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diff --git a/17016.txt b/17016.txt new file mode 100644 index 0000000..edd957c --- /dev/null +++ b/17016.txt @@ -0,0 +1,2719 @@ +The Project Gutenberg EBook of Division of Words, by Frederick W. Hamilton + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Division of Words + Rules for the Division of Words at the Ends of Lines, with + Remarks on Spelling, Syllabication and Pronunciation + +Author: Frederick W. Hamilton + +Release Date: November 6, 2005 [EBook #17016] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK DIVISION OF WORDS *** + + + + +Produced by Barbara Tozier, Bill Tozier, Sigal Alon and +the Online Distributed Proofreading Team at +https://www.pgdp.net + + + + + + +Transcriber's Note: + +1. Some examples which appear not to follow the preceding guideline are +printed thus in the original book. It looks as if sometimes the guideline +is mistaken. + +2. Italicized text is rendered as _text_, bold text is rendered as =text=. + +3. Accented syllables are marked with a single quote ('). + +4. This book uses several diacritical marks for phonetics, the table below +lists the codings used: (the "x" represents a character with a diacritical +mark) + +Diacritical mark Above Below + +Macron (straight line) [=x] [x=] +2 dots (diaeresis, umlaut) [:x] [x:] +Breve (u-shaped symbol) [)x] [x)] +Tilde [~x] [x~] +Small capital I [Ix] + + + + +TYPOGRAPHIC TECHNICAL SERIES FOR APPRENTICES--PART VI. NO. 35 + + +DIVISION OF +WORDS + + +RULES FOR THE DIVISION OF WORDS AT +THE ENDS OF LINES, WITH REMARKS +ON SPELLING, SYLLABICATION +AND PRONUNCIATION + + +BY + +FREDERICK W. HAMILTON, LL.D. + +EDUCATIONAL DIRECTOR +UNITED TYPOTHETAE OF AMERICA + + + + +PUBLISHED BY THE COMMITTEE ON EDUCATION +UNITED TYPOTHETAE OF AMERICA +1918 + + + + +COPYRIGHT, 1918 +UNITED TYPOTHETAE OF AMERICA +CHICAGO, ILL. + + + + +PREFACE + + +The principal purpose of this book is to give in brief form the rules and +usages governing the division of words when the measure will not permit +ending the word and the line together. This matter is considered in its +relation to good spacing and to the legibility of the printed page. + +Leading up to the discussion will be found some consideration of spelling, +the formation of syllables, pronunciation, and accent. This consideration +is necessarily brief, and no attempt has been made to give the rules for +spelling which are so frequently found in spelling books, or any of them. +In the writer's opinion such rules are of very little practical value. Good +spelling is not so much the result of remembering and applying rules as it +is of observation, practice, and memory. The lists of certain types of +troublesome words may be found useful for ready reference. + +Syllable formation, pronunciation, and accent are considered because it is +hoped that the volumes of this series, particularly those in Part VI +(Correct Literary Composition) and Part VIII (History of Printing), will +contribute something to the general education of the apprentice as well as +to his skill in the trade. + + + + +CONTENTS + + +SPELLING + +PRONUNCIATION + +ACCENT + +DIVISION OF WORDS + +RULES FOR DIVISION OF WORDS + +IMPORTANCE OF SPACING + +DIVISION IN LINES OF DISPLAY + +SUPPLEMENTARY READING + +REVIEW QUESTIONS + + + + +DIVISION OF WORDS + + +The division of words when the words do not exactly fit the register of the +line has always been a source of trouble. In the days of the manuscript +makers devices such as crowding letters, reducing their size, or omitting +them altogether were freely used and words were arbitrarily divided when +the scribes so desired. During the greater part of the time every scribe +divided as he pleased, often in ways which seem very strange to us, like +the Greek custom of dividing always after a vowel and even dividing words +of one syllable. With the invention of printing, however, the number of +these devices was greatly diminished. It became a matter of spacing out the +line or dividing the word. Of course that meant frequent word division and +called for a systematization of rules with regard to this division. These +rules for division are necessarily based on spelling and syllabication. + + + + +SPELLING + + +The idea that there is one right way to combine the letters representing a +certain sound or group of sounds, that is a word, and that all other ways +are wrong and little short of shameful is a comparatively new idea among +us. The English speaking folk held down to a comparatively recent time that +any group of letters which approximately represented the sound was amply +sufficient as a symbol of the word. This sort of phonetic spelling was +commonly followed, and followed with great freedom. No obligation was +recognized to be consistent. In ordinary writing, such as letters and the +like, it is not unusual to find the same word spelled in a variety of ways +in the same document. + +The last century has brought about an attempt to standardize spelling into +conventional forms any departure from which is regarded as highly +derogatory to the writer. In many cases these forms are fixed arbitrarily, +and in some there is even now disagreement among the highest authorities. +These difficulties and disagreements have two reasons: First, English is a +composite language, drawn from many sources and at many periods; hence +purely philological and etymological influences intervene, sometimes with +marked results, while there is a difference of opinion as to how far these +influences ought to prevail. Second, the English language uses an alphabet +which fits it very badly. Many letters have to do duty for the expression +of several sounds, and sometimes several of them have nearly or quite the +same sound. For example, there are a number of distinct sounds of _a_, _i_, +and _o_ while _g_ is sometimes indistinguishable from _j_ and _c_ from _k_. +This is not always a matter of modification of sounds by the sounds of +other letters combined with them. One has to learn how to pronounce +_cough_, _dough_, _enough_, and _plough_, the _ough_ having four distinct +sounds in these four words. Each one of these sounds, by the way, could be +exactly as well represented by another combination of letters which would +be unmistakable, viz., _coff_, _doe_, _enuff_, and _plow_. It is impossible +to tell except by the context either the pronunciation or the meaning of +_bow_. If the _ow_ is pronounced as in _low_, it means a weapon. If the +_ow_ is pronounced as in _cow_ it may mean either an obeisance or the front +end of a boat. + +This standardization of spelling is unfortunately not quite complete, +although nearly so. Concerning the vast majority of the words in the +English language there is no difference of opinion. A few words are +differently spelled by different authorities. There are seven of these +authorities of the first rank, three English, Stormonth, the Imperial +Dictionary, and the Oxford Dictionary; and four American, Webster's +International, Worcester, the Century Dictionary, and the Standard +Dictionary. American printers may ordinarily disregard the English +authorities. + +Any one of the four American authorities may be safely followed. In cases +where two spellings are given in the dictionary consulted, take the first +one. Ordinarily a printing office adopts one of the great authorities as a +standard and conforms the office style to it. All office copy will follow +it and all errors in copy from outside will be corrected by it. Spellings +differing from it will be regarded as errors, even though supported by +other authorities. + +This rule, however, is subject to one very important exception. The author +has an unquestionable right to choose his own dictionary or to use any +spelling for which there is any authority, English or American. If he has +his own ideas on the subject of spelling he should be very careful that his +manuscript is correctly spelled according to his ideas, and clearly written +or typed. He should also indicate on the manuscript the authority he wishes +used in correcting the spelling in case of mistakes or illegible passages. +Every care should be taken to make the manuscript copy as correct as +possible and as legible as possible. Such care may be very troublesome at +first, but it will result in great saving of expense. + +In addition to the authorities named there are the rules and "reformed" +spellings adopted by the American Philological Association and published by +the United States Government. These are followed fully in some offices, +partly in others, and in many not at all. This is a question of the office +style and the author's wish. If copy is clear and spelled according to any +authority, it is the compositor's duty to follow it. If it is misspelled or +illegible he is to correct it according to the office style unless +otherwise directed by the author in writing. If furnished with such a +direction he is to follow it. This procedure will clear the compositor of +all blame. Any questions which then arise lie between the author and the +proofreader. + +In the case of the reformed spellings, however, the departure from the +ordinary appearance of the words is so great that the author cannot be +allowed full freedom to set aside the office style. If he is paying for the +printing he may insist on his spelling. If he is contributing to a +periodical and the printing is done at the publisher's expense it is for +the publisher to determine the style of printing to be used. + +Any full consideration of the question of reformed spelling is hardly in +place in this book. The author may perhaps be permitted one observation. +Innovation in the use of the English language would appear to be primarily +the work of scholars, and the adoption of such innovations would seem to +belong to the book printer rather than to the commercial printer. The +public mind as a whole is conservative. It is not hospitable to changes and +does not soon become aware of them, much less familiar with them. The +commercial printer makes his appeal to the mind of the general public. He +will do well to use a vehicle familiar, intelligible, and acceptable to it. + +Correct spelling is mainly a matter of habit and observation. To a certain +extent it is a matter of careful pronunciation, but this is not always a +safe or even a possible guide. The vowels preceding or following the one on +which the primary accent falls, sometimes called obscure vowels, are so +slurringly pronounced that even a pedantic precision will hardly make it +possible to indicate clearly which vowel is used. The writer remembers +seeing an examination paper written by a fourth year medical student in +which the word _fever_ was spelled _fevor_. A moment's thought will show +that so far as pronunciation is concerned the word might be spelled +_fevar_, _fevir_, _fevor_, _fever_, or _fevur_ without any appreciable +difference. The correct spelling is merely a matter of observation. + +The author has on his desk at the moment of writing these lines half a +dozen good books, each containing a set of rules for spelling. From these +it would be easy to compile a set of fairly good rules. Each of these +rules, however, has exceptions, in some cases quite numerous. To remember +these rules with their exceptions would be a considerable mental task and +to apply them would be cumbrous and time consuming. The effort would +probably resolve itself into an actual learning of the words which present +difficulties. The best way to become a good speller is to form the habit +of careful reading, observing the form of every word as it passes before +the eye and so unconsciously fixing it in the memory. The dictionary should +be consulted whenever there is any doubt. + +If you are to write a word, call up a mental picture of it, and if the +picture is not perfectly clear go to the dictionary and fix a correct image +of it in your mind. Be careful to pronounce every word you use as correctly +as possible and you will get all the aid pronunciation can give you. +Careless speaking and careless reading are the two great sources of +incorrect spelling. + +The following tables will be found useful in settling practice with regard +to certain troublesome classes of words. + + +I + +American usage tends to the termination _-ize_ where English usage often +sanctions _-ise_. Use the termination _-ise_ in + +advertise +advise +appraise +apprise (_to inform_) +arise +chastise +circumcise +comprise +compromise +demise +devise +disfranchise +disguise +emprise +enfranchise +enterprise +exercise +exorcise +franchise +improvise +incise +merchandise +premise +reprise +revise +rise +supervise +surmise +surprise + +Use the termination _-ize_ or _-yze_ in + +aggrandize +agonize +analyze +anatomize +anglicize +apologize +apostrophize +apprize (_to value_) +authorize +baptize +brutalize +canonize +catechize +catholicize +cauterize +centralize +characterize +christianize +civilize +colonize +criticize +crystallize +demoralize +dogmatize +economize +emphasize +epitomize +equalize +eulogize +evangelize +extemporize +familiarize +fertilize +fossilize +fraternize +galvanize +generalize +gormandize +harmonize +immortalize +italicize +jeopardize +legalize +liberalize +localize +magnetize +memorialize +mesmerize +metamorphize +methodize +minimize +modernize +monopolize +moralize +nationalize +naturalize +neutralize +organize +ostracize +paralyze +particularize +pasteurize +patronize +philosophize +plagiarize +pulverize +realize +recognize +reorganize +revolutionize +satirize +scandalize +scrutinize +signalize +solemnize +soliloquize +specialize +spiritualize +standardize +stigmatize +subsidize +summarize +syllogize +symbolize +sympathize +tantalize +temporize +tranquilize +tyrannize +universalize +utilize +vaporize +vitalize +vocalize +vulcanize +vulgarize + +II + +Use the termination _-ible_ in the following words: + +accessible +admissible +appetible +apprehensible +audible +cessible +coercible +compatible +competible +comprehensible +compressible +conceptible +contemptible +contractible +controvertible +convertible +convincible +corrigible +corrosible +corruptible +credible +decoctible +deducible +defeasible +defensible +descendible +destructible +digestible +discernible +distensible +divisible +docible +edible +effectible +eligible +eludible +enforcible +evincible +expansible +expressible +extendible +extensible +fallible +feasible +fencible +flexible +forcible +frangible +fusible +gullible +horrible +illegible +immiscible +impassible +intelligible +irascible +legible +miscible +negligible +partible +passible (_susceptible_) +perceptible +permissible +persuasible +pervertible +plausible +possible +producible +reducible +reflexible +refrangible +remissible +reprehensible +resistible +responsible +reversible +revertible +risible +seducible +sensible +tangible +terrible +transmissible +visible + +In all other cases use _-able_. + + +III + +The following nouns end in _-er_. + +abetter +abstracter +accepter +adapter +adviser +affirmer +aider +almoner +annoyer +arbiter +assenter +asserter +bailer +caster +censer (vessel) +concocter +condenser +conferrer +conjurer +consulter +continuer +contradicter +contriver +convener +conveyer +corrupter +covenanter +debater +defender +deliberater +deserter +desolater +deviser +discontinuer +disturber +entreater +exalter +exasperater +exciter +executer (_except in law_) +expecter +frequenter +granter +idolater +imposer +impugner +incenser +inflicter +insulter +interceder +interpreter +interrupter +inviter +jailer +lamenter +mortgager (_except in law_) +obliger +obstructer +obtruder +perfecter +perjurer +preventer +probationer +propeller +protester +recognizer +regrater +relater +respecter +sailer (_ship_) +sorcerer +suggester +supplanter +upholder +vender + +The following nouns end in _-or_. + +abbreviator +abductor +abettor (_law_) +abominator +abrogator +accelerator +acceptor +accommodator +accumulator +actor +adjudicator +adjutor +administrator +admonitor +adulator +adulterator +aggregator +aggressor +agitator +amalgamator +animator +annotator +antecessor +apparitor +appreciator +arbitrator +assassinator +assessor +benefactor +bettor +calculator +calumniator +captor +castor (_oil_) +censor +coadjutor +collector +competitor +compositor +conductor +confessor +conqueror +conservator +consignor +conspirator +constrictor +constructor +contaminator +contemplator +continuator +contractor +contributor +corrector +councillor +counsellor +covenantor (_law_) +creator +creditor +cultivator +cunctator +debtor +decorator +delator (_law_) +denominator +denunciator +depredator +depressor +deteriorator +detractor +dictator +dilator +director +dissector +disseizor +disseminator +distributor +divisor +dominator +donor +effector +elector +elevator +elucidator +emulator +enactor +equivocator +escheator +estimator +exactor +excavator +exceptor +executor (_law_) +exhibitor +explorator +expositor +expostulator +extensor +extirpator +extractor +fabricator +factor +flexor +fornicator +fumigator +generator +gladiator +governor +grantor (_law_) +habitator +imitator +impostor +impropriator +inaugurator +inceptor +incisor +inheritor +initiator +innovator +insinuator +institutor +instructor +interlocutor +interpolator +interrogator +inventor +investor +juror +lector +legator +legislator +lessor +mediator +modulator +monitor +mortgagor (_law_) +multiplicator +narrator +navigator +negotiator +nonjuror +numerator +objector +obligor (_law_) +observator +operator +originator +pacificator +participator +peculator +percolator +perforator +perpetrator +persecutor +perturbator +possessor +preceptor +precursor +predecessor +predictor +prevaricator +procrastinator +procreator +procurator +professor +progenitor +projector +prolocutor +promulgator +propagator +propitiator +proprietor +prosecutor +protector +protractor +purveyor +recognizor (_law_) +recriminator +reflector +regenerator +regulator +relator (_law_) +rotator +sacrificator +sailor (_seaman_) +scrutator +sculptor +sectator +selector +senator +separator +sequestrator +servitor +solicitor +spectator +spoliator +sponsor +successor +suitor +supervisor +suppressor +surveyor +survivor +testator +tormentor +traitor +transgressor +translator +valuator +vendor (_law_) +venerator +ventilator +vindicator +violator +visitor + + +IV + +Words which in their shortest form end in _-d_, _-de_, _-ge_, _-unit_, +_-rt_, _-se_, _-sr_, take the ending _-sion_; e.g., _abscind_, +_abscission_; _include_, _inclusion_; _emerge_, _emersion_; _remit_, +_remission_; _infuse_, _infusion_; _repress_, _repression_. + +All others take the ending _-tion_. + +The following are irregularities: + +adhesion +assertion +attention +coercion +cohesion +crucifixion +declension +dimension +dissension +distortion +divulsion +expulsion +impulsion +insertion +intention +occasion +propulsion +recursion +repulsion +revulsion +scansion +suspicion +tension +version + +Words ending in _-ance_, _-ence_; _-ancy_, _-ency_; _-ant_, and _-ent_, +often cause confusion when carelessly written. + +The following is a list of the more common words with the _e_ form. + +abducent +abhorrence, -ent +abluent +absent, -ence +absorbent +abstergent +abstinence, -ent +adherence, -ent +advertency, -ent +affluence, -ent +antecedence, -ent +apparent +appertinent +appetence, -ency +ardent +benevolence, -ent +circumference +coexistence +coherence, -ent +coincidence, -ent +competence, -ent +concurrence, -ent +condolence +conference +confidence, -ent +confluence, -ent +consentient +consequence +consequent +consistence, -ent +consistency +constituent +continence, -ent +convenience, -ent +corpulence, -ent +correspondence, -ent +currency, -ent +deference +delinquency, -ent +dependence, -ent +deponent +descendent (_adj._) +despondency, -ent +difference +diffidence, -ent +diffluent +efficiency, -ent +eminence, -ency +eminent +excellence, -ency +excellent +existence, -ent +expediency +feculence, -ent +flocculence, -ent +fluency, -ent +fraudulence, -ent +imminence, -ent +impatience, -ent +impellent +imprudence, -ent +impudence, -ent +incipience, -ent +incumbency, -ent +independence, -ent +indolence, -ent +inference +inherence, -ent +intermittent +iridescence, -ent +lambent +latency, -ent +leniency, -ent +magniloquence, -ent +malevolence, -ent +mellifluence, -ent +mollient +obedience, -ent +occurrence, -ent +omniscience, -ent +opulence, -ency +opulent +patience, -ent +pendent (_adj._) +pendency +penitence, -ent +permanence, -ent +permanency +pertinence, -ent +pestilence, -ent +poculent +portent +potency, -ent +precedence, -ent +preference +prescience, -ent +presence, -ent +presidency, -ent +proficiency, -ent +prominence, -ent +proponent +providence, -ent +prudence, -ent +purulence, -ent +quintessence +recurrence, -ent +reference +refluence, -ent +repellent +residence, -ency +resident +resolvent +resplendence, -ent +respondent +reverence, -ent +sentient +solvency, -ent +somnolency, -ent +subserviency, -ent +subsidence, -ency +subsistence, -ent +succulent +superintendence +superintendency +superintendent +tendence, -ency +transcendence, -ent +transcendency +transference +transient +transparency, -ent +transplendency, -ent +turbulence, -ent +vicegerency, -ent +virulence, -ent + +Nearly all other words of this type take the _a_ form. + + * * * * * + +The instructor should drill the pupils in spelling not only these "catch" +words, but a wide range of English words. These lessons may be taken to +advantage from some of the books mentioned in the list for supplementary +reading, from any other good spelling book, or even from the pages of any +well printed book or magazine. The words should be given out orally and +written down by the pupil. A good exercise is the reading of a paragraph +from any good book, or some stanza of poetry, the passage read to be taken +down by the pupil with care to spell, punctuate, and capitalize properly. + +A number of topics sometimes treated under the head of spelling will be +found discussed in the "Printer's Manual of Style" (No. 41). + + + + +PRONUNCIATION + + +The English language is a difficult one to pronounce as well as to spell. +This arises from two causes. The English language has some sounds not +generally found in other languages, such as _w_ and _th_. As has already +been pointed out, the alphabet fits the language very badly. Careful +lexicographers indicate no less than seven sounds of _a_, five of _e_, +three of _i_, four of _o_ and six of _u_, as shown in the following table: + +[=a] as in [=a]le +[Ia] as in sen[Ia]te +[)a] as in [)a]m +a as in ask +[a:] as in [a:]ll +ae as in faether +(a) as in fin(a)l + +[=e] as in [=e]ve +[)e] as in [)e]nd +[Ie] as in ev[Ie]nt +[~e] as in f[~e]rn +(e) as in prud(e)nce + +[=i] as in [=i]ce +[Ii] as in [Ii]dea +[)i] as in p[)i]n + +[=o] as in [=o]ld +[Io] as in [Io]pen +[)o] as in [)o]dd +o as in orb + +[=u] as in [=u]se +[Iu] as in [Iu]nite +[)u] as in [)u]p +[u:] as in r[u:]de +[u=] as in f[u=]ll +u as in urn + +In addition to these there are diphthongs, combinations of vowel sounds +pronounced as one syllable, such as + +_ou_ as in _out_ +_oi_ as in _oil_ + +There are also a number of digraphs or combinations of vowels or consonants +which have but one sound, such as + +_ai_ as in _rain_ +_eo_ as in _people_ +_ou_ as in _soup_ +_ou_ as in _soul_ +_ph_ as in _phalanx_ +_ch_ as in _chorus_ or _chair_ + +_C_ has two sounds, hard before _a_, _o_, and _u_, as in _cat_, _cot_, and +_cut_, and soft before _e_, _i_, and _y_, as in _cell_, _city_, and +_cycle_. + +_G_ has two sounds, hard before _a_, _o_, and _u_, as in _gate_, _gone_, +and _gun_, soft before _e_, _i_, and _y_, as in _gem_, _gin_, and _gyve_, +although it is sometimes hard before _i_ as in _girl_. + +_Ch_ is sometimes soft as in _chair_ and _arch_, and sometimes hard as in +_choir_. + +_Th_ has two sounds, soft, or surd, as in _thin_ and _death_, and hard, or +sonant, as in _then_ and _smooth_. + +_S_ has two sounds, soft, or surd, as in _soft_ and _this_, and hard, or +sonant, as in _has_ and _wise_. + +We have, therefore, twenty-six letters with which to express fifty or more +sounds, not counting the digraphs and diphthongs. + +Correct pronunciation depends upon three things, correct sounding of the +letters, correct division into syllables, and correct placing of the +accent. + +A syllable is the smallest separately articulated, or pronounced, element +in speech, or one of the parts into which speech is broken. It consists of +a vowel alone or accompanied by one or more consonants and separated by +them, or by a pause, from a preceding or following vowel. This division of +words into syllables is indicated in dictionaries by the use of the hyphen +thus: _sub-trac-tion_, _co-or-din-ate_. It will be observed that in the +first of these examples the vowels are all separated by consonants, while +in the second two of them are separated by a pause only. + +The English language has the further peculiarity of using _l_ and _n_ as +vowels in syllabication, as in _middle_ (_mid-dl_) and _reck-on_ +(_reck-n_). + +The division of words into syllables for pronunciation is generally, but +not always, the same as that which should be followed in case the word has +to be divided typographically. As these text-books are intended to help the +apprentice as a speaker and writer of English as well as a printer, it is +worth while to give some attention to syllabication for pronunciation +before proceeding to discuss typographical division.