Good English in good form

3

GOOD ENGLISH IN GOOD FORM

C1LIF. LURABT, EOS HTCELES

GOOD ENGLISH IN
GOOD FORM

BY

DORA KNOWLTON RANOUS

Editor and Translator of "The Literature of Italy;" of Complete

Editions of Guy de Maupassant and Gustave Flaubert;

Author of "The Diary of a Daly Debutante."

WITH AN INTRODUCTION BY

ROSSITER JOHNSON, PH.D., LL.D.

Author of "The Alphabet of Rhetoric;" Editor of Appleton's Annual
Cyclopaedia, etc.

fork

STURGIS & WALTON

COMPANY

1916

COPYRIGHT, 1916
BY STURGIS & WALTON COMPANY

Set up and electrotjrped. Published March, 1916

INTRODUCTION

When the newspapers so frequently amuse their read-
ers by exposing the ridiculous compositions of our high-
school pupils, and when there is abundant evidence that
many professors of English in our colleges can not do
much better for their students, one is reminded of the
homely adage, "If you would have anything done right,
do it yourself." The student who has listened to learned
lectures on the age and influence of Chaucer, or has
been required to produce a thesis on the Lake poets, with-
out being taught the fundamental principles in the use of
his native tongue, may well say, " Give me the means of
teaching myself."

I know of no volume that will answer his requirement
so completely and satisfactorily as this. Here he is so
far instructed in the proper use of words and phrases,
with caution as to those that should be avoided, that
after closing the book he will delightedly continue the
study in his leisure moments. Here, also, he is taught
how to use books of reference. Comparatively few read-
ers have the knack of readily uncovering the riches of
information that are embodied in such books.

In the Second Part there are welcome helps toward
correct spelling, through etymology and a little knowl-
edge of Greek and Latin.

In the Third Part, there are clear instructions, simpli-
fipd as much as possible, in the art of punctuation. And
this is one of the most important branches of the general
subject. A misspelled word seldom does any real harm,
because the meaning of the writer is evident enough ; but
in many cases a mark of punctuation, erroneously placed

21 32536

vi INTRODUCTION

or lacking altogether, may make the meaning doubtful
or actually reverse it.

The remaining parts give plain instructions in proof-
reading and preparing manuscript for the printer. Slip-
shod work in this line is often excused with the trite re-
mark, " Oh, the printer can read anything." Perhaps he
can ; but when the careless or ignorant writer compels
the compositor to spend time in deciphering manuscript
that should be readable at a glance, he takes so much
bread out of the mouths of the printer's children. And
when his bad punctuation and paragraphing require extra
work on the part of the proofreader, he has taken bread
out of the mouths of his own children, though he may
not know it when he looks over the bewildering bill for
" Author's Corrections."

Whether one strives for correctness and elegance in
writing letters, or advertisements, or lectures, or poems,
or books, he will find a timely friend at his elbow if this
book is on his desk.

ROSSITER JOHNSON.

The author of this book died on January 19, 1916, a
few weeks previous to its publication. She was singularly
attractive in disposition, of brilliant intellect, and had
great literary ability, especially as an editor. She was
justly admired by her co-workers, and was beloved by her
friends.

THE PUBLISHERS.

CONTENTS

PART I

CHAPTER PAGE

I SPEAKING AND WRITING 3

II TOPICS FOR PRACTICE: TITLES 8

III VARIOUS TYPES OF COMPOSITION 16

IV A FEW WORDS ON PARAGRAPHS 21

V WORDS AND SENTENCES: GOOD FORM AND BAD ... 24

VI CONVENTIONAL FORMS: LETTER- WRITING 48

VII NICETIES OF CORRESPONDENCE 62

PART II

I DERIVATION AND COMPOSITION OF ENGLISH WORDS . . 66

II PREFIXES AND SUFFIXES 70

III WORDS DERIVED FROM THE LATIN AND THE GREEK . . 78

IV WORDS DERIVED FROM THE LATIN AND THE GREEK (Con-

cluded) 145

PART III

I THE ART OF PUNCTUATION 191

II PREPARING A MANUSCRIPT FOR THE PRINTER .... 225

III PRESS COMPOSITION AND PROOFS 230

IV THE ART OF PROOF-READING 233

V PREPARATION OF ILLUSTRATIONS 246

GOOD ENGLISH IN GOOD FORM

GOOD ENGLISH IN
GOOD FORM

FIRST PART

CHAPTER I
SPEAKING AND WRITING

We should have a clear idea of the difference between
these terms in order to understand the art that forms the
subject of this book — the art of writing the English
language with correctness and elegance, otherwise, " good
form."

