A treatise on English punctuation...

Front matter

# 4

Book, 'WVk

By bequest of jf ^| Jr

Preface To The Second Edition

The work that follows is a new edition of one published by the writer in England, about six years ago, under the title of " A Treatise on Grammatical Punctuation ; " the difference consisting, not in their fundamental principles, but in the mode in which these are stated, in the divisions of the subjects treated of, in the augmentation of the exercises, and in the insertion of matter which is entirely new.

i The proper manner of using the book will depend altogether on the capabilities of the learner. If unversed in Punctuation, or but slightly acquainted with the art, it is recommended, that, after a careful study of Sect. II. of the " Introduction," he confine his attention to the leading principles laid down in the definitions and rules, all of which are printed in a larger character, and may be readily seen ; and also to then illustrations, which are given under the head of " Examples " and of " Oral Exercises," — hi. that portion which applies merely to the rules. When he has gone through this course, he will have been furnished with as much information as will enable him to comprehend the exceptions or the additional principles contained in the " Eemarks," and to explain or write and punctuate the remaining or second series of exercises in accordance both with the rules and the remarks.

These modes of studying the book, it is conceived, may be advantageously adopted in schools, with more or less variation, to suit the capacity of each individual in a class. The Italic lines, under the heads termed "Exercises," are mere general directions, which the teachei may modify according to his own taste and judgment. But, beyond these brief hints, the writer has not prescribed a*

71 PREFACE TO THE SECOND EDITION.

any questions for examination, because he thinks that such a procedure, common as it is in elementary books, either offers a premium to sloth and ignorance on the part of an instructor, or implies an insult to his understanding and his talents, as if he were less capable than an author of knowing what to ask of those under his charge.

Though written in a manner which specially adapts it to instruction in schools, the work is also designed for printers and private students, all of whom must have some previous acquaintance with English literature ; and also for young authors, who can have little difficulty in mastering an art so intimately connected with their tastes or profession. For this class of students, the exercises termed "Oral" will be found peculiarly serviceable; tending, as they do by a variety of examples, to impress on the mind the practical applications of the rules and remarks to which they refer.

At the request of friends, the writer has introduced into the Appendix a short article on Proof-reading, the insertion of which will, he trusts, be found of some use to authors and printers, if not to general readers.

With respect to the mode in which the work has been executed, its author asks no indulgence but that of candor and good feeling. He has ventured, as in the former edition, to call the book a " Treatise," because he professes to have gone somewhat thoroughly into the subject with which it deals; but he does not flatter himself, that he has cleared away every obstacle which has beset one small but requisite pathway to literary excellence. On the contrary, he feels that in a production of this nature, which requires so much experience and accuracy, and for the preparation of which so little aid, comparatively speaking, can be derived from other writers, all is not yet effected that can be done to simplify, and to put on a firm basis, that despised but useful art, — the art of Punctuation.

Boston, May, 1850.

CHAP. I. — INTRODUCTION. Paga

Sect. I. — The Importance and Uses op Cokkect Punctuation 1

Sect. II. — Plan of the Work, and Definitions of the

Terms used 19

CHAP. H. - THE GRAMMATICAL POINTS.

Introductory Observations 26

SECT. I. THE COMMA.

Remarks on the Use of the Comma 27

Two Words, of the same Part of Speech, connected by the

Conjunctions and, or, nor 28

Two Words, of the same Part of Speeoh, not connected by a

Conjunction . 33

Series of Words of the same Part of Speech 37

Words or Phrases in Apposition 41

Words or Phrases in Contrast 45

The Subject and the Predicate 50

Relative Pronouns and Relative Clauses , 57

Parenthetical Phrases and Clauses 64

VU1 CONTENTS.

Page.

Vocative Words, Phrases, and Clauses 68

Adjectival, Participial, and Absolute Phrases 69

Adverbs and Adverbial Phrases . . . 72

Phrases at the End of Sentences or Clauses ....... 78

Inverted or Transposed Expressions » 83

One Clause depending on Another 89

Correlative Words, Phrases, and Clauses ........ 93

Phrases and Clauses in the same Construction ...... 98

Clauses having a Verb understood 104

Clauses consisting of Short Quotations or Remarks .... 108

Numeral Figures and Words 112

SECT. II. THE SEMICOLON.