[The illustrations from +this point to the end of this section on page 16 are not typographic +divisions. They concern pronunciation only.] + +Two letters forming a diphthong or digraph are not to be separated. +_Coin-age_ (_oi_ diphthong) but _co-in-ci-dence_ (_oi_ not a diphthong). +_Excess_ (_ss_ digraph, pronounced practically like a single s) gives +_ex-cess-es_, _ex-cess-ive_, etc. Whether or not the letters thus occurring +together form a diphthong or digraph will depend on the derivation of the +word, thus in _cat-head_ (verb), a nautical term, _th_ is not a digraph but +in _ca-the-dral_ _th_ is a digraph, as is usually the case with these two +letters. You would not say _cat-hed-ral_. + +Two vowels, or a vowel and a diphthong, coming together but sounded +separately belong to separate syllables. + +_A-or-ta_, _co-op-er-ate_, but _coop-er-age_, _moi-e-ty_. + +Do not end a syllable with + + (_a_) _c_ or _g_ when soft, _en-ti-cing_, but _dic-tion_, _wa-ges_ + but _wag-on_. + + (_b_) _t_, _s_, _z_, _c_, _sc_, _g_, and _d_, when followed by _i_ + or _e_ giving the sound of _sh_; _ra-tion-al_, _o-cean_, _re-gion_, + _as-cen-sion_. + + (_c_) _d_, _s_, _t_, and _z_ when followed by _u_ giving the sound + of _ch_, _sh_, _zh_, or _j_, _cen-sure_, _sei-zure_, _na-ture_, + _ver-dure_. + +Do not begin a syllable with + + (_a_) _x_ with the sound of _ks_ or _gs_, _anx-ious_, _ex-act-ly_. + + (_b_) _r_ preceded by _a_ or _e_; _par-ent_, _av-er-age_, but by + exception, _pa-rent-al_. + + (_c_) Single _l_, _n_, or _v_, followed by _i_ with the sound of + _y_ consonant; _fol-io_ (_fol-yo_), _gen-ius_ (_gen-yus_), + _sav-ior_ (_sav-yor_). + +Prefixes and suffixes are generally separated, _yel-low-ish_, _eat-able_, +_pre-lude_. This last word is sometimes pronounced _prel-ude_ and this +pronunciation has some dictionary support, but it is objectionable. + +A consonant or digraph between two sounded vowels usually joins the +following vowel, _rea-son_, _no-ti-fy_, _mo-ther_. + +When two or three consonants capable of beginning a syllable come between +two sounded vowels they may all be joined to the following vowel. + + (_a_) When the preceding vowel is long and accented; _en-a-bling_, + _He-brew_, _i-dler_. + + (_b_) When the following vowel is an accented syllable; _o-blige_, + _re-dress_. + +When two or three consonants capable of beginning a syllable come between +two sounded vowels one may be joined to the preceding vowel. + + (_a_) When the vowel is short; _tab-let_, _res-cue_, _mus-ket_. + + (_b_) When the consonants are _st_, _str_, or _sp_, if either the + preceding or following vowel is accented; _mis-tress_, _aus-tere_, + _oys-ter_, _sus-pect_. + +When a consonant is doubled (not forming a digraph) the two are generally +separated; _beg-gar_, _bril-liant_, _cun-ning_. + +The old-fashioned method of oral spelling by syllables +_m-a-s-mas-t-e-r-ter-master_ will be found extremely useful in teaching +correct syllabication. It is recommended that constant use be made of it in +spelling drill. + + + + +ACCENT + + +When a word consists of two syllables one of them receives more stress of +voice than the other. This stress of voice is called accent. If the word +consists of three or more syllables there is usually another syllable +stressed in somewhat less degree. This is called a secondary accent. In +some cases there may even be a third accent if the word is very long; +_In'-come_, _val-e-tu'-di-na'-ri-an_. This fact arises from the tendency +natural to all human speech to take more or less musical forms. The +monotony of a series of stressed or of unstressed sounds would be +unbearable. The pronunciation of such a series would be a highly artificial +and very difficult performance. Correct pronunciation is very greatly +concerned with the proper placing of the accent. Indeed the meaning of a +familiar word may be quite obscured by a misplaced accent. For example, +_he-red'-it-ary_ is a very familiar word, but when pronounced +_he-red-it'-ary_, as it was habitually by a friend of the author, we have +to stop and think before catching the meaning. + +The placing of the accent in English is subject to two general rules. + + I The accent clings to the syllable which gives the meaning to the + word, or in technical terms, the root syllable, _re-call'_, + _in-stall'_, _in-stal-la'-tion_ (accent falling on the syllable + which defines the word as a noun), _in-her'-it_. + + II Where the root syllable is not known the accent falls on the + first syllable, with secondary accents following at intervals to + relieve the voice. + +This last tendency not infrequently supersedes the other, partly from the +natural habit of the language, and partly because the average man is not an +etymologist and knows very little about the derivation of the words he +uses. For example, in Shakespeare's time English people followed the first +rule and said _re-ven'-ue_, but now we say _rev'-e-nue_. + +These two rules will serve as a good general guide to accent. Attention +should be paid to the pronunciation of good speakers, and care taken to +follow it. In case of doubt the dictionary should be consulted and the +proper accent carefully fixed in the mind. + + + + +DIVISION OF WORDS + + +When the words do not fit the line what shall we do? The early printers +used only one kind of spaces. In setting a line of type they proceeded +until there was no room in the line for the next complete word of the copy. +Then they filled out the line with spaces and began the next word on the +next line. The length of the register being known in advance and nothing +but spaces being used in setting the line, the compositor was spared much +that makes composition at once a hard labor and a fine art. The result was +an irregular margin at the right such as we now see in typewritten letters. + +With improvements in types and typography the squaring out of the page soon +came into fashion. In many cases this can be done by the careful use of +spaces so as to bring a certain number of words squarely out to the end of +the line. There have been printers who have insisted that this should +always be done. Their efforts have not, however, been successful. They +result in a freakish looking page with white spots in the lines where +letters or words have been spaced out to fill the register. It would be +better, on the whole, to resort to the practice of the old masters and +leave the right-hand margin irregular. + +Ordinarily the difficulty has been met by dividing words and putting a part +of a word on one line and the rest of it on another, indicating the break +by a hyphen. The hyphen in such a case is always the closing character in +the first line. Clearly this division must be so made as to assist the +reader in his task. The primary purpose of all printing is to be read. +Anything that adds to the legibility of the printing improves it; anything +that detracts from its legibility harms it. How can we so divide words that +the legibility and intelligibility of the text will be maintained, the line +justified to register, and the beauty of the page enhanced? These +ends--legibility, intelligibility, and beauty--are the aims of all the +rules which have been devised for the division of words. These are the +things the reader will see and by them he will judge the results. He will +probably know nothing about the rules by which the compositor gains his +results. The compositor needs to know the rules, but to remember always +that they are only means by which to secure results. + +There have been several attempts to devise systems of division, but no one +of them is thoroughly consistent or universally adopted. + +One system requires the division of a word when the pronunciation will +permit on the vowel at the end of the syllable. It has the defect of making +no provision for syllables that end in consonants. Moreover, if rigorously +applied it would give us such divisions as _ca-pa-ci-ty_, _cata-stro-phe_, +_lexi-co-gra-pher_, _pre-fe-rence_, _pro-gno-sti-cate_, and _re-co-gnize_. + +Another system requires the division of consolidated words at the junction +of their elements, for example: + +_magn-animous_ +_cata-clysm_ +_found-ation_ +_oceano-graphy_ +_theo-logy_ +_know-ledge_ +_lexi-co-grapher_ +_in-fer-ence_ +_pre-judice_ +_pro-gnos-ticate_ +_pro-position_ +_typo-graphy_ + +In some cases this rule would lead to queer looking divisions. More serious +objections are that the system does not provide for words that are long +enough to be divided but are yet not consolidated words, and, most of all, +that the average compositor is not an accomplished etymologist and knows +very little about the derivation, make up, and compounding of the words he +has to set up. He may be familiar, for example with the word _rheostat_, +but it would puzzle him to tell from what language it is derived, while the +word _enclave_ would probably send him to the dictionary for meaning as +well as derivation, unless he happened to be used to one particular kind of +writing. + +Another system, and probably on the whole the best one, requires the +division of the word on the accented syllable. + +_theol-ogy_ +_catas-trophe_ +_geog-raphy_ +_lexi-cog-rapher_ +_pref-erence_ +_prog-nos-ticate_ + +It will be noted that some of these examples show division in more than one +place, that is on the syllables which bear either the