Spanish.—Divide se-ñora (ñ = ni in ‘mania’), maravi-lloso (ll = lli in ‘William’), i.e. take over ñ, ll.
III.
For the division of French words, see [p. 81]; German, [p. 90]; Latin, [p. 95]; and Greek, [p. 97].
FOOTNOTES:
[46] I was once asked how I would carry out the rule that part of the word left in one line should suggest what followed in the next, in such a case as ‘disproportionableness’, which, according to Sir James Murray, is one of the longest words in the English language; or ‘incircumscriptibleness’, used by one Byfield, a divine, in 1615, who wrote, ‘The immensity of Christ’s divine nature hath ... incircumscriptibleness in respect of place’; or again, ‘antidisestablishmentarians’, quoted in the biography of Archbishop Benson, where he says that ‘the Free Kirk of the North of Scotland are strong antidisestablishmentarians’.—H. H.
[47] ‘Even the divisions noted as preferable are not free from objection, and should be avoided when it is at all easy to do so.’—H. B.
[48] Italians follow this rule, but it is better avoided in printing Italian passages in English books.—H. H.
PUNCTUATION
The compositor is recommended to study attentively a good treatise[49] on the whole subject. He will find some knowledge of it to be indispensable if his work is to be done properly; for most writers send in copy quite unprepared as regards punctuation, and leave the compositor to put in the proper marks. ‘Punctuation is an art nearly always left to the compositor, authors being almost without exception either too busy or too careless to regard it.’[50] Some authors rightly claim to have carefully prepared copy followed absolutely; but such cases are rare, and the compositor can as a rule only follow his copy exactly when setting up standard reprints. ‘The first business of the compositor’ says Mr. De Vinne, ‘is to copy and not to write. He is enjoined strictly to follow the copy and never to change the punctuation of any author who is precise and systematic; but he is also required to punctuate the writings of all authors who are not careful, and to make written expression intelligible in the proof.... It follows that compositors are inclined to neglect the study of rules that cannot be generally applied.’[51]