Every person that is not dumb necessarily learns to
speak as he learns to breathe, and nearly every person
talks whether he has good reason to do so or not ; but few
of us write unless we find it necessary. To become a
perfect speaker is a difficult art, which not many of us
master; and writing, with an untrained person, is very
real and usually irksome labour. As a process of nature,
speaking is an informal exercise of the vocal organs, but
writing is an act following deliberate resolution. In
speaking we may find aid in movement and facial ex-
pression to make up for possible lack of readiness and
ease of language ; but what we write has to stand for it-
self unaided, a revelation of our real selves. While
spoken words may have been thought out carefully be-
forehand, once they are uttered they cannot be changed
except by more words, used in correction or modification ;

3

4 GOOD ENGLISH IN GOOD FORM

but writing may be revised over and over again before
anyone except the author sees the expressed thought.
This possibility that the revision may result in perfect
form and expression constitutes the important differ-
ence between speaking and writing: the former, though
a medium of great power, is only temporary, while the
latter is the means whereby we record ideas that may be
carried to the furthermost parts of the world and per-
haps last for centuries. Hence writing is absolutely nec-
essary to set forth thoughts that we desire to be per-
manent and far-reaching.

What Writing Is. — Writing is a process of putting
thoughts on paper by means of words and sentences, and
it consists of whatever material is in manuscript or in
print, comprising letters, sermons, public speeches, school
compositions, newspapers, magazines, poems, novels, ad-
vertisements, and the innumerable forms that call for
type and printers' ink to set them before the public.

Why Do We Write? — Although writing is defined
as merely the art of expressing thought in written words,
it may be looked upon broadly as a matter of occasion,
either formal or informal. Formal writing is likely to
have in view a certain class of readers or hearers, and in
this category belong editorial articles in newspapers or
magazines, sermons, essays, and all the productions of
stated periods. Informal occasions of all kinds allow a
much freer style of expression, and usually the written
word conies in answer to an immediate need. In pre-
paring a sermon, or an essay for a school or college com-
position, for instance, the writer is likely to take pains to
express himself in the best manner he knows; but on
less formal occasions he writes what he thinks in free
and natural style. So the student of composition learns
at the outset that different styles exist, and that he must
use his judgment as to the appropriate one he should
choose for different occasions.

Subjects for Writing. — Let us suppose that a young

SPEAKING AND WRITING 5

college girl has to write to her parents ; that a clergyman
is expected to prepare a sermon that will interest and up-
lift his congregation; that a newspaper or magazine edi-
tor must write with force and authority on passing1 events
of importance, or that a novelist has to produce tales that
will amuse or mystify his public to a degree of interest
that will result in pecuniary profit. These have topics
of immediate importance, so that the subject is easy to
decide on. But when no such obvious reason for writ-
ing is at hand, yet the desire or necessity of writing ex-
ists, one finds himself sometimes obliged to ask the fun-
damental and important question — Of what shall I
write ?

Suitable Material. — Suppose a subject chosen, the
next question to come up is, how to obtain the necessary
material to help in writing about it. This may be drawn
from a great many sources. In hasty or informal writ-
ing, a person calls on his acquired knowledge, his expe-
rience, observation, opinions, or imagination — all the
subjects, in short, that he would use in conversation.
These same aids to thought are employed on more formal
subjects also ; but special reading and research, and care-
ful attention to accuracy in setting forth facts and de-
tail, also supply material. Available material must be
suited, in style and arrangement, to the readers or the au-
dience to whom it is designed to appeal. The question
" For whom shall I write? " is as important as " Of what
shall I write ? " and naturally it influences the style of the
writer.

Written Arrangement of Ideas. — As the question of
choosing a subject to write about implies some sort of
knowledge on the part of the writer, who is to answer it
himself, so the business of actual composition should
comprehend three plans of production.

It is a good plan to lay out one's thoughts on a chosen
subject in some sort of progressive scheme. Having de-
cided on a subject, it is well for the writer to make a sort

6 GOOD ENGLISH IN GOOD FORM

of card-index of its principal heads, and, after arrang-
ing them in what appears to be the proper sequence, to
fill the spaces with the development of each head until
he has said his say on that part of his subject, when he
may go on to the next head. Other writers prefer to be-
gin directly with the main topic, and let the subject
branch out as it will, as ideas come to them, without set
preliminary arrangement. Many essayists begin with
some familiar idea, or with a direct quotation from an-
other author that shall be appropriate to the chosen sub-
ject; but for beginners it is certainly a good plan to lay
out some scheme of composition.

