CHAPTER IV
PUNCTUATION
In this chapter we shall adhere generally to our plan of not giving systematic positive directions, or attempting to cover all ground familiar and unfamiliar, important or not, but drawing attention only to the most prevalent mistakes. On so technical a subject, however, a few preliminary remarks may be made; and to those readers who would prefer a careful, systematic, and not over-long treatise, Beadnell's Spelling and Punctuation (Wyman, 2/6) is recommended. We shall refer to it occasionally in what follows; and the examples to which–B. is attached instead of an author's name are taken from it; these are all given in Beadnell (unless the contrary is stated) as examples of correct punctuation. It should be added that the book is written rather from the compositor's than from the author's point of view, and illustrates the compositor's natural weaknesses; it is more important to him, for instance, that a page should not be unsightly (the unsightliness being quite imaginary, and the result of professional conservatism) than that quotation marks and stops, or dashes and stops, should be arranged in their true significant order; but, as the right and unsightly is candidly given as well as the wrong and beautiful, this does not matter; the student can take his choice.
We shall begin by explaining how it is that punctuation is a difficult matter, and worth a writer's serious attention. There are only six stops, comma, semicolon, colon, full stop, question mark, exclamation mark; or, with the dash, seven. The work of three of them, full stop, question, exclamation, is