primary or the +secondary accent. This rule does not provide for the cases when the +division must come on an unaccented syllable. The cases, however, when the +division cannot be made to come on either the syllable bearing the primary +accent or one bearing a secondary accent will be comparatively few. + + + + +RULES FOR DIVISION OF WORDS + + +I The general rule, then, is to divide according to pronunciation, not +according to etymology or any hard and fast rule. + + As far as possible, consistently with pronunciation and good + spacing, divide according to meaning and derivation, where known. + + _un-even_, not _une-ven_, _auto-mobile_, not _automo-bile_, + _en-abled_, not _ena-bled_. + +II Divide on a vowel wherever practicable. In case a vowel alone forms a +syllable in the middle of a word it should be run into the first line. + +_busi-ness_ +_sepa-rate_ +_criti-cism_ +_particu-lar_ +_colo-nies_ +_dou-ble_ +_pro-gress_ +_pro-duct_ +_noi-sy_ +_wo-man_ +_pa-tron_ +_me-moir_ + +III When two consonants meet between vowels, and the syllable ends on one +consonant, the division may properly be made between the consonants, the +pronunciation determining the place of division. + +_advan-tage_ +_plain-tiff_ +_Wil-liam_ +_exces-sive_ +_scur-rilous_ +_mas-ter_ +_gram-mar_ +_profes-sor_ +_moun-tain_ + +IV When three consonants come together between two vowels the first of +which is short, the division comes after the first consonant. + +_han-dle_ +_chil-dren_ +_frus-trate_ + +V A single consonant between two vowels should be joined to the first +vowel, if it is short; if the first vowel is long the consonant goes with +the second. + +_riv-er_ +_ri-val_ + +VI Diphthongs should not be divided. + +_peo-ple_ +_Cae-sar_ + +VII Words compounded with a prefix should preferably be divided on the +prefix. + +_dis-avow_ +_in-herit_ +_un-concern_ + +VIII The terminations _-able_, _-ible_, _-tion_, _-cial_, _-tive_, and +_-ive_ should go over to the next line. + +_read-able_ +_convert-ible_ +_inten-tion_ +_discuss-ion_ + + The termination _-sion_ ordinarily goes over as in + +_occa-sion_ +_apprehen-sion_ +_cis-sion_ +_declen-sion_ + + Occasionally, however, the strong emphasis needed for the _s_ will + call for a different arrangement, as in _divis-ion_. + +IX The terminations _-ing_, _-en_, _-ed_, _-er_, _-est_, and the plural +_-es_ go over to the next line except when the preceding consonant is +doubled, or when they follow _c_ or _g_ soft. + +_lead-ing_ +_beat-en_ +_larg-er_, but +_lat-ter_ +_for-cing_ +_ran-ging_ + +X Do not end a line with _j_ or with _c_ or _g_ soft. + +_pro-cess_ +_ne-cessary_ +_pre-judice_ +_prog-eny_ + +XI Adjectives in _ical_ divide on the _i_. + +_physi-cal_ +_inimi-cal_ + +XII In derivatives of words ending in _-t_, the division follows the +accent. + +_objec-tion_, not _object-ion_, _defec-tion_, not _defect-ion_, but +_respec-tively_, not _respect-ively_ and _distinc-tion_, not +_distinct-ion_. + +XIII Never separate _c_ and _g_ from the vowels _e_, _i_, and _y_ upon +which their soft sound depends. + +_re-li-gion_ +_ca-pa-ci-ty_ + +XIV Never separate _q_ from _u_, _qu_ is a single sound. + +XV Do not divide _nothing_. + +XVI Do not divide words of four letters. + +XVII Do not divide words of five or six letters if it can be avoided. Good +spacing, however, must be considered of first importance. + +XVIII In wide measures (20 ems or more) do not divide so as to end or begin +a line with a syllable of two letters. Here again, however, good spacing is +the first consideration. + +XIX Do not divide words of two syllables pronounced as one, including past +participles of short words. + +_heaven_ +_power_ +_prayer_ +_beamed_ +_often_ + +XX Avoid additional hyphens in hyphenated words if possible. + +_object-lesson_ +_fellow-being_ +_poverty-stricken_ + +XXI Do not separate a divisional mark (_a_), (_1_) from the matter to which +it pertains. + +XXII Do not divide an amount stated in figures. + +XXIII Do not divide proper names, especially those of persons, if it can be +avoided. + +XXIV Do not divide initials or such combinations as _a.m._, _B.C._ + +XXV Do not divide the last word on a page so as to carry a part of it to +the next page. + +XXVI Do not divide the last word of the last full line of a paragraph. + +XXVII More than two divisions in successive lines should be avoided. + +XXVIII Never divide at all if you can help it. + + + + +IMPORTANCE OF SPACING + + +It must always be remembered that good spacing is the first consideration. +Nothing is more offensive to the eye of a good judge of printing than bad +spacing. "Rivers" of white, dark spots, crowded black text, are very +serious blemishes to a page. An ordinary book page is a study in color, the +colors employed being black and white. Proper combination, balance, and +proportion are as important here as in places where a variety of colors is +employed. Many of the foregoing rules must be held subject to the +exigencies of proper spacing. A rigid adherence, for example, to the rule +that not more than two consecutive lines should end with divided words will +not justify a badly spaced, unsightly line. There are many things that look +worse than a hyphen at the end of the last full line in a paragraph. +Avoidance of dividing the last word on a page, however, would justify even +bad spacing, because of the gain to the reader. In the last resort, the +interests of the reader must always have first consideration. + +Division is greatly affected by the length of the measure. A long measure, +18 or 20 ems or more, gives greater opportunity for arranging the spacing, +but, on the other hand, makes division on short syllables conspicuous and +out of proportion. Very short register, as in two-column Bibles or in cases +where illustrations are inserted in the text, presents very great +difficulties and often calls for division which would not be allowable +elsewhere. Such cases often call for the exercise of the greatest care and +ingenuity. + +It often happens that the author can be of great assistance to the printer +in making a handsome page. A change of a phrase, or even of a word will +avoid a difficulty which cannot be avoided by a printer except at the cost +of bad division or bad spacing. If the author is a sensible person he will +gladly cooperate with the printer in giving his thoughts clothing +appropriate to their intrinsic beauty and value. After the printer has +exhausted his resources he should not hesitate to carry his troubles to the +author. + + + + +DIVISION IN LINES OF DISPLAY + + +As a rule division is never used in lines of display. In these cases the +display is the important thing. Every word long enough to be divided is +important enough to be displayed and emphasized. Divided words are weakened +words. Lines of irregular lengths are used of set purpose. + +In title pages words of bold display must never be divided. In minor lines +of display, such as subtitles and summaries, words are often divided. A +subheading of two lines should never be divided in the first line when it +is possible to turn the full word over on to the next line. The shortening +of the first line is never a blemish, but a too short second line following +a hyphened first line is always a fault. + +There is a school of ultra-artistic composition in book titles which +affects a solid squaring up and hesitates at no means to secure its +effects. It sets a definite measure and forces the lines into it, dividing +words arbitrarily and using no hyphen. This is a passing fancy and will +pass as eccentricities always pass. It should not be used unless the author +insists upon it. The man who pays the bills has a right to have his work +done as he pleases. The intelligent printer, however, will not allow the +peculiarities of the individual customer to affect his general practice. + + +_Note_ + +The pupil is referred to the appendix to DeVinne's "Correct Composition" +for rules for the division of French, German, and Spanish words. The same +appendix contains also a very excellent list of words which are spelled +differently by different authorities, together with divisions for them. + + + + +SUPPLEMENTARY READING + + +Correct Composition. By Theodore L. DeVinne. Oswald Publishing Co., New +York. + +The Writer's Desk Book. By William Dana Orcutt. Frederick A. Stokes Co., +New York. + +A Manual for Writers. By John Matthews Manly and John Arthur Powell. The +University of Chicago Press, Chicago. + +Worcester's New Pronouncing Spelling Book. The American Book Company, New +York. + +The Art of Writing and Speaking the English Language: Dictionary of Errors. +By Sherwin Cody. The Old Greek Press, Chicago. + + (This is one of a series of six very excellent