A Sentence consisting of Two Conjoined Clauses 113

Expressions divided into Simpler Parts 116

A Series of Expressions having a Common Dependence . . . 120

Short Sentences slightly Connected 125

Lists of Word3, Phrases, and Numbers . 128

SECT. III. — THE COLON.

Kemarks on the Use and Abuse of the Colon ....... 129

Two Clauses not joined by a Conjunction 130

Conjoined Members of Sentences 134

Quotations, Remarks, &c, formally Introduced .<,..., 138

The Chanting Service in the Liturgy 141

Terms in the Rule of Three 141

Concluding Remarks 141

SECT. IV. THE PERIOD.

Complete and Independent Sentences 142

Headings, Subheads, Phrases in Titlepages, &c 147

CONTENTS. IX

Tage.

Names, Titles, and other Words, abbreviated 148

Marks or Figures used instead of Words 150

Letters used for Figures or Words 160

CHAP. III. — THE GRAMMATICAL AND RHETORICAL POINTS. Introductory Observations ............ 168

SECT. I. NOTES OF INTERROGATION AND

EXCLAMATION.

Remarks on the Notes of Interrogation and Exclamation . . 154

Expressions in the Form of Questions 155

Expressions indicating Passion or Emotion 169

SECT. II. MARKS OP PARENTHESIS.

Observations on Parentheses, and Marks of Parenthesis ... 167

Words thrown obliquely into the Body of a Sentence .... 168

SECT. III. THE DASH.

Remarks on the Use and Abuse of the Dash 174

Broken and Epigrammatic Sentences 175

A Concluding Clause on which other Expressions depend . . 178

The Echo, or Words repeated Rhetorically 182

A Parenthesis coalescing with the Main Passage 186

Ellipsis of the Adverb " Namely," &c 291

Subheads, &c, to Paragraphs 194

Omission of Letters, Figures, or Words 195

X CONTENTS.

CHAP. IV. — LETTER, SYLLABIC, AND QUOTATION POINTS. Page

Introductory Observations 197

SECT. I. THE APOSTROPHE.

Elision of Letters, or Shortening of Words 198

The Genitive or Possessive Case 204

SECT. II. THE HYPHEN.

Remarks on the Uses of the Hyphen 208

Prefixes in Derivative Words 219

The Division of Words into Syllables, according to their Pronunciation 224

The Division of Words into Syllables, according to their Form,

Derivation, or Meaning 225

SECT. III. MARKS OP QUOTATION.

Words borrowed from a Speaker or an Author 228

One Quotation within Another 230

Extracts composed of Successive Paragraphs 232

CHAP. Y. - MISCELLANEOUS MARKS.

Brackets, or Crotchets 235

A Comma Inverted ; Two Commas 236

The Index, or Hand ; Three Stars ; the Caret ; the Brace . . 237

Marks of Ellipsis ; Leaders 238

Accents; Marks of Quantity; the Cedilla; the Tilde . ... 239

Marks of Reference 240

CONTENTS. XI

CHAP. VI. — GENERAL EXERCISES. Page

Introductory Observations 241

Pride and Humility, by Thomas Brown 242

Abou Ben Adhem, by Leigh Hunt 244

Panegyric on England, by Edward Everett 245

The Pen and the Press, by John Critchley Prince 247

A Taste for Beading, by George S. Hillard 248

Relative Perfection, by John James Tayler 250

Labor not Lost, by E. C. Trench 251

Ancient and Modern Writers, by Charles Sumner 252

The True Source of Reform, by E. H. Chapin 253

Great Men generally Good, by John Logan 264

Appendix

of Capital Letters 257

The First Word of a Book, Tract, &c 258

The First Word after a Full Point 258

Appellations of God and Christ 259

Titles of Honor and Respect 261

Names of Persons, Places, &c 262

Nouns and Adjectives derived from Proper Names .... 263

Words of Primary Importance 264

The Pronoun I, and the Interjection 265

Commencement of Lines in Verse 266

Prosopopoeia, or Personification 266

Quotations, Examples, &c 267

Capitals used instead of Figures 268

Titlepages, Inscriptions, &c 268

Xll CONTENTS.

