82] The English practice, never to put a space before a comma, is
regarded by the best French printers as bad. ‘This vicious practice’
(i.e. putting no space before a comma), says M. Théotiste Lefevre,
‘which appears to us to have no other motive than the negligence of
the compositor, tends unhappily, from day to day, to get introduced
also into French composition.’—_Guide pratique du compositeur et
de l’imprimeur typographes_ (p. 196 _n_.) par T. Lefevre. Paris,
Firmin-Didot, 1883.—H. H.

[83] St-Germain, Ste-Catherine, l’église de St-Sulpice, St-Hilaire,
la St-Jean, are however met with in railway time-tables, &c.

[84] Mm. Km. Hm. These capitals and all the metric contractions are
authorized by the French Minister of Public Instruction.—H. H.

[85] That is, words foreign to French.—H. H.




APPENDIX III

WORKS IN THE GERMAN LANGUAGE[86]


English compositors called upon to set up German should have clear
directions beforehand as to the founts to be used, whether English
or German. If the manuscript is in well-written German script, and
the compositor is acquainted with the German characters, he will find
little difficulty in setting this up in German type. It is otherwise
if he has to set German in its own characters from manuscript in
Roman characters. This is owing principally to the numerous digraphs
and the long and short s’s used. The following rules will be found of
use in both cases:


1. _Capitals and lower-case._—All German substantives are written
with capital initial letters; and capital letters are also used for
adjectives in geographical designations, e.g. =das Kaspische Meer=
(the Caspian Sea), or in adjectives derived from proper names, e.g.
=die Grimmschen Märchen= (_Grimm’s Fairy Tales_); but as a rule
adjectives, even when relating to nationality, have lower-case
initials, not excepting titles of books, &c., thus: =das deutsche
Vaterland, die französische Revolution= (the German Fatherland, the
French Revolution).

The =von= in German names of persons begins with a small letter
(unless of course when it commences a sentence), e.g. =Herr von
Bülow=.

The =von= in such cases requires only a thin space after it:
=Geschrieben von von Richter= (written by von Richter).


2. _The Reformed German Spelling of 1902._—All words of German
origin ending in =th=, as =Muth=, =Rath=, now drop the =h= and
become =Mut=, =Rat=, &c. =That= has become =Tat=, =Thor= is now
=Tor=. =Willkühr= has become =Willkür=. =Thee= is now spelt =Tee=.
But =Thron=, =Theater=, &c., being derived from Greek, keep =th=.
Also =ph= in words of German origin is now supplemented by =f=, thus
=Efeu= (for =Epheu=); =Adolf=, =Rudolf=, =Westfalen= (for =Adolph=,
=Rudolph=, =Westphalen=). Likewise =Elefant=, =Fasan=, =Sofa=. But
=Phonograph=, =Philosoph=, =Symphonie=, being learned words of Greek
origin. =Z= is more and more used for =C=, thus: =Zentrum= for
=Centrum=; =Zentner=, =Zirkus=. =Ae=, =Oe=, Ue, are always rendered
=Ä=, =Ö=, =Ü=.

Three identical letters should not come together before a vowel.
Consequently print =Schiffahrt=, not =Schifffahrt= (but in dividing
print =Schiff~fahrt=). =Mittag=, =dennoch= (from =Mitt~tag=,
=denn~noch=), are invariable. The plural of =See= is no longer
=Seeen=, but =Seen=; in narrow measure divide =See~en=.

The suffix =niſz= is now =nis=: =Hindernis=.

The verbal suffix =iren= is now uniformly written =ieren=, thus:
=addieren=, =subtrahieren=, =multiplizieren=, =dividieren=,
=marschieren=.

A detailed list of the new German, Austrian, and Swiss
orthographies[87] may be obtained through any bookseller. A few
German writers still object to the modern spelling; in such cases, of
course, copy should be followed.


3. _Hyphens in German._—If two or more words follow one another,
relating to a common part of speech with which they form a
compound, all except the last take a hyphen, thus: =Hut- und
Krawattenfabrikant= (hat and tie manufacturer). Compound words in
German are now printed as one word.