What is Composition? — Composition is the process of
arranging ideas so that they will best follow one another
and produce the best effect, bringing into notice the pas-
sages that a writer regards as the more important points
of what he has to say. In writing, composition is a plan
or scheme of ideas, and in practical application it is a some-
what various matter. Literary compositions may be short
or long; they may be a brief page or two, a few para-
graphs, or even a few sentences, or they may consist of
several volumes on the same subject.

It is important that these two uses of the word compo-
sition — one meaning any piece of writing, and the other
the arrangement thereof — should be distinct in the mind.
Composition, as meant in the sense last named, is simply
good planning.

Actual Writing. — The average practised writer usu-
ally produces his first draft of a subject as rapidly as
possible, keeping in mind the facts of what he wishes to
say rather than the finish of his style. The first draft
completed, he then goes over his work carefully with a
view to better expression. He lengthens or shortens a
sentence, changes the arrangement of paragraphs, adds
new ideas, eliminates whatever he deems unnecessary or
unsuitable ; in short, polishes his production. This is the
usual procedure. But it is well to cultivate a habit of

SPEAKING AND WRITING

trying to write so carefully in the first place that such
elaborate revision is unnecessary; and this can be done
by working slowly at first, and accustoming oneself to
use only the right word in the best place for it.

CHAPTER II
TOPICS FOR PRACTICE: TITLES

The important question, "Of what shall I write?"
finds its answer in reflection on one's hopes, desires,
interests, opinions, and thoughts, and in the known ex-
pectations of an audience or a circle of readers. If a
written production is to be a mere matter of self-training
in written expression, the topic chosen should be one suit-
able for practice in attaining ease of expression. Good
subjects for practice are found in comments on material
already in print, such as reviews or summaries of novels or
other works, and also in translations from foreign
writers.

A good rule is to begin with some matter that you
feel well acquainted with, something that has interested
you, or in which you are trained, or an incident you have
observed closely or have been moved by. Other sub-
jects may be drawn from one's personal experiences, of-
fering opportunity for observation and play of imagina-
tion. Again, a literary, historic, or scientific subject may
be selected, and this will need reading and research
among the works of writers that are regarded as high
authority on that particular subject.

Translations from Foreign Writers: Summaries. —
The object of making translations is to give to readers
facts or fiction that has been written in a language un-
known to them; of making summaries, to set forth the
contents and substance of a literary production in suc-
cinct fashion for the benefit of persons whose time for
reading is limited.

In translation, the composition is ready made, so to

8

TOPICS FOR PRACTICE: TITLES 9

speak, and the translator has only to understand its mean-
ing and to express it in as good English as he can com-
mand. There are many translators of almost all lan-
guages, and some of their work may be classed as good,
but much of it is either bad or indifferent; for the
ability to render a foreign tongue into clear, elegant, and
idiomatic English, which preserves the best significance
of the original and yet makes the translation read like
English passages of a corresponding style, is by no means
a common accomplishment. Therefore, translating is ex-
cellent practice for training in style, though not the best,
since the basis is already prepared, and thus calls for no
originality of thought.

Summary. — Like translation, summary has its ground-
work of composition ready made, and a summary is a
sort of running digest of facts or fancies arranged in the
sequence of the original literary work from which it is
drawn. Except when following the plot of a story, it is
often a good plan to begin with a brief statement of the
main idea of the work, and continue with the necessary
description of its contents. Readiness in producing a
good illuminating summary of any considerable literary
production is of the greatest value in newspaper work, in
debate, in note-taking, and in reporting.

Personal Experiences. — These, and subjects depend-
ing on one's imagination and observation, form an inex-
haustible mine to draw from. Interesting or unusual
things you have done or seen, what you observe in daily
life, what you think of passing events, at home or abroad,
your own particular fancies or theories, should supply
plenty of suggestions from which you may produce
bright, interesting, or amusing sketches, essays, or short
stories. Almost any subject is good if only it interests
its writer and therefore has some chance of interesting a
reader. Still, certain well-worn subjects cannot be called
positively good. Such a topic as " My Summer Vaca-
tion," for example, is likely to be difficult to make fresh

IO GOOD ENGLISH IN GOOD FORM

and entertaining, since one's vacation rarely interests any
person but the one that takes it. Sketches of character
and little tales of actual experience are good, yet brief
descriptions of unknown persons of unusual appearance
met in the streets or in public conveyances are likely to be
merely superficial and obvious, and to make no call upon
one's deeper powers of observation and thought. For
young writers, the facts and events of every-day life, and
their ideas about these things, especially if they demand
some study and research, are the best subjects for original
composition ; and continual practice in choosing such sub-
jects will bring forth more and more ideas and situations
to develop.