but inexpensive + little books bearing the same general title and by the same author. + They will be found very useful in connection with Part VI of the + Typographic Technical Series generally.) + + + + +QUESTIONS + + +1. Is the spelling of English standardized? + +2. How long have we considered correct spelling important? + +3. What two causes exist for difficulties in spelling? + +4. What are the principal English authorities? + +5. What are the principal American authorities? + +6. How are these authorities used in printing offices? + +7. What are the rights and duties of the author in the matter of spelling? + +8. What may be done in matter of "reformed" spelling? + +9. What is a safe attitude for the commercial printer toward "reformed" +spelling, and why? + +10. On what does correct spelling mainly depend? + +11. What is the best way to become a good speller? + +12. Why is English difficult to pronounce? + +13. What is a diphthong? + +14. What is a digraph? + +15. What are the two sounds each of _c_, _g_, _de_, _th_, and _s_? Give +examples of each. + +16. How many letters are there in the English alphabet and how many sounds +do they express? + +17. Upon what does correct pronunciation depend? + +18. What is a syllable, and of what does it consist? + +19. What peculiar use is made of _l_ and _n_ in English? + +20. How do we treat the parts of a diphthong or digraph? + +21. How do we know whether or not these compounds are diphthongs or +digraphs? + +22. What about vowel combinations? + +23. With what should a syllable not end? + +24. With what should a syllable not begin? + +25. What is the rule regarding prefixes and suffixes? + +26. How do we treat two or three consonants capable of beginning a +syllable? + +27. How do we treat two or three consonants capable of ending a syllable? + +28. How do we treat doubled consonants? + +29. What is accent? + +30. Do words ever have more than one accent, and why? + +31. What are the two general rules for the placing of accent? + +32. What did the early printers do when the words did not fit the line, and +why? + +33. What practice came into use later? + +34. What methods of doing this have been devised? + +35. What considerations govern practice in this regard? + +36. Give two systems of division which have been proposed. + +37. What is the general rule for division? + +38. What is the rule about vowels? + +39. What is the rule about two consonants? + +40. What is the rule about three consonants? + +41. What should you do with a single consonant between two vowels? + +42. How should you treat diphthongs? + +43. What is the rule for words compounded with a prefix? + +44. What should be done with the terminations _-able_, _-ible_, _-tion_, +_-cial_, _-tive_, _-ive_, and _-sion_? + +45. What should be done with the terminations _-ing_, _-en_, _-ed_, _-er_, +and _-est_, and the plural _-es_? + +46. What letters should not end a line? + +47. How are adjectives in _ical_ treated? + +48. How are derivatives of words ending in _-t_ treated? + +49. What is the special rule about _c_ and _g_? + +50. What is the rule about _qu_, and why? + +51. What is the rule about _nothing_? + +52. What is the rule about words of four letters? + +53. How should you treat words of five or six letters? + +54. What should be avoided in wide measures? + +55. How should you treat words of two syllables pronounced as one? + +56. How should hyphenated compounds be treated? + +57. What should you do with divisional marks? + +58. How should you treat amounts stated in figures? + +59. How should you treat proper names? + +60. How are initials and similar combinations treated? + +61. What is the rule about the last word on a page? + +62. What is the rule about the last word of the last full line of a +paragraph? + +63. What is the rule about divisions in successive lines? + +64. What is the rule about division generally? + +65. What effect has spacing on deciding about division? + +66. What effect has length of measure on division? + +67. What can you do when the text presents unusual difficulty as to spacing +and division? + +68. What is the rule about division in lines of display, and what is the +reason for it? + +69. What is the usage with regard to division on title pages? + +70. What can you say about eccentricities in the author's or customer's +ideas about division and lay-out? + + * * * * * + +As in the other volumes of this Part, the instructor should not content +himself with having the student learn the rules. He should give drills in +spelling and pronunciation and should give problems in composition +involving the application of rules. Constant and prolonged practice is +indispensable to proficiency in all these matters. + + + + +TYPOGRAPHIC TECHNICAL SERIES FOR APPRENTICES + + +The following list of publications, comprising the TYPOGRAPHIC TECHNICAL +SERIES FOR APPRENTICES, has been prepared under the supervision of the +Committee on Education of the United Typothetae of America for use in trade +classes, in course of printing instruction, and by individuals. + +Each publication has been compiled by a competent author or group of +authors, and carefully edited, the purpose being to provide the printers of +the United States--employers, journeymen, and apprentices--with a +comprehensive series of handy and inexpensive compendiums of reliable, +up-to-date information upon the various branches and specialties of the +printing craft, all arranged in orderly fashion for progressive study. + +The publications of the series are of uniform size, 5x8 inches. Their +general make-up, in typography, illustrations, etc., has been, as far as +practicable, kept in harmony throughout. A brief synopsis of the particular +contents and other chief features of each volume will be found under each +title in the following list. + +Each topic is treated in a concise manner, the aim being to embody in each +publication as completely as possible all the rudimentary information and +essential facts necessary to an understanding of the subject. Care has been +taken to make all statements accurate and clear, with the purpose of +bringing essential information within the understanding of beginners in the +different fields of study. Wherever practicable, simple and well-defined +drawings and illustrations have been used to assist in giving additional +clearness to the text. + +In order that the pamphlets may be of the greatest possible help for use in +trade-school classes and for self-instruction, each title is accompanied by +a list of Review Questions covering essential items of the subject matter. +A short Glossary of technical terms belonging to the subject or department +treated is also added to many of the books. + +These are the Official Text-books of the United Typothetae of America. + +Address all orders and inquiries to COMMITTEE ON EDUCATION, UNITED +TYPOTHETAE OF AMERICA, CHICAGO, ILLINOIS, U.S.A. + + +PART I--_Types, Tools, Machines, and Materials_ + +=1.= =Type: a Primer of Information= By A.A. Stewart + + Relating to the mechanical features of printing types; their sizes, + font schemes, etc., with a brief description of their manufacture. + 44 pp.; illustrated; 74 review questions; glossary. + +=2.= =Compositors' Tools and Materials= By A.A. Stewart + + A primer of information about composing sticks, galleys, leads, + brass rules, cutting and mitering machines, etc. 47 pp.; + illustrated; 50 review questions; glossary. + +=3.= =Type Cases, Composing Room Furniture= By A.A. Stewart + + A primer of information about type cases, work stands, cabinets, + case racks, galley racks, standing galleys, etc. 43 pp.; + illustrated; 33 review questions; glossary. + +=4.= =Imposing Tables and Lock-up Appliances= By A.A. Stewart + + Describing the tools and materials used in locking up forms for the + press, including some modern utilities for special purposes. 59 + pp.; illustrated; 70 review questions; glossary. + +=5.= =Proof Presses= By A.A. Stewart + + A primer of information about the customary methods and machines + for taking printers' proofs. 40 pp.; illustrated; 41 review + questions; glossary. + +=6.= =Platen Printing Presses= By Daniel Baker + + A primer of information regarding the history and mechanical + construction of platen printing presses, from the original hand + press to the modern job press, to which is added a chapter on + automatic presses of small size. 51 pp.; illustrated; 49 review + questions; glossary. + +=7.= =Cylinder Printing Presses= By Herbert L. Baker + + Being a study of the mechanism and operation of the principal types + of cylinder printing machines. 64 pp.; illustrated; 47 review + questions; glossary. + +=8.