Page.

Italic Characters 269

Terms relating to Books 270

Captions, Subheads, Sideheads, and Running Titles . . . 270

Signatures 271

Names of Various Sizes of Books 271

Abbreviations and Representative Letters .... 272

Various Modes of Forming Abbreviations . ...<-. 272

Table of Abbreviations ,277

Medical and Mathematical Signs 301

Astronomical Characters 302

The Twelve Signs of the Zodiac 302

The Planetary Signs 802

The Lunar Signs 302

Aspects of the Planets 302

Hints on preparing Copt, and on reading Proofs . . 303

Explanation of Proof-marks 316

Specimen of Proof-sheet ...... ..... 320

Index 828

ENGLISH PUNCTUATION.

Introduction

Sect. I. — The Importance and Uses of Correct Punctuation.

No one will hesitate to admit, that next in value to the capacity of discerning or discovering truth, and of feeling the blessed relations which we sustain to the Being who made us, and to our fellow-creatures, particularly those with whom we are more immediately connected, is the power by which intelligence and emotion are communicated from one mind to another. By it the great and the gifted of past times have bequeathed to us many a rich legacy of thought and deed ; and by it those of the present either re-create the old materials, or fashion new ones, for the delight and improvement of their own generation ; and transmit to the future — to beings yet unborn — their treasures of wisdom, of genius, and of love. This power, it is needless to say, is language, oral and written, especially the latter.

But as oral speech has its tones and inflections, its pauses and its emphases, and other variations of voice, l

Z INTRODUCTION.

to give greater expression to the thoughts which spoken words represent, and to produce on the mind of the hearer a more rapid and intense impression than lifeless enunciation could effect ; so written or printed language is usually accompanied by marks or points, to enable the reader to comprehend at a glance the precise and determinate sense of the author, — a sense which, without these marks, would in many instances be gathered only by an elaborate and painful process, and very often be misunderstood. It therefore obviously follows, that the art which serves to elucidate the meaning of a writer, to bring out his ideas with more facility, and to render his expressions a genuine transcript of the feelings and sentiments which he would convey to the hearts and the minds of others, is entitled to no small degree of attention.

Now, it is indisputable that Punctuation does conduce to make written language more effective, by exhibiting with greater precision and definiteness the ideas, feelings, and emotions of an author, than could be accomplished by a mass of words, however well chosen, if brought together without those peculiar marks which show the multifarious varieties of union or of separation existing in thought and expression. For what is Punctuation, and what its aim? It is the art of dividing a literary composition into sentences, and parts of sentences, by means of points, for the purpose of exhibiting the various combinations, connections, and dependencies of words. And what is this process but a means of facilitating that analysis and combination which must be made, consciously or unconsciously, before we can penetrate to the very core of an author's thoughts, and appropriate them as food for the life and growth of our own minds ?

We would not overrate the importance of Punctuation, or deny that many subjects are worthy of a higher regard, and have a more immediate and vital influence on the well-being of society. But we would emphatically say, that this subject ought to be understood by all who are led, by the bent of their tastes, the force of their genius, or their condition in life, to enter upon any of the walks of literature, whether they would tread an humble and a beaten track, or wander into paths adorned by flowers and fruit. It is related to philology and metaphysics, and indeed, more or less, to every science or art communicated by the instrumentality of written language. It is intimately connected with the principles of grammar ; subservient to the purposes of syntax ; essential to the clearing-up of ambiguities, which so often obscure composition ; and useful to the more ready understanding even of those sentences whose construction is not liable to the charge of obscurity. By the omission or the improper insertion of points, not only would the beauties and elegances of literature, but even its advantages, be faintly discerned and enjoyed, except by the most attentive readers, or by men of superior taste and information : the sense of even the more simple and familiar class of productions — such as the narrative, the essay, or the epistle — would be liable to be misapprehended, or, at least, to be imperfectly understood. Indeed, the perusal of a single page of any work will bear testimony to the comparative value of a just punctuation. Nay, scarcely can a sentence be perused with satisfaction or interest, unless pointed with

INTRODUCTION.

some degree of accuracy. The well-known speech of Norval, for instance, in the tragedy of " Douglas," may, by an erroneous use of the pauses, be delivered in such a manner as to pervert or destroy the meaning ; as, —

" My name is Norval on the Grampian hills.