4. _Division of words in German._—Prefixes should of course remain
intact, such as =an=, =auf=, =ent=, =emp=, =er=, =ver=, =vor=,
=über=, =zer=. Thus: =an~fangen=, =auf~fahren=, =ent~zweien=,
=emp~finden=, =er~fahren=, =ver~ändern=, =vor~rücken=, =über~reden=,
=zer~ſtoſzen=. In narrow measure divide =ge~ben=, =tra~gen=,
=he~bung=, =le~bend=, =mä~hen=, =ſa~gen=, =Tü~cher=, =lö~ſchen=. (See
under paragraph 2 of this Appendix, ‘Reformed Spelling’, for three
identical letters coming together. See also under 7, 11, 14.)


5. _Spaced words._—In these the following compound letters should
never be spaced: =ch=, =ck=, =ſt=, =ſz=, =tz=. The following are
spaced: =ff=, =fi=, =fl=, =ll=, =ſi=, =ſſ=. That is, two different
consonants coming together (except =f= and =l=) are not spaced; but a
consonant and vowel, and double consonants, are to be spaced.


6. _Prepositional and other prefixes in German._—When =auf= precedes
a part of speech commencing with =f=, the two =f=’s should not form
one letter. Print =auffahren=, not =auffahren=.

So also, when =aus= is prefix to a part of speech beginning with
an =ſ=, it should not form with the latter an =ſz= or =ſſ= if
German type is used. Print =ausſprechen=, not =ausſzprechen= or
=auſſprechen=.

If =ent= precedes a part of speech beginning with =z=, the =t= and
=z= do not form one letter, but remain separate: =entzweien=, not
=entzweien=.


7. _Suffixes_ =lich=, =zig=.—The letter =l= in the former should not
be joined to a preceding =f=, nor the letter =z= in the latter to a
preceding =t=. Print =verwerflich=, not =verwerflich=; =achtzehn=,
=achtzig=, not =achtzehn=, =achttzig=. So also, in dividing, put
=verwerf~lich= (or =ver~werflich=) and =acht~zehn=, =acht~zig=.


8. _German in Roman type._—In Roman type =ſz= is now rendered =ß=
(better than ſs)[88]; =ſſ= becomes ss; and in spaced words all
letters (except =ß=) are separated. When Roman capital letters are
used, =ſz= becomes SZ. Thus MASZE (=Maſze=, measures) (with long
_a_), not MASSE (=Maſſe=, substance) (with short _a_).


9. _Metal-rules in German._—Spaces are always put before and after a
rule in a sentence, wide spaces in a widely spaced line, thin spaces
in a narrowly spaced one, exactly as with words, thus: =Er sagte —
nicht ohne Zaudern —, daſz er gehen müſſe=.[89]

Rules are not put after colons.

10. _Quotation marks in German._—The commencement of a quotation is
indicated by commas followed by a thin space; the close by turned
commas. A quotation within a quotation is usually rendered by a
single Roman comma at commencement, and by a turned Roman comma at
the end[90]; thus: =Er ſagte mir: „Gehe nicht hin, denn es heiſzt,
daſz es dort von ,Geistern‛ spukt.‟=[91]

11. =ll=.—This is always printed as one letter at the end of a
syllable or word, as also in the body of a word if the latter is not
a compound, thus: =Schaliloch= (now, however, written =Schalloch=,
but divided =Schall~loch=); =will, ſoll=; =wollen, ſollen=. But in
compound words, in which the first =l= ends a syllable and the second
=l= commences the next one, the two =l=’s must be separated, thus:
=vielleicht= (divided =viel~leicht=).

12. =ſſ=, =sſ=.—Both in Roman type = ss. The first (=ſſ=) is used
after short vowels, thus: =eſſen=, =müſſen=.

The second (=sſ=) is employed when the first s ends one syllable
and the second commences the next, each syllable giving sense
taken singly, i. e. in compounds, thus: =Eisſcholle= (ice-block),
=dasſelbe=, =desſelben=.