Literary, Historic, or Scientific Subject-Matter. —
These subjects include virtually all literature intended
purely for entertainment, and much of that in the field
of instruction and information. Excepting fiction, such
subjects form the principal contents of magazines of the
higher class, of a wide variety of books, essays, articles of
criticism and research, and the greater part of important
speeches. They may be only explanatory, or they may
call for some sort of argumentation, critical or persuas-
ive. However one may find his subject, in order to do
good work he should always look up the facts regarding
it, wherever they can be found. In no other way can
Mr. Gradgrind's motto, " Facts, sir, facts," be more ad-
vantageously followed than in preparing for the publicity
of print a literary production of any kind. A student of
composition, then, must choose his subject, gather his
facts, and look carefully to his arrangement of them. If
he can produce a clear, reasonable, readable, and cor-
rectly expressed statement, from his fresh point of view,
of what is already known — be it in literature, history,
science, or in medicine and hygiene — from a previous
appearance in books, magazines, and newspapers from
any period of the past to the present day, he may feel
that he is advancing in the art of written expression to

TOPICS FOR PRACTICE: TITLES n

the point where he will be able to write freely and grace-
fully on a subject evolved from his own thought.

Choice of Titles. — The titles of books, special articles,
short stories, etc., usually suggest themselves after the
subject is definitely decided, though of course this is not
an invariable rule. But the choice of a definite title at
the outset helps to clear the way and to set the writer on
the right track to reach his goal. The function of a
title is twofold: it tells the reader what the subject is and
tries to make it attractive. The matter of attractiveness
in title is of special consequence in a production intended
for entertainment, when it should be clear and definite
enough to awaken interest, though it need not necessarily
betray prematurely the point and purpose of the article.
Such titles as "A Woodland Walk," "A Vision," "A
Railway Journey," arouse no interest and give no sugges-
tion that the writer has anything to say that is worth
while. They should be made more definite, and should
suggest the main point of interest in article or story.
" A Walk in Thoreau's Woods/' for example, or " A
Warning Vision," or " A Journey on the Longest Rail-
way in the World," would give a fancy-stimulating idea
of what the production might be about.

Besides being merely definite, titles may be made agree-
ably puzzling, humorous, poetic and exciting in count-
less ways. A short quotation sometimes makes an ex-
cellent title, if it is apt enough to illustrate the subject.
Scott, Kipling, Hardy, and Stevenson are particularly
happy in their titles, since evidently their purpose in
choosing them was to make them attractive to both the
eye and the imagination.

The Finding of Material. — There are three sources
of material that may be used in any kind of writing. The
first is one's original observation and imagination; the
other two consist of the information that he picks up
from hearsay and from the recorded information and
ideas that exist in books, newspapers, and periodicals.

12 GOOD ENGLISH IN GOOD FORM

Hence, what one observes, what he fancies, what he hears
and reads, are the principal sources of material for
writing.

The Public Library an Inexhaustible Fount. — The
records to be found in public libraries are probably the
best sources of material that can be found by a person in
ordinary surroundings; and, while producing work of a
purely imaginary kind, or something that is the result of
personal observation, one might not need to consult these
at all, a knowledge of them is indispensable in writing
anything that aims at scholarship or a setting forth of his-
toric or scientific facts.

The Study of Bibliography. — Owing to the rapid and
continual increase in the publication of books and maga-
zines on literary subjects, and numerous periodicals de-
voted to special topics, bibliography, which is the published
information concerning the works of authors on all
subjects, has taken an important place in the world of
literary workers. Bibliography aims to guide a searcher
among the vast mass of information to be found among
these publications to that which pertains to his own sub-
ject. In nearly all libraries a writer may find general
cyclopaedias and special cyclopaedias containing articles
on all subjects of human knowledge, and references to the
best authorities on these subjects; he may find indexes
and card catalogues guiding him to the shelves where he
will find the books or other references of which he is
in search. No one that desires to write with accuracy on
any subject should neglect the help of bibliography, which
he will find his chief aid in obtaining material.

Books of Reference. — A great many persons, though
well accustomed to reading, are not even aware of the ex-
istence of countless books of reference on almost every
conceivable subject. Would-be writers should form a
habit of visiting libraries and spending some time in ex-
amining books of reference and finding out thereby what
mines of riches they may explore.