= =Mechanical Feeders and Folders= By William E. Spurrier + + The history and operation of modern feeding and folding machines; + with hints on their care and adjustments. Illustrated; review + questions; glossary. + +=9.= =Power for Machinery in Printing Houses= By Carl F. Scott + + A treatise on the methods of applying power to printing presses and + allied machinery with particular reference to electric drive. 53 + pp.; illustrated; 69 review questions; glossary. + +=10.= =Paper Cutting Machines= By Niel Gray, Jr. + + A primer of information about paper and card trimmers, hand-lever + cutters, power cutters, and other automatic machines for cutting + paper, 70 pp.; illustrated; 115 review questions; glossary. + +=11.= =Printers' Rollers= By A.A. Stewart + + A primer of information about the composition, manufacture, and + care of inking rollers. 46 pp.; illustrated; 61 review questions; + glossary. + +=12.= =Printing Inks= By Philip Ruxton + + Their composition, properties and manufacture (reprinted by + permission from Circular No. 53, United States Bureau of + Standards); together with some helpful suggestions about the + everyday use of printing inks by Philip Ruxton. 80 pp.; 100 review + questions; glossary. + +=13.= =How Paper is Made= By William Bond Wheelwright + + A primer of information about the materials and processes of + manufacturing paper for printing and writing. 68 pp.; illustrated; + 62 review questions; glossary. + +=14.= =Relief Engravings= By Joseph P. Donovan + + Brief history and non-technical description of modern methods of + engraving; woodcut, zinc plate, halftone; kind of copy for + reproduction; things to remember when ordering engravings. + Illustrated; review questions; glossary. + +=15.= =Electrotyping and Stereotyping= + By Harris B. Hatch and A.A. Stewart + + A primer of information about the processes of electrotyping and + stereotyping. 94 pp.; illustrated; 129 review questions; + glossaries. + + +PART II--_Hand and Machine Composition_ + +=16.= =Typesetting= By A.A. Stewart + + A handbook for beginners, giving information about justifying, + spacing, correcting, and other matters relating to typesetting. + Illustrated; review questions; glossary. + +=17.= =Printers' Proofs= By A.A. Stewart + + The methods by which they are made, marked, and corrected, with + observations on proofreading. Illustrated; review questions; + glossary. + +=18.= =First Steps in Job Composition= By Camille DeVeze + + Suggestions for the apprentice compositor in getting his first + jobs, especially about the important little things which go to make + good display in typography. 63 pp.; examples; 55 review questions; + glossary. + +=19.= =General Job Composition= + + How the job compositor handles business stationery, programs and + miscellaneous work. Illustrated; review questions; glossary. + +=20.= =Book Composition= By J.W. Bothwell + + Chapters from DeVinne's "Modern Methods of Book Composition," + revised and arranged for this series of text-books by J.W. Bothwell + of The DeVinne Press, New York. Part I: Composition of pages. Part + II: Imposition of pages. 229 pp.; illustrated; 525 review + questions; glossary. + +=21.= =Tabular Composition= By Robert Seaver + + A study of the elementary forms of table composition, with examples + of more difficult composition. 36 pp.; examples; 45 review + questions. + +=22.= =Applied Arithmetic= By E.E. Sheldon + + Elementary arithmetic applied to problems of the printing trade, + calculation of materials, paper weights and sizes, with standard + tables and rules for computation, each subject amplified with + examples and exercises. 159 pp. + +=23.= =Typecasting and Composing Machines= A.W. Finlay, Editor + + Section I--The Linotype By L.A. Hornstein + Section II--The Monotype By Joseph Hays + Section III--The Intertype By Henry W. Cozzens + Section IV--Other Typecasting and Typesetting Machines + By Frank H. Smith + + A brief history of typesetting machines, with descriptions of their + mechanical principles and operations. Illustrated; review + questions; glossary. + + +PART III--_Imposition and Stonework_ + +=24.= =Locking Forms for the Job Press= By Frank S. Henry + + Things the apprentice should know about locking up small forms, and + about general work on the stone. Illustrated; review questions; + glossary. + +=25.= =Preparing Forms for the Cylinder Press= By Frank S. Henry + + Pamphlet and catalog imposition; margins; fold marks, etc. Methods + of handling type forms and electrotype forms. Illustrated; review + questions; glossary. + + +PART IV--_Presswork_ + +=26.= =Making Ready on Platen Presses= By T.G. McGrew + + The essential parts of a press and their functions; distinctive + features of commonly used machines. Preparing the tympan, + regulating the impression, underlaying and overlaying, setting + gauges, and other details explained. Illustrated; review questions; + glossary. + +=27.= =Cylinder Presswork= By T.G. McGrew + + Preparing the press; adjustment of bed and cylinder, form rollers, + ink fountain, grippers and delivery systems. Underlaying and + overlaying; modern overlay methods. Illustrated; review questions; + glossary. + +=28.= =Pressroom Hints and Helps= By Charles L. Dunton + + Describing some practical methods of pressroom work, with + directions and useful information relating to a variety of + printing-press problems. 87 pp.; 176 review questions. + +=29.= =Reproductive Processes of the Graphic Arts= By A.W. Elson + + A primer of information about the distinctive features of the + relief, the intaglio, and the planographic processes of printing. + 84 pp.; illustrated; 100 review questions; glossary. + + +PART V--_Pamphlet and Book Binding_ + +=30.= =Pamphlet Binding= By Bancroft L. Goodwin + + A primer of information about the various operations employed in + binding pamphlets and other work in the bindery. Illustrated; + review questions; glossary. + +=31.= =Book Binding= By John J. Pleger + + Practical information about the usual operations in binding books; + folding; gathering, collating, sewing, forwarding, finishing. Case + making and cased-in books. Hand work and machine work. Job and + blank-book binding. Illustrated; review questions; glossary. + + +PART VI--_Correct Literary Composition_ + +=32.= =Word Study and English Grammar= By F.W. Hamilton + + A primer of information about words, their relations, and their + uses. 68 pp.; 84 review questions; glossary. + +=33.= =Punctuation= By F.W. Hamilton + + A primer of information about the marks of punctuation and their + use, both grammatically and typographically. 56 pp.; 59 review + questions; glossary. + +=34.= =Capitals= By F.W. Hamilton + + A primer of information about capitalization, with some practical + typographic hints as to the use of capitals. 48 pp.; 92 review + questions; glossary. + +=35.= =Division of Words= By F.W. Hamilton + + Rules for the division of words at the ends of lines, with remarks + on spelling, syllabication and pronunciation. 42 pp.; 70 review + questions. + +=36.= =Compound Words= By F.W. Hamilton + + A study of the principles of compounding, the components of + compounds, and the use of the hyphen. 34 pp.; 62 review questions. + +=37.= =Abbreviations and Signs= By F.W. Hamilton + + A primer of information about abbreviations and signs, with + classified lists of those in most common use. 58 pp.; 32 review + questions. + +=38.= =The Uses of Italic= By F.W. Hamilton + + A primer of information about the history and uses of italic + letters. 31 pp.; 37 review questions. + +=39.= =Proofreading= By Arnold Levitas + + The technical phases of the proofreader's work; reading, marking, + revising, etc.; methods of handling proofs and copy. Illustrated by + examples. 59 pp.; 69 review questions; glossary. + +=40.= =Preparation of Printers' Copy= By F.W. Hamilton + + Suggestions for authors, editors, and all who are engaged in + preparing copy for the composing room. 36 pp.; 67 review questions. + +=41.= =Printers' Manual of Style= + + A reference compilation of approved rules, usages, and suggestions + relating to uniformity in punctuation, capitalization, + abbreviations, numerals, and kindred features of composition. + +=42.= =The Printer's Dictionary= By A.A. Stewart + + A handbook of definitions and miscellaneous information about + various processes of printing, alphabetically arranged. Technical + terms explained. Illustrated. + + +PART VII--_Design, Color, and Lettering_ + +=43.= =Applied Design for Printers= By Harry L. Gage + + A handbook of the principles of arrangement, with brief comment on + the periods of design which have most influenced printing. Treats + of harmony, balance, proportion, and rhythm; motion; symmetry and + variety; ornament, esthetic and symbolic. 