My father feeds his flock a frugal swain ; Whose constant cares were to increase his store.

We fought and conquered ere a sword was drawn. An arrow from my bow, had pierced their chief Who wore that day the arms which now I wear."

But the insertion of the right stops will restore the sense of these passages, and render them conformable to the conceptions of the dramatist : —

" My name is Norval. On the Grampian hills My father feeds his flock; a frugal swain, Whose constant cares were to increase his store.

We fought and conquered. Ere a sword was drawn, An arrow from my bow had pierced their chief, Who wore, that day, the arms which now I wear." *

Notwithstanding, however, its utility, Punctuation has not received that attention which its importance demands. Considered merely as the plaything of the pedant, or as the peculiar function of the printer, it is often neglected or perverted by those who have occasion to present to the eye either their own thoughts or the thoughts of others. The man of science, the mental philosopher, and the philologist seem to regard it as too

* In the note at the end of this section, page 18, will be found a few other instauces of erroneous pointing, which, though in their nature sufficiently ludicrous, show in a forcible manner the necessity of paying a due regard to punctuation. Many happy illustrations of the importance of correct marks may also be seen in Day's valuable little work, entitled " Punctuation reduced to a System," pp. 33—15.

THE IMPORTANCE OF PUNCTUATION.

trifling, amid their grander researches into the laws of the universe, the internal operations of the human mind, and its external workings by means of language. The grammarian passes it by altogether unheeded, or lays down a few general and abstract principles ; leaving the pupil to surmount the difficulties of the art as well as he may. The lawyer engrosses in a character which is perfectly legible ; but, by its deficiency in sentential marks, it often proves, like the laws of which he is the expounder, " gloriously uncertain " as to the meaning intended to be expressed. The painter, the engraver, and the lithographer appear to set all rules at defiance, by either omitting the points or misplacing them, when required in certain departments of their work. The letter-writer, with his incessant and indiscriminate dashes, puts his friend, his beloved one, his agent, or his employer, to a little more trouble, in conning over his epistle, than is absolutely necessary. Even the author — who, of all writers, ought to be the most accurate — not unfrequently puts his manuscript into the printer's hands, either destitute of grammatical points, or so badly punctuated as to create a needless loss of time to the compositor.

But though an acquaintance with the principles of the art in question has been deemed the peculiar province of the printer, who might therefore be expected to have the requisite qualifications for the performance of his task ; yet it must be admitted, that from the press are issued many books, grossly erroneous in sentential marks ; and perhaps not a few, which, though distinguished for elegance of style, accuracy of orthography, or beauty of printing, are unworthy of being held up as models of good taste and judgment in the use of points. It is a fact well known to those connected with the press, that compositors in general have a very deficient knowledge of Punctuation, considered as a branch of science ; and that they acquire what they do know of it as an art, chiefly by mechanical habit, or by the correction of innumerable blunders, marked on the proof-sheets.

To make these observations, however, without granting many exceptions, would savor more of the petulance of presumption than of the candor of true criticism. There are numerous masterpieces of composition, in which the writer, the compositor, and the corrector of the press, have, either separately or together, inserted points with taste and propriety.

But enough has been said to demonstrate the necessity for an increased attention to the subject, and to prove a very obvious, though not an acknowledged, truth, that the principles of Punctuation must be duly learned, before they can be understood, or brought into systematic and perfect use. The question, then, will naturally arise, How is the desired improvement to be effected ? how are the theory and practice of the art to be attained ? We answer, By the most simple means ; by the very means which are so well adapted to other subjects of learning. Let Punctuation form a branch of academical instruction ; let it be studied, after a competent knowledge of English etymology and syntax has been acquired ; let the rules be thoroughly comprehended by the pupil, — be explained to him, if necessary, in the teacher's language, and re-explained by himself in his own words. Let him also write copious exercises, in order to bring into further plaj his judgment and taste ; and let him present to his teacher these trials of his skill, to be examined and approved or corrected. By this means will he soon be capable of so punctuating his own compositions as to be read by others with ease, pleasure, and advantage.