13. =ſz=.—After long vowels or diphthongs and if followed by e or
i of a less strongly accented syllable[92]: =ſpaſzen=, =grüſzen=,
=heiſzen=, =Süſzigkeit=; also after short or long vowels or
diphthongs if followed by =t=: =haſzt=, =ſpaſzt=, =küſzt=, =grüſzt=,
=iſzt=, =genieſzt=, =heiſzt=; and also at the end of words or first
part of compounds, whether the preceding vowel be long or short:
=Schloſz=, =groſz=, =eſzbar=, =faſzlich=.


14. _Double letters._—=ch=, =ck=, =ff=, =fi=, =fl=, =ll=, =ſi=,
=ſſ=, =ſt=, =fz=, =tz=. No triple letters, like the English ffi, ffl,
are used in German.—ffi, ssi, are usually printed =ffi=, =ſſi=, as
=pfiffig=, =biſſig=; ffl is printed =ffl=, as =trefflich=.

As regards =fl=, the =f= and =l= must be separated if the latter
belongs to a suffix, thus: =ſchlaflos=, not =ſchlaflos=.


15. =ſ, s.=—The long _s_ is used at the beginning, the short _s_ at
the end of syllables (=ſagen=, =laſen=, =las=, =das=, =Häuschen=).


16. _Abbreviations in German._—The most common are: =uſw=. (= =und
so weiter=, and so on, et cetera); =z. B.= (= =zum Beiſpiel=, for
example); =d. h.= (= =das heiſzt=, that is to say); =d. i.= (= =das
iſt=, that is); =dgl.= (= =dergleichen=, such like, similar cases);
=u. a. m.= (= =und andere mehr=, and others); =ſ.= (= =ſiehe=, see);
=ſ. o.= (= =ſiehe oben=, see above); =ſ. u.= (= =ſiehe unten=, see
below); =u. ö.= (= =und öfter=, _passim_); =ſog.= (= =ſogenannt=,
so-called); =bzw.= (= =beziehungsweiſe=, respectively); =Aufl.=
(= =Auflage=, unaltered edition); =Ausg.= (= =Ausgabe=, revised
edition); =Abt.= (= =Abteilung=, division); =Abſchn.= (= =Abſchnitt=,
section); =a. a. O.= (= =am angeführten Orte=, in the place cited);
=Bb.= (= =Band=, volume); =Hs.= (= =Handſchrift=, manuscript);
=hss.= (= =Handſchriften=, manuscripts)[93].

After ordinal numbers a full point is put where we put ‘1st, 2nd’,
&c., thus: 1. =Heft= (or 1. =H.=, = =erſtes Heft=, first number);
2. =Band= (or 2. =Bd.=, = =zweiter Band=, second volume). This full
point is often mistaken by compositors and readers for a full stop.

For & in ‘&c.’ the Germans have a special character _&_, thus: _&c_.;
but =uſw.= now generally takes its place.


17. _The Apostrophe._—Print =iſt’s=, =geht’s= (for =iſt es=, =geht
es=); but where a preposition and the article =das= are merged, omit
the apostrophe; thus =ans= (for =an das=), =ins= (for =in das=),
=durchs= (for =durch das=), =fürs= (for =für das=), (_not_ =an’s=,
=in’s=, =durch’s=, =für’s=).

After proper names ending in =s=, =ſs=, =z=, used possessively, put
an apostrophe, omitting the apostrophal _s_; thus =Voſs’ Luiſe=,
=Demoſthenes’ Reden=, =Horaz’ Oden= (Voss’s _Louise_, Demosthenes’
_Speeches_, Horace’s _Odes_). But put =Schillers Gedichte=
(Schiller’s Poems).


18. _The Comma._—In German, commas must invariably be put before
=daſs= and before relative clauses (beginning with =der=, =die=,
=das=, =welcher=, =welche=, =welches=, =womit=, =wodurch=, =woran=,
=woraus=, &c. &c.). This is frequently forgotten by English
compositors.


19. §.—This mark (in English, ‘section’) is called in German
‘Paragraph’.


FOOTNOTES:

[86] For many useful suggestions in this section, bringing these
rules up to date, I am much indebted to Karl Breul, M.A., Litt.D.,
Ph.D., Reader in Germanic at Cambridge University.—H. H.

[87] A very useful book is that by K. Duden, _Orthographisches
Wörterbuch der deutschen Sprache_, 8th ed., Leipzig, 1906. Price
2_s._—H. H.