TOPICS FOR PRACTICE: TITLES 13

For instance, if one is searching for articles on scien-
tific or historical matter, nothing better in the way of a
cyclopaedia can be found than the Encyclopaedia Britan-
nica, which contains a great deal of highly specialized in-
formation, but not very much that is merely " popular."

For foreign material, and especially for biographies of
foreign persons, one should consult Larousse, the great
French Cyclopaedia, or the old Appleton's American
Cyclopaedia, a mine of information as to literary, histori-
cal, and biographical matter up to the time of its publi-
cation; it is full and accurate, and is a model of good
English, well worth mention for its admirable style. Next
to that may be recommended for general use the Universal
Cyclopaedia, also published by the Appletons; and The
New International Encyclopaedia, published by Dodd,
Mead and Company.

For information on Jewish subjects, and things that
have any relation to Judaism, consult the Jewish Cyclo-
paedia, published by Funk and Wagnalls; and for topics
and biographies concerning the Roman Catholic Church,
consult the Catholic Cyclopaedia, published by the Robert
Appleton Company.

Cyclopaedias exist on almost every subject of thought
and activity, as art, music, etc., but their principal serv-
ice to one that wishes to " read up " a topic is as a
guide to more exact and probably more modern informa-
tion ; consequently, while it is well to begin one's investi-
gations by consulting a general work of this kind, it
should be done with the idea of merely laying a founda-
tion for further research ; otherwise one is likely not only
to miss many good points, more recent or more specific
than a cyclopaedia article would include, but his writing
may betray the "flavour" of the cyclopaedia.

It must be remembered that an enormous amount of
good material on a vast number of subjects has been filed
away in magazine articles in libraries during the last half
century; and it is wise for every writer to consult

14 GOOD ENGLISH IN GOOD FORM

" Poole's Index," or some similar classified list of maga-
zine articles, to acquaint himself with what has been pub-
lished in the periodicals.

It is especially important to make sure of what has been
written by others in the case of any scientific or historical
article, that one may not duplicate statements needlessly,
and to avoid wasting time in searching yourself for what
some other person has described long before you.

Finally, a certain publication known as " Notes and
Queries," is a treasure-house of information, well in-
dexed, whence you may obtain facts and illustrations
which, if they do no more, will vivify and ornament your
article.

Other valuable works almost indispensable to a writer
are:

Guide-books to all countries.

The " World " and other similar Almanacs.

Dictionary of National Biography (British).

Appleton's Cyclopaedia of American Biography.

Brockhaus's "Conversations-Lexicon" (German).

Meyer's " Conversations-Lexicon " (German).

Dictionary of American Authors, by Oscar Fay Adams.

Bartlett's " Familiar Quotations."

The Rhyming Dictionary, published by Funk and Wag-
nails.

The Dictionary of Poetry (Funk and Wagnalls).

Roget's " Thesaurus."

Note-Taking. — The principal object of taking notes
is to prompt the memory, and it is an important aid to a
young writer to take notes on whatever he sees or hears
that later may be used advantageously in story or essay.
How often a treacherous memory loses a good thing that
would have added point and humour to some later pro-
duction, when all that was necessary to fix it in the mind
was a note-book, in which it might have been recorded at
the instant of impression and stowed away for future
use ! Emerson, Hawthorne, Dickens, Thackeray, Steven-

TOPICS FOR PRACTICE: TITLES 15

son, and many other great writers kept note-books, some
of which were published as regular volumes in complete
editions of their works. Gibbon, the historian, says of
note-taking in his " Memoirs " : "I recommend to the
young student a practice which I adopted myself. After
glancing my eye over the design and order of a new
book, I suspended the perusal until I had finished the
task of self-examination ; till I had revolved, in a solitary
walk, all that I knew or believed, or had thought on the
subject of the whole work, or of some particular chapter.
I was then qualified to discern how much the author had
added to my original stock."

Robert Louis Stevenson has told that he was in the
habit of keeping a note-book, in which he jotted down all
sorts of impressions, serious and humorous, and descrip-
tions of what he saw or " commemorated in some halting
stanzas."

Keep your own note-book, then, and jot down your
bright ideas or serious thoughts, and the interesting,
humorous, or pathetic things you may see day after day.

CHAPTER III
VARIOUS TYPES OF COMPOSITION

General Principles. — We have now some knowledge
of the usual occasions for writing, of subjects, of the
gathering of material, and the more important of the
necessary conventions to be observed. As to assisting
individual constructive thought, it is difficult to do much
more than to set forth certain general principles, in fol-
lowing which, however, exact and rigid rule must often
give way to individual thinking, to common sense, and to
preference.