This is an age of authors, as well as of readers. Young aspirants after fame, some of them of considerable merit, meet us at every step, and in every department of literature. But surely, if they are capable of enlightening the world by their wisdom, or dazzling it by their genius, they can have no difficulty in writing so as to be understood. If they have thoughts worthy of being communicated through the agency of the pen and the press, they surely cannot with justice regard it as any degradation of their powers to submit to the task of indicating, as accurately as possible, what they do really intend to say. If there is beauty in their style ; if there is pathos in their sentiments ; if there is moral and intellectual vigor in the thoughts that burn for utterance ; if their discourse is calculated to refine the taste, to improve the heart, and ennoble the mind, of the reader, — surely they should be careful that that beauty be not marred, that that pathos be not unfelt, that that vigor be not weakened, that that discourse be not shorn of half its power over the character and happiness of others, from the petty motive of saving themselves the trouble of learning what, of all men, from the very nature of their pursuits, they are the best able and most bound to learn. Besides, it is worthy of remark, that, by habituating themselves to the practice of pointing, their attention will naturally be directed to clearness of thought, and accuracy of expression. They will be more apt to regard words as but of little value, except as representatives of ideas, and as an instrument by which these may gain access to the human soul. If involved in the difficulty of punctuating a badly formed sentence, such as the following, " God heapeth favors on his servants ever liberal and faithful," — supposing this to imply that the Divine Being is ever liberal and faithful, — they will almost necessarily be led to reconstruct it, that they may rid themselves of their perplexity, and leave no doubt as to the sense meant to be conveyed; for, beyond all question, facility in punctuation is generally in proportion to the perspicuity and the good arrangement of words. Let authors, therefore, turn a little of their attention to the elements of this art, trifling and undignified as it may seem to be. Let them not transfer to their printer that department of duty which as authors it is their own province to fill. With some few boasted exceptions, no doubt much overrated, neither compositors nor correctors of the press are immaculate ; for they do not understand all the subjects treated of in books, and cannot with accuracy punctuate what they do not comprehend.

It was in bygone times a preliminary requisite, that printers should be acquainted with what are termed the learned languages. But though, in this age of a more general and superficial literature, a profound knowledge of Hebrew points, Greek accents, and Latin quantities, is no longer required, it is necessary that compositors be acquainted with the principles of their native tongue, and with the functions of the peculiar marks used for setting off sentences, clauses, and phrases. Were every

THE IMPORTANCE OF PUNCTUATION. \J

author to write his work in a fair, legible character, and so punctuate his language as to convey the sense clearly and correctly, then might compositors act as mere machines, and " follow " their " copy." But, until writers for the press condescend to use the stops systematically and accurately, the humble workmen who put together the world-enlightening types must be more than unconscious machines : they must, to some degree, enter into the conceptions of those on whose works they are employed, and develop the sense of their manuscripts, with the greatest possible discrimination, by the help and service of the poor, despised, but useful handmaids, — the commas, the semicolons, and other little points. We know well the feeling which very naturally and properly exists in the minds of compositors, that the " copy " put into their hands should be prepared with an accuracy which would preclude the necessity, on their part, of losing time by pondering over the manuscript in order to render it intelligible to the reading public. But this we know also, that, in the actual state of things, the time thus apparently lost is, when employed aright, a comparative gain, by reason of the far greater consumption of unprofitable labor in the insertion and extraction of points, after the proof-sheet has been returned by the corrector of the press. If the manuscript be defective or erroneous in its sentential marks, the compositor must either take a little trouble in pointing it himself, or have it done for him afterwards by the proof-reader, to the serious diminution of his professional character, his good temper, and his weekly wages.