[88] Where these founts are not yet available, ss must, as hitherto,
be put for =ſz=.

[89] He said—not without hesitation—that he must depart.

[90] Single German commas are, however, also used.

[91] He said to me, ‘Do not go there, for they say that “ghosts” are
haunting that place’.

[92] After short vowels and before =e= and =i= of less strongly
accented syllables print =ſſ=: =eſſen=, =wiſſen=, =laſſen=, =küſſen=,
=Flüſſigkeit=.

[93] A very full list of German abbreviations, with explanations, is
given in Dr. Breul’s _New German Dictionary_ (Cassell & Co., London,
1906).




APPENDIX IV

DIVISION OF LATIN WORDS


The general rules are practically Priscian’s. They are well
summarized in Gildersleeve’s _Latin Grammar_.

1. ‘In dividing a word into syllables, a consonant between two vowels
belongs to the second: _a-mo_, _li-xa_.

2. ‘Any combination of consonants that can begin a word (including
_mn_, under Greek influence) belongs to the following vowel; in other
combinations the first consonant belongs to the preceding vowel:
_a-sper_, _fau-stus_, _li-bri_, _a-mnis_.

3. ‘The combinations incapable of beginning a word are (_a_) doubled
consonants: _sic-cus_; (_b_) a liquid and a consonant: _al-mus_,
_am-bo_, _an-guis_, _ar-bor_.

4. ‘Compounds are treated by the best grammarians as if their parts
were separate words: _ab-igo_, _res-publica_.’


To take a page of Cicero:

_con-sequi so-lent ex-ponimus a-criter cri-mi-no-se diligen-ter a-gi
re-rum conse-quentium miseri-cor-dia com-movebitur au-di-to-ris
a-ni-mus osten-demus com-modis cu-ius cu-i quo-rum qui-bus-que_ (not
_qui-bu-sque_) _us-que_ (because the parts are separate) _ca-ptabimus
pote-statem sub-i-ci-e-mus pa-renti-bus neces-sariis cle-men-tia_.


Again:

_eius-modi, cuius-modi, huius-modi_ (not _eiu-smodi_, &c.)
_con-iun-ctim_ (I should suppose, not _con-iunc-tim_)
_am-plifica-stis e-stis vetu-stas hone-stus onu-stus sus-cipere
sub-trahit ad-trahit in-struit circu-it simul-tate re-ce-den-dum
di-co di-xi-sti di-xe-rat di-ctum a-ctum au-ctus ma-gnus i-gnis
mali-gnus pi-gnus li-gna pec-catum demon-stra-stis_ (I am rather
doubtful about this) _ma-gis ma-xime dif-fi-cul-tas la-brum
la-mna lar-gus lon-ge di-gnus sum-pserim su-mo sum-mus su-prema
propter-ea_, and probably _pro-pter-ea_ (but again I am in some
doubt) _dis-tin-ctus dis-tin-guo ad-spectus a-spectus tem-ptavit
il-lu-stris_. Most of these are already adopted in editions of
authority, e.g. Nobbe’s _Cicero_, Haase’s _Seneca_.

                                                       ROBINSON ELLIS.

[Illustration: (light bulb)]




APPENDIX V

DIVISION OF GREEK WORDS


A syllable ends in a vowel EXCEPT—


1. If a consonant is doubled, the consonants are divided.

Συρακούσ-σας (Bacch.[94]), πολ-λῷ (Thuc.), and so Βάκ-χος, Σαπ-φώ,
Ἀτ-θίς.


2. If the first of two or more consonants is a liquid or nasal,[95]
it is divided from the others.

(Two consonants) ἄμ-φακες, ἐγ-χέσπαλον[96], τέρ-πον (Bacch.), πάν-τες
(Thuc.), ἄλ-σος.

(Three consonants) ἁν-θρώποις, ἐρ-χθέντος (Bacch.), ἀν-δρῶν (Thuc.).

But βά-κτρον, κάτο-πτρον, ἐ-χθρός.

(Four consonants) θέλ-κτρον, Λαμ-πτραί.


3. Compounds. For modern printing the preference must be to divide
the compounds παρ-όντος, ἐφ-ῃπημένος (Thuc.), but ἀπέ-βη may stand as
well as ἀπ-έβη.