Much actual composition is subject to particular rules
or customs. For example, there are, naturally, different
lengths for different forms of discourse, and certain
forms proceed in a prescribed way, as sermons from texts
of the Bible, and after-dinner speeches from what has
been said by the toast-master or by other speakers.
These are simply matters of conventional convenience,
and all writers and speakers follow them to a certain
degree. But the larger part of spoken discourse, par-
ticularly the interchange of ideas in conversation, takes
place without any apparent composition at all; it is
designed only to exchange facts and opinions, or to
work upon the moods or emotions of one's interlocutors.
In this kind of speaking we may use much art, but we
rarely think of our utterances as " composition." Be-
sides, in this informal speech, our manner or our expres-
sion is usually much more powerful than written composi-
tion would be. We begin to think of composition only
when as writers we have larger and more closely related
bodies of facts to consider. But it is true that some skill

16

VARIOUS TYPES OF COMPOSITION 17

in the composition of ideas is needed even in the most
casual moods if we stop to observe the appalling amount
of disjointed, " sloppy," indeterminate writing and speak-
ing that we are compelled to read or hear every day.
When a person gives us bad " composition " in his con-
versation he usually wastes our time and often misleads
us. As a rule, inexperienced writers and speakers do not
compose well — that is, they do not know how to ar-
range what they wish to express; they are long-winded,
roundabout, irrelevant; and often a matter that should
occupy not more than five minutes in expressing it will
fill an hour, because the speaker does not know how to
compose as he goes along; still less does he know about
" editing " his utterances while he speaks.

Two leading questions may be asked in reference to
any piece of writing, whether it be published work, a
class theme, an advertisement, or a letter. These are:
(i) What is the writer trying to say? This deals with
the substance, the idea, or the mood; and (2) How does
he make his point? This deals with the order or the
method of his work.

Certain Rules of Composition. — Whatever a writer
may be trying to express, there are certain rules an
understanding of which is necessary for good composi-
tion. These principles are unity, coherence, and em-
phasis. The first relates chiefly to the selection of ideas ;
the last two to the arrangement, or structure, of the com-
position.

Unity. — This principle means simply that whatever is
in a composition shall properly belong to the subject.
Unity demands that what you say on a subject shall be
appropriate to that theme, that it shall be about some-
thing definite — that what you are writing about shall be
evident. However, unity is by no means a fixed matter,
and, though important in all kinds of writing, is not al-
ways to be had in one way. In writing on a definite
thesis or proposition, in stories depicting1 the writer's own

l8 GOOD ENGLISH IN GOOD FORM

prevailing mood, unity is a more fixed matter than in
many longer works; that is, the subject is more definite.
All that one may fairly expect of Irving's " Life of Wash-
ington " or of James Bryce's book on the United States is
that most of what they have to say shall be about the
immortal George or about our commonwealth, and that
they shall not treat of unrelated or unimportant things.
But the unity of much interesting writing is of the most
haphazard kind, for powerful charm may lie in the very
lack of rigor, in the very license the writer may take to
ramble from the specific subject to gather wisdom by
the way. This is well illustrated in Stevenson's " Travels
with a Donkey," Sterne's " A Sentimental Journey," and
Holmes's "The Professor at the Breakfast-Table."
Unity is only another name for the fact that any composi-
tion, paragraph, or sentence should be about something
definite, and should retain some relation to what has
gone before or what is to come after.

Coherence. — In composition, coherence deals with the
arrangement and connection of ideas. Just as certain
materials will combine well and others will not, so, in
writing, ideas that are similar should go together. Ar-
rangements should be logical development of a thought,
proceeding from one idea to the resultant idea. As in
unity, the main thing in coherence is to follow some defi-
nite scheme of arrangement. The one thing fatal to
coherence is the mixing of subjects and chapters in a
random way ; and the really essential thing is some pro-
gressive form arranged in such a way as, if the story
were one of actual life, it would develop in nature. Be-
gin with the most essential part of the story and follow
the development of its facts in this direction or that, as
the plot leads, being careful to set down as you go along
everything that is necessary to the understanding of the
facts with which you are dealing at the moment; then,
having cleared the ground and prepared the mind of the
reader as fully as you can for further information or in-

VARIOUS TYPES OF COMPOSITION IQ

terest, you proceed to describe what naturally follows in
the development of the story or argument, if it is a
literary matter; or what would be the next point in the
process if you were describing the making of some manu-
factured article. In general, the rule of arrangement
simply is to bring together all those, facts that pertain to
the same idea, and to cause these to follow one another in
the natural and logical course of development.