But, further, we would ask, Is not the operative who comprehends the principles of his calling, — who really knows what he is about, — a happier and a nobler being than he who works at mere random, and stumbles at every petty obstruction in his way ? Does not his daily toil become a pleasure, when it brings into play the exercise of a fine taste and a cultivated understanding ? Do not his very difficulties become a source of satisfaction, when he himself can solve them, without being forced for ever to ask the aid of his fellow-workmen, or to submit to the painful process of undoing what he has already done, — of altering and improving what he has ignorantly and blunderingly executed ? Do not, indeed, these difficulties become less and less, the more frequently he is successful m removing them? Does he not, by his endeavors to perform his work in a skilful manner, acquire habits of discrimination, that will enable him, in cases at which others would fret and foam or idly stand, to see, as it were intuitively, the very thing required, and the mode in which it should be done ? These questions may be asked in relation to manual labor of any kind. They may be asked, too, in respect to all the branches of work in which a compositor may be engaged. But they are put here chiefly in reference to his knowledge and appliance of the art of Punctuation ; and we feel assured, that, if desirous of being able to insert points with skill and propriety, he will also aim to perform well all the duties pertaining to his sphere of toil. If, therefore, the compositor would lose as little as possible of that time which is so valuable to him ; if he would have at his command greater pecuniary resources than he can have by ignorance of his art, or by habits of carelessness ; if, by the exercise of his intellectual powers, he would deprive physical toil of no small share of its pain or lassitude, — let him, if now ignorant of the subject, never rest contented till he is able both to understand the principles on which Punctuation is based, and to bring them into full practice.

The remarks just made have the strongest claim on the attention of youths learning the art of type-setting ; many of whom, stimulated by a love of change or by false views of independence, soon break loose from those steady and regular habits which are necessary for mastering the difficulties of any occupation ; moving about from one employer to another, without having a disposition or sufficient time to attain a knowledge even of the first principles of the craft by which they are to earn a living. But if desirous of perfecting themselves in the various branches of typography, one of which we have shown to be the art of Punctuation, it is of the greatest moment that they resolve to remain with a person whom they can regard as a friend as well as an employer ; and receive from him, or at their leisure hours from the study of books designed for the purpose, such instruction as will conduce to their improvement, and render them, when of age, competent to discharge, with honor to themselves and with satisfaction to others, the duties pertaining to their profession.

If a knowledge of Punctuation is admitted to be requisite to the setter of types, there will be the utmost reason for regarding it as indispensable to a reader of proof-sheets. Besides the multiform duties devolving on or expected from him, — of correcting and improving the work of compositors, which is seldom, if ever, a faithful representation of the " copy ; " of rectifying the orthography of inexperienced writers, and drawing the attention of others to errors in grammar and construction, into which the most accurate will sometimes fall, — the professional corrector is generally required, in the existing state of authorship, to devote a great part of his attention to the proper insertion of points, and thus to present to the public eye in a readable condition what would otherwise be an ill-digested mass of letters and words. When it is considered that he has not unfrequently to perform this task amid doubts and difficulties arising from manuscript almost illegible, it will be seen how necessary it is for correctors of the press to possess that kind of knowledge which is so easily within their reach, and which at present forms an essential and a peculiar feature of their calling, — an accurate knowledge of the theory and practice of Punctuation. It would not be right to expect from them, even if they were better remunerated, perfect accuracy in their work ; but, so long as they hold so responsible a situation, their ignorance of this branch of their profession should be regarded as inexcusable.

It may be, and has been, objected to the study of this art, that it is not subject to any fixed or determinate principles ; that scarcely two writers follow the same mode of punctuating sentences. Where one author or printer uses a comma, another would insert a semicolon ; and, where one thinks a semicolon ought to be employed, another prefers a colon, if not a comma. One teacher embarrasses the learner with an additional pause (the semicomma), by giving it " a local habitation and a name ; " while a different one discards the colon altogether as a useless point Some grammarians would unfeelingly lop off the dash, as an excrescence on a printed leaf; but others, again, are so partial to its form and use as to call in its aid on every possible occasion.