                                                      H. STUART JONES.


FOOTNOTES:

[94] The references are to the papyri.

[95] Or according to some if it is σ—ἕκασ-τος (Hyp. Blass{96},
p. xvii), but the preference is for πλεῖ-στοι, ἐκομί-σθησαν,
βουλεύε-σθαι (Thuc.), ἐ-στρέφθη (s. v. l., Bacch.).

[96] γ is a nasal when it precedes γ κ or χ. The other consonants
referred to are λ μ ν and ρ.




MARKS USED IN THE CORRECTION OF PROOFS

_From_ JOHNSON’S _Typographia_ (1824), Vol. II, p. 216.

[Illustration: (page of text with numerous examples of handwritten
proofing marks.)]


THE OPPOSITE PAGE CORRECTED

_From_ JOHNSON’S _Typographia_ (1824), Vol. II, p. 217.

Though a variety of opinions exist as to the individual by whom the
art of printing was first discovered; yet all authorities concur in
admitting PETER SCHOEFFER to be the person who invented _cast metal
types_, having learned the art of _cutting_ the letters from the
Guttembergs: he is also supposed to have been the first who engraved
on copperplates. The following testimony is preserved in the family,
by Jo. Fred. Faustus of Ascheffenburg.

‘PETER SCHOEFFER of Gernsheim, perceiving his master Faust’s design,
and being himself ardently desirous to improve the art, found out
(by the good providence of God) the method of cutting (_incidendi_)
the characters in a _matrix_ that the letters might easily be singly
_cast_, instead of being _cut_. He privately _cut matrices_ for the
whole alphabet, and when he showed his master the letters cast from
those matrices, Faust was so pleased with the contrivance that he
promised Peter to give him his only daughter _Christina_ in marriage,
a promise which he soon after performed. But there were as many
difficulties at first with these letters, as there had been before
with _wooden ones_; the metal being too soft to support the force
of the impression: but this defect was soon remedied, by mixing the
metal with a substance which sufficiently hardened it.’




SOME ENGLISH NAMES OF TYPES

WITH EXAMPLES OF THEIR RELATIVE SIZES


DOUBLE PICA:

  The Clarendon

GREAT PRIMER:

  The Clarendon Pre

ENGLISH:

  The Clarendon Press Ox

PICA:

  The Clarendon Press, Oxfo

SMALL PICA:

  The Clarendon Press, Oxford,

LONG PRIMER:

  The Clarendon Press, Oxford, w

BOURGEOIS:

  The Clarendon Press, Oxford, was n

BREVIER:

  The Clarendon Press, Oxford, was na

MINION:

  The Clarendon Press, Oxford, was named

EMERALD:

  The Clarendon Press, Oxford, was named

MINION-NONPAREIL:

  The Clarendon Press, Oxford, was named a

NONPAREIL:

  The Clarendon Press, Oxford, was named after

RUBY-NONPAREIL:

  The Clarendon Press, Oxford, was named after

RUBY:

  The Clarendon Press, Oxford, was named after the

PEARL:

  The Clarendon Press, Oxford, was named after the E

SMALL PEARL:

  The Clarendon Press, Oxford, was named after the Earl of

DIAMOND:

  The Clarendon Press, Oxford, was named after the Earl of Clarendo

BRILLIANT:

  The Clarendon Press, Oxford, was named after the Earl of Clarendon.

LONG PRIMER ITALIC:

  _The Clarendon Press, Oxford, was_

BLACK-LETTER:

  The Clarendon Press,

EGYPTIAN:

  The Clarendon Press, Oxford,

ANTIQUE, MODERN FACE:

  The Clarendon Press, Oxford,

ANTIQUE, OLD FACE:

  The Clarendon Press, Oxford,

GROTESQUE:

  The Clarendon Press, Oxfo

The following is a list of type-bodies in more common use, the first
column giving the name of the English type-body, and the second its
designation under the American point-system.