Emphasis. — As in elocution, emphasis in writing con-
sists in laying stress on the principal thought or the im-
portant word. Proper emphasis brings out clearly the
main ideas in speaking, and in well-emphasized composi-
tion the most important points are discerned without diffi-
culty. Of course the easiest as well as the commonest
way of giving prominence to main ideas is to say or write :
" In this article our readers' attention is called chiefly
to," etc. This calls for no great subtlety; all that is
necessary is to be sure of what one's important point is,
to say that it is important, and to give it appropriate
treatment. Yet even this sort of preparatory comment
is rather obvious and is usually unnecessary. It would
be better to write in such a way that a reader may see
for himself that your main idea is the important point.
A well-known writer on the subject of rhetoric charac-
terises these phrases of explanation as to what is to fol-
low as the " scaffolding " of the literary workshop,
which should not appear in public any more than should
the scaffolding of a building after the structure is com-
pleted. As a general thing, such expressions as " In this
essay we are concerned chiefly with," or " It may be men-
tioned here that," etc., are mere " scaffolding," and the
piece of writing should be so clearly written that readers
can see for themselves what your would-be explanatory
phrase would force upon them. Of literary aids to at-
taining emphasis, contrast, or the bringing of ideas into
opposition, is frequently used, introduced by a phrase like
" It was once thought . . . but the truth is that . . ."

2O GOOD ENGLISH IN GOOD FORM

Well contrived suspense in stories, or the many ways of
creating mystification, are favorite methods of making
emphasis. Like coherence and unity, emphasis is bet-
ter illustrated, and may even be more important, in short
compositions than in long ones.

Tests of Composition. — The principles or tests of
good composition, then, are unity, coherence, and ef-
fective emphasis, the successful use of which gives un-
broken thought and good structure. Perhaps preliminary
arrangement of some kind is the most important thing for
beginners in composition, and this arrangement is aided,
in a piece of writing of any considerable length, by the di-
visions of chapters, sections, and paragraphs. Good ar-
rangement being, after his ideas, the most important thing
for a young writer to acquire, it is necessary that he
should study many masterpieces of composition, note
how various pieces are put together, and make summaries
of them. He must not forget that composition cannot be
treated satisfactorily in theory; it is entirely a practical
exercise. Good composition is simply good arrangement.
But good arrangement is not the same, of course, in any
two pieces of literary work ; therefore, the only true way
of studying the subject is to examine numerous examples
of what are regarded as models in English composition,
and the practice of the composing of literary matter on a
variety of attractive subjects.

CHAPTER IV
A FEW WORDS ON PARAGRAPHS

The principles of composition already discussed may
also be considered here from a different point of view in
their relation to paragraphs.

As of literary composition, so of paragraphs : in a strict
sense, there are really no laws regarding their use. Cer-
tain principles of composition, which are founded on con-
venience and which have become literary custom, are
nearly all that is general and positive with regard to the
making of paragraphs. They are, in fact, matters that
may be treated with much freedom, and the more one
experiments in manner of arrangement and originality of
phraseology in paragraphing, the better his writing is
likely to be. To find illustration of this fact, one has
only to examine actual literature, to read widely in well
varied writing of the best authors, with keen observa-
tion of the paragraphing and the paragraph-sense in the
works.

Paragraphs are of comparatively recent origin; not
nearly so much attention was paid to their arrangement
centuries ago as at present. In earlier days, paragraphs
were usually, like sentences, much longer than are used
now. Paragraphs are merely frequent breaks in the text
of a piece of literary work ; they give the eyes a rest and
allow the mind to take a fresh hold on the matter of the
succeeding text. Many good writers have no other rule
about paragraphing than to make one paragraph nearly
fill a page of their manuscript ; and, with the aid of good
judgment as to connecting sense, and careful wording,
nothing more may be necessary in paragraphing beyond

21

22 GOOD ENGLISH IN GOOD FORM

this simple method. Care should be taken that one para-
graph shall not entirely fill the printed page, and also that
too many short paragraphs shall not appear on a page.
When too many brief divisions of the text appear, they
make a disagreeable impression on the eye and show too
much of the blank white of the paper to produce a good
effect.

Paragraph Transitions. — Paragraphs may be used
in such a way as to give a pleasing variety, to show
the connection of one paragraph with another, and some-
times to anticipate the contents of the next. How to get
from one paragraph to another is an important matter,
depending somewhat on the style of composition that
happens to be used ; and the best way of studying it is to
examine many excellent models of literature.