37 illustrations; 46 + review questions; glossary; bibliography. + +=44.= =Elements of Typographic Design= By Harry L. Gage + + Applications of the principles of decorative design. Building + material of typography paper, types, ink, decorations and + illustrations. Handling of shapes. Design of complete book, + treating each part. Design of commercial forms and single units. + Illustrations; review questions, glossary; bibliography. + +=45.= =Rudiments of Color in Printing= By Harry L. Gage + + Use of color: for decoration of black and white, for broad poster + effect, in combinations of two, three, or more printings with + process engravings. Scientific nature of color, physical and + chemical. Terms in which color may be discussed: hue, value, + intensity. Diagrams in color, scales and combinations. Color theory + of process engraving. Experiments with color. Illustrations in full + color, and on various papers. Review questions; glossary; + bibliography. + +=46.= =Lettering in Typography= By Harry L. Gage + + Printer's use of lettering: adaptability and decorative effect. + Development of historic writing and lettering and its influence on + type design. Classification of general forms in lettering. + Application of design to lettering. Drawing for reproduction. Fully + illustrated; review questions; glossary; bibliography. + +=47.= =Typographic Design in Advertising= By Harry L. Gage + + The printer's function in advertising. Precepts upon which + advertising is based. Printer's analysis of his copy. Emphasis, + legibility, attention, color. Method of studying advertising + typography. Illustrations; review questions; glossary; + bibliography. + +=48.= =Making Dummies and Layouts= By Harry L. Gage + + A layout: the architectural plan. A dummy: the imitation of a + proposed final effect. Use of dummy in sales work. Use of layout. + Function of layout man. Binding schemes for dummies. Dummy + envelopes. Illustrations; review questions; glossary; bibliography. + + +PART VIII--_History of Printing_ + +=49.= =Books Before Typography= By F.W. Hamilton + + A primer of information about the invention of the alphabet and the + history of bookmaking up to the invention of movable types. 62 pp.; + illustrated; 64 review questions. + +=50.= =The Invention of Typography= By F.W. Hamilton + + A brief sketch of the invention of printing and how it came about. + 64 pp.; 62 review questions. + +=51.= =History of Printing--Part I= By F.W. Hamilton + + A primer of information about the beginnings of printing, the + development of the book, the development of printers' materials, + and the work of the great pioneers. 63 pp.; 55 review questions. + +=52.= =History of Printing--Part II= By F.W. Hamilton + + A brief sketch of the economic conditions of the printing industry + from 1450 to 1789, including government regulations, censorship, + internal conditions and industrial relations. 94 pp.; 128 review + questions. + +=53.= =Printing in England= By F.W. Hamilton + + A short history of printing in England from Caxton to the present + time. 89 pp.; 65 review questions. + +=54.= =Printing in America= By F.W. Hamilton + + A brief sketch of the development of the newspaper, and some notes + on publishers who have especially contributed to printing. 98 pp.; + 84 review questions. + +=55.= =Type and Presses in America= By F.W. Hamilton + + A brief historical sketch of the development of type casting and + press building in the United States. 52 pp.; 61 review questions. + + +PART IX--_Cost Finding and Accounting_ + +=56.= =Elements of Cost in Printing= By Henry P. Porter + + The Standard Cost-Finding Forms and their uses. What they should + show. How to utilize the information they give. Review questions. + Glossary. + +=57.= =Use of a Cost System= By Henry P. Porter + + The Standard Cost-Finding Forms and their uses. What they should + show. How to utilize the information they give. Review questions. + Glossary. + +=58.= =The Printer as a Merchant= By Henry P. Porter + + The selection and purchase of materials and supplies for printing. + The relation of the cost of raw material and the selling price of + the finished product. Review questions. Glossary. + +=59.= =Fundamental Principles of Estimating= By Henry P. Porter + + The estimator and his work; forms to use; general rules for + estimating. Review questions. Glossary. + +=60.= =Estimating and Selling= By Henry P. Porter + + An insight into the methods used in making estimates, and their + relation to selling. Review questions. Glossary. + +=61.= =Accounting for Printers= By Henry P. Porter + + A brief outline of an accounting system for printers; necessary + books and accessory records. Review questions. Glossary. + + +PART X--_Miscellaneous_ + +=62.= =Health, Sanitation, and Safety= By Henry P. Porter + + Hygiene in the printing trade; a study of conditions old and new; + practical suggestions for improvement; protective appliances and + rules for safety. + +=63.= =Topical Index= By F.W. Hamilton + + A book of reference covering the topics treated in the Typographic + Technical Series, alphabetically arranged. + +=64.= =Courses of Study= By F.W. Hamilton + + A guidebook for teachers, with outlines and suggestions for + classroom and shop work. + + + + +ACKNOWLEDGMENT + + +This series of Typographic Text-books is the result of the splendid +co-operation of a large number of firms and individuals engaged in the +printing business and its allied industries in the United States of +America. + +The Committee on Education of the United Typothetae of America, under whose +auspices the books have been prepared and published, acknowledges its +indebtedness for the generous assistance rendered by the many authors, +printers, and others identified with this work. + +While due acknowledgment is made on the title and copyright pages of those +contributing to each book, the Committee nevertheless felt that a group +list of co-operating firms would be of interest. + +The following list is not complete, as it includes only those who have +co-operated in the production of a portion of the volumes, constituting the +first printing. As soon as the entire list of books comprising the +Typographic Technical Series has been completed (which the Committee hopes +will be at an early date), the full list will be printed in each volume. + +The Committee also desires to acknowledge its indebtedness to the many +subscribers to this Series who have patiently awaited its publication. + +COMMITTEE ON EDUCATION, +UNITED TYPOTHETAE OF AMERICA. + + HENRY P. PORTER, _Chairman_, + E. LAWRENCE FELL, + A.M. GLOSSBRENNER, + J. CLYDE OSWALD, + TOBY RUBOVITS. + +FREDERICK W. HAMILTON, _Education Director_. + + + + +CONTRIBUTORS + + +=For Composition and Electrotypes= + +ISAAC H. BLANCHARD COMPANY, New York, N.Y. +S.H. BURBANK & CO., Philadelphia, Pa. +J.S. CUSHING & CO., Norwood, Mass. +THE DEVINNE PRESS, New York, N.Y. +R.R. DONNELLEY & SONS CO., Chicago, Ill. +GEO. H. ELLIS CO., Boston, Mass. +EVANS-WINTER-HEBB, Detroit, Mich. +FRANKLIN PRINTING COMPANY, Philadelphia, Pa. +F.H. GILSON COMPANY, Boston, Mass. +STEPHEN GREENE & CO., Philadelphia, Pa. +W.F. HALL PRINTING CO., Chicago, Ill. +J.B. LIPPINCOTT CO., Philadelphia, Pa. +MCCALLA & CO. INC., Philadelphia, Pa. +THE PATTESON PRESS, New York, New York +THE PLIMPTON PRESS, Norwood, Mass. +POOLE BROS., Chicago, Ill. +EDWARD STERN & CO., Philadelphia, Pa. +THE STONE PRINTING & MFG. CO., Roanoke, Va. +C.D. TRAPHAGEN, Lincoln, Neb. +THE UNIVERSITY PRESS, Cambridge, Mass. + +=For Composition= + +BOSTON TYPOTHETAE SCHOOL OF PRINTING, Boston, Mass. +WILLIAM F. FELL CO., Philadelphia, Pa. +THE KALKHOFF COMPANY, New York, N.Y. +OXFORD-PRINT, Boston, Mass. +TOBY RUBOVITS, Chicago, Ill. + +=For Electrotypes= + +BLOMGREN BROTHERS CO., Chicago, Ill. +FLOWER STEEL ELECTROTYPING CO., New York, N.Y. +C.J. PETERS & SON CO., Boston, Mass. +ROYAL ELECTROTYPE CO., Philadelphia, Pa. +H.C. WHITCOMB & CO., Boston, Mass. + +=For Engravings= + +AMERICAN TYPE FOUNDERS CO., Boston, Mass. +C.B. COTTRELL & SONS CO., Westerly, R.I. +GOLDING MANUFACTURING CO., Franklin, Mass. +HARVARD UNIVERSITY, Cambridge, Mass. +INLAND PRINTER CO., Chicago, Ill. +LANSTON MONOTYPE MACHINE COMPANY, Philadelphia, Pa. +MERGENTHALER LINOTYPE COMPANY, New York, N.Y. +GEO. H. MORRILL CO., Norwood, Mass. +OSWALD PUBLISHING CO., New York, N.Y. +THE PRINTING ART, Cambridge, Mass. +B.D. RISING PAPER COMPANY, Housatonic, Mass. +THE VANDERCOOK PRESS, Chicago, Ill. + +=For Book Paper= + +AMERICAN WRITING PAPER CO., Holyoke, Mass. +WEST VIRGINIA PULP & PAPER CO., Mechanicville, N.Y. + + + + + + +End of Project Gutenberg's Division of Words, by Frederick W. 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