   _English_     _American_
  Pearl           5 point
  Ruby            5½  ”
  Nonpareil       6   ”
  Minion          7   ”
  Brevier         8   ”
  Bourgeois       9   ”
  Long Primer    10   ”
  Small Pica     11   ”
  Pica           12   ”




GENERAL INDEX

_NOTE._—_The words ending in_ -able, -ible, -ise, -ize, _and_ -ment,
_and also others, given in alphabetical order on pp. 9-37_ (q.v.),
_are not repeated here_.


  A or an, use of, 39.
    before contractions, 39.

  Abbreviations, _see_ Contractions.
    in French, 82-4.
    in German, 93-4.

  -able, words ending in, 9.

  Accented -èd in poetry, 45.

  Accents in French, 78-9.

  A.D., 47, 69.

  Allardyce on _Stops_, &c., examples from, 64.

  Alternative or difficult spellings, some, 15-24.

  Ampersand (&), 43.

  And (with and without comma), 57.

  Anglicized words, set in roman, 35-6.

  Apocrypha, contractions for books of, 42.

  Aposiopesis, mark of, 62.

  Apostrophe, in French names ending in -s or -x, 72.
    in German, 94.
    in place-names, 44.
    in poetry, 45.
    in possessive case of proper names, 71.
    omitted in hers, ours, theirs, yours, 44.
    thin space before, when to use, 49.
    when to join close up, 44.

  Asterisks, as reference signs, 70.
    in philology, 48.
    not to be used for marks of hiatus, 62.

  Authors and their works, references to, 52.

  Awkward divisions, &c., 53-4, 80-1.


  B.C., 47, 69.

  Beadnell on _Spelling_, &c., 55-61.

  Bible and Prayer Book spellings, 9 (note).

  Bible, contractions for books of, 41-2.
    references to chapters and verses in, 52.

  Book sizes—
    4to, 8vo, 12mo, &c., need no full points, 42.

  Book titles, italic or roman, 50, 52.

  Brackets, 61.

  Breaklines, length of, 49.


  Capital letters, when to use in English, 46.
    in French, 73-7.
    in German, 88.
    in lemmas, 67.
    when accented in French, 78.

  Chapter, first word in small caps., 48.
    first line to be indented, 48, 50.

  -ck preceding a suffix, 15.

  Colon, the, 59.

  Commas—
    ‘inverted’, 63.
    use of, with adjectives and adverbs, 57.
    with ‘and’, 57.
    with more than three figures, 68, 84-5.

  Compass, points of the, 43.

  Compound words, 25-8.
    plurals of, 15, 21.

  Consonants, double or single with a suffix, 29.

  Contractions generally, 41-5.
    of colloquial expressions, 44.
    of Latin words not in italic, 51.
    of names of counties, 42.
    of personal titles, 44.
    of philological terms, 43.
    of points of the compass, 43.
    of references in footnotes, 43.
    of references to manuscripts, 43.
    of Scripture references, 41-2.
    of sums of money, 51.
    of titles of books, 44.
    of weights and measures, 43.

  Correction of proofs, marks used in, 98.

  Counties, names of, abbreviated, 42.


  Dagger † (= obsolete or deceased), 48.

  Dash, the, 61.

  Date at foot of title-page, 47.

  Dates, how to print, 69, 84.

  Decimal points, 69.

  Deity, pronouns referring to the, 46.

  De Vinne on _Correct Composition_, 55-6, 63.

  Diaeresis signs, when to use, 17.

  Difficult or alternative spellings, 15-24.

  Digraphs and diphthongs, 41.

  Division of words, English, 53-4.
    French, 80-1.
    German, 90.
    Greek, 97.
    Italian, 54.
    Latin, 95-6.
    Portuguese, 54.
    Spanish, 54.

  Double letters, in German, 93.


  e before -able and -ment, 9, 24.

  -ed, -èd, in poetry, 45.

  Ellipsis, 49, 62.

  Em rules, various uses of, 61-2, 70.

  English words, how to divide, 53-4.

  En rules, when to use, 69-70.

  Erratum and Errata, when to print, 33.

  ETC., ETC., &c., when to use, 43.

  Exclamation, the note of, 60.

  Extracts, how to print, 50.


  Figures, commas with, 68-9.

  First line of chapter, 48.

  Footnotes, abbreviations in, 43, 51.
    superior figures to refer to, 67, 70.

