the writer of the second desires to be slow, staccato, and impressive: the writer of the first desires to be rapid and flowing, or rather, perhaps, does not desire to be anything other than natural.
Mathematicians have sought knowledge in figures, philosophers in systems, logicians in subtilties, and metaphysicians in sounds.–B.
In the eclogue there must be nothing rude or vulgar; nothing fanciful or affected; nothing subtle or abstruse.–B.
The difference is rhetorical, not logical. It is true, however, that modern printers make an effort to be guided by logic or grammar alone; it is impossible for them to succeed entirely; but any one who will look at an Elizabethan book with the original stopping will see how far they have moved: the old stopping was frankly to guide the voice in reading aloud, while the modern is mainly to guide the mind in seeing through the grammatical construction.
A perfect system of punctuation, then, that should be exact and uniform, would require separate rhetorical and logical notations in the first place. Such a system is not to be desired; the point is only that, without it, usage must fluctuate according as one element is allowed to interfere with the other. But a second difficulty remains, even if we assume that rhetoric could be eliminated altogether. Our stop series, as explained above, provides us with four degrees; but the degrees of closeness and remoteness between the members of sentence or paragraph are at the least ten times as many. It is easy to show that the comma, even in its purely logical function, has not one, but many tasks to do, which differ greatly in importance. Take the three examples:
His method of handling the subject was ornate, learned, and perspicuous.–B.
The removal of the comma after learned makes so little difference that it is an open question among compositors whether it should be used or not.
The criminal, who had betrayed his associates, was a prey to remorse.