  Foreign words and phrases, 35-7.
    in roman, 35-6.
    in italic, 36-7.

  Foreign words, formation of plurals of, 31-3.

  French language, works in the, 73-87.
    abbreviations, 80-1, 82-4.
    accented capital letters in, 78.
    accented small capitals, 78.
    accents, 78-9.
    capital and lower-case letters, 73-8.
    division of words, 81-2.
    hyphens, 79-80.
    metal-rules, 80.
    metric signs, 83.
    names ending in -s or -x, 72.
    numerals, 84-5.
    quotation marks, 86-7.
    reference figures, 85.
    roman and italic, 85.
    space before comma, 80.
    spacing generally, 80.

  Full points, examples of use, 60.
    for contractions, 43-4.
    to denote omissions, 62.
    when not to use, 42, 43, 68, 69.


  German language, works in the, 88-94.
    abbreviations, 93.
    apostrophes, 94.
    capital and lower-case letters, 88-9.
    commas, 94.
    division of words, 90.
    double letters, 93.
    full points, 94.
    hyphens, 90.
    in roman type, 91.
    =ll=, 92.
    metal-rules, 91.
    paragraph mark (§), 94.
    prepositional and other prefixes, 90-1.
    quotation marks, 92.
    reformed spelling, 89-90.
    =ſ=, =s=, 93.
    spaced words, 90.
    =ſſ=, =sſ=, 92.
    =ſz=, 92-3.
    suffixes =lich=, =zig=, 91.

  Greek words, how to divide, 97.

  Guillemets in French, 86, 87.


  Headlines, omission of points at end of, 67.

  Head Master, note on, 25.

  Hers, no apostrophe, 44.

  Hyphens, use of, in English, 25-8.
    in French, 79-80.
    in German, 90.


  -ible, words ending in, 11.

  I’d, I’ll, &c. (no space), 44.

  Indentation of first lines, 48, 50.

  Initials with dates, 47.

  Interrogation, the note of, 60.

  ‘Inverted commas’, 63.

  -ise or -ize, words ending in, 12-14.

  Italian words (some), how to divide, 54.

  Italic type—
    for mathematical theorems, 51.
    names of books and periodicals in, 50.
    names of ships in, 51.
    words and phrases in, 36-7, 50-1.


  Latin words, how to divide, 95-6.

  lb., singular and plural form, 43.

  Lefevre, T., _Guide pratique du compositeur_, referred to, 55.

  Lower-case letters, for anglicized words, 47.
    for contractions, 43, 47.
    in French, 73-8.
    in German, 88-9.


  MS. = manuscript, contraction of, 43.

  Marks used in the correction of proofs, 98.

  Marks of omission, 62.

  Marks of parenthesis, 61.

  Mathematics, inferior in, 70.
    theorems, in italics, 51.

  Measures, contractions of, 43.

  Medical signs, 48.

  -ment, words ending in, 24.

  Metal-rules in English, 61-2, 70.
    in French, 86.
    in German, 91.

  Metric signs in French, abbreviations of, 83.

  Money, contractions in sums of, 51.

  Months, names of, contracted, 42.


  New Testament, contractions for names of books of, 42.

  Newspapers, in italic, 51.

  Non-hyphened words, 25-8.

  Nor and or, 40.

  Note of exclamation, 60-1.
    interrogation, 60.

  Numbering of paragraphs, 70.

  Numerals, arabic, 68-70.
    in French, 84-5.
    in German, 94.
    roman, use of, 68-70.


  O and Oh, 39.

  -o, plurals of nouns ending in, 34.

  Old Testament, contractions for names of books of, 41.

  Omission marks, use full points for, 62.

  Ours, no apostrophe, 44.


  Page references, citation of, 69, 70.

  Paragraphs, indentation of, 48, 50.
    numbering of, 70.
    spacing of last line, 49.

  Parenthesis, marks of, 60-1.

  Period or full stop, the, 60-1.

  Periodicals, names of, italic, 50.

  Philological works, contractions in, 43.
    punctuation in, 67.
    use of symbols in, 48.

  Phonetic spellings, 38.

  Place-names, use of apostrophes in, 44-5.

  Plates, &c., references to, 47.

  Plurals, formation of, in words of foreign origin, 31-2.
    of nouns ending in -o, 34.

  Poetry, ’d, -ed, and -èd in, 45.
    quotations from, 45.
    spacing of, 49.

  Points (punctuation marks), 62.
    decimal, 69.
    full, when to omit, 42, 43, 68, 69.
    in title-pages, &c., 67.

  Points of the compass, 43.

  Portuguese words (some), how to divide, 54.

  Possessive case of proper names, 71-2.

  Prefixes in German, prepositional and other, 90-1.

  Pronouns, Deistic, capitalization of, 46.
    omission of apostrophe in, 54.

  Proofs, marks used in correcting, 98.

  Proper names, adjectives derived from, 46.
    common words derived from, 47.
    possessive case of, 71-2.

  PS. = postscript (one full point), 43.

  Punctuation generally, 55-67.
    colon, 59-60.
    comma, 57-8.
    dash, 61-2.
    note of exclamation, 60-1.
    note of interrogation, 60.
    parenthesis, 61.
    period or full stop, 60-1.
    semicolon, 58-9.

  Punctuation marks generally, 62-3.
    in classical and philological notes, 67.
    in relation to footnotes, 67.
    quotation marks, 63.
    when to precede, and when to follow, the closing quotation mark,
        63-7.


  Quotation marks, 63-7.
    in essays, 63.
    in French, 86-7.
    in German, 92.
    ‘inverted commas’ (so-called), 63.

  Quotations from foreign books, &c., 50.
    poetical, 45, 63.
    prose, 63.
    when to break off, 50.


  Reference figures in French, 84-5.

  References generally, 52.
    to authors and their works, 52.
    to the Bible, 41-2, 52.
    to footnotes, 70.
    to manuscripts, 43, 52.
    to periodicals, 50.
    to plates, woodcuts, &c., 47.
    in relation to punctuation marks, 67.
    to Shakespeare’s plays, &c., 52.
    to ships, 51.

  Roman and italics in French, 85.

  Roman numerals, use of, 68-70.

  Roman type, German works in, 91.
    anglicized words in, 35-6.


  =ſ=, =s=, 93.

  ’s, thin space before apostrophe, when to use, 49.

  Scripture references, 41-2, 52.

  Semicolon, the, 58-9.

  Shakespeare, spelling of the name, 23.

  Shakespeare’s plays, references to, 52.

  ‘Shilling-mark’, 51.

  Ships, names of, italic, 51.

  Signs for reference marks, use of, 70.
    special, 48.

  Small capitals, when to use, 47.

  Southward’s _Practical Printing_, quoted, 55.

  Space before comma allowed, in printing French, 80.

  Spaced words in German, 90.

  Spacing generally, 49-50.
    in French, 80.
    in Greek, Latin, and Italian, 49.
    of last line in paragraph, 49.
    of poetry, 49.

  Spanish words (some), how to divide, 54.

  Special signs or symbols, 48.

  Spellings, alternative or difficult, 15-24.
    Bible and Prayer Book, 9 (note).
    of old writers, 38.
    phonetic, 38.
    reformed German, 89-90.

  sq., sqq., 70.

  =ſſ=, =sſ=, 92.

  Streets, how to print names of, 46.

  Suffixes, 29-30.
    =lich=, =zig=, 91.

  Superior figures and letters, 70.

  =ſz=, 92-3.


  Theirs, no apostrophe, 44.

  Title-pages, date at foot of, 47.
    points in, 67.

  Titles, personal, contraction of, 44.

  Types, English names of, 100-2.
    American point-system, 102.


  Underlines, 50.


  Vowel-ligatures, 41.


  Weights and measures, contractions of, 43.

  Woodcuts, plates, &c., references to, 47.

  Words—
    common, derived from proper names, 46.
    ending in -able, 9.
    ending in -ible, 11.
    ending in -ise or -ize, 12-14.
    ending in -ment, 24.
    ending in -o, plurals of, 34.
    ending with -ed or -èd in poetry, 45.
    foreign, in italic, 35-6.
    foreign, in roman, 36-7.


  Yours, no apostrophe, 44.