Introductory paragraphs and concluding paragraphs
are " paragraphs of transition," since they serve to lead
from the surrounding atmosphere of fact and ideas to a
definite subject or to bring it to an appropriate close.
Note the particular way in which an author taken as a
model passes from his introduction to the paragraph
in which his subject really begins.

To summarize the foregoing, one may say that a para-
graph may be made in almost any way, provided that it
shall begin in a manner that will connect it with what
follows, either directly or by contrast, provided that what
follows is in a comprehensible order, and provided
that there is not so much of it that the reader is likely to
become confused as to its sense.

Connection. — A careful use of connective words, to
indicate the bearing of every sentence in a paragraph, and
the arrangement of the words in the sentences so as to
give them the strongest union with one another : these are
methods that it is well to employ, especially in writing
that requires a considerable amount of explicit detail and
explanation. Young writers are likely to use too few
of the useful connective words, or they often use them

A FEW WORDS ON PARAGRAPHS 23

erroneously. The principal connectives are " hence,"
"therefore," "the former," "the latter," "on the one
hand," " on the other hand," " on the contrary," " for
that matter," " however," " but," " indeed," and other
words in continual use by good writers in connecting their
phrases. When used skillfully they are of great assist-
ance in producing a smoothly flowing effect; but great
care must be taken not to overwork these aids, for when
they are employed too much they spoil the compactness of
the text.

CHAPTER V

WORDS AND SENTENCES: GOOD FORM
AND BAD

The Meaning of Words. — Certain questions are likely
to arise about any piece of writing, whether it is so-called
literary work, a personal letter, or even an advertisement.
The first question is rather a matter of course, and may
be asked of any writing; the others are more particular
These queries are :

What is meant by this word or expression? or, Does
this word express what was intended?

Might not some other word or phrase convey the idea
more forcibly or agreeably?

Could not all this have been said in fewer words? or,
on the other hand, Have words enough been used to
make the meaning clear?

In order to get the most meaning out of language, one
must use words as accurately as possible, or as forcibly
and agreeably as may be suitable to the occasion ; and at
the same time, he should train himself to use as few words
as he can. But something must be said about that class
of words that are regarded by all educated persons as
outside of the limits of good style. These are called bar-
barisms, and they are of far too frequent occurrence in
both speaking and writing.

Barbarisms. — These errors of speech are words and
phrases that are not English, that is, that are either
foreign or were once good English, or they are words
coined on an English foundation but not yet accepted as
a part of the body of our language. In short, a bar-

24

WORDS AND SENTENCES: GOOD FORM AND BAD 25

barism is a word or a phrase not in good use. A classi-
fication of barbarisms might comprehend the following :

Foreign words for which there are good English
equivalents far preferable to be used in English writing.

Obsolete words, such as " foreword," which is an af-
fectation for the modern word " preface."

Coined words, such as wire, for " telegraph " or " tele-
gram," 'phone for "telephone," to bike ("to ride a
bicycle"), to suicide (to commit suicide).

Slang words, like dandy and fierce, for " fine " or
" excellent," " bad " for " intolerable," invite for " invita-
tion," pants for " trousers," size up for " estimate,"
kick for " protest," etc.

Besides such errors as the few instances just given,
there are localisms (belonging to special regions of the
country), abbreviations, used largely in school life, and
innumerable vulgarisms, of which it is of course impos-
sible to give anything like a complete list. Some of the
more objectionable, on one ground or another, will be
found listed alphabetically on pages 34 to 41.

Dangers of Inaccuracy. — Evidently, the first thing
in giving words their fullest meaning is their accurate
use. If, as with many young persons, dandy, grand, or
classy are the favorite adjectives to express praise ; fierce,
rotten, or punk to express disapproval ; if grab is the over-
worked verb to denote acquisition, and the bunch the
favorite common collective noun, the language of such
young people is likely to suffer in point of correctness
and good style ; and if this habit of speech is persisted in
it will at last become impossible for them to express them-
selves correctly, or even to think, much less write, with
accuracy.

Improprieties. — Next after barbarisms in the unde-
sirable class come improprieties, which are simply good
English words used in a sense that is not English. We
hear these much oftener than we note downright bar-
barisms. Of course if a person possesses only a very

26 GOOD ENGLISH IN GOOD FORM

meagre vocabulary, and takes no pains to enlarge it, he is
likely to make certain words do work for which they
never were intended; as, dandy, fierce, rotten, etc. On
the other hand, one may have a fairly large vocabulary
and yet use it so carelessly as to be guilty of many in-
accuracies. In this way, many persons will commit such
improprieties as to use aggravate for " provoke " or " irri-
tate," transpire for " happen," endorse for " approve "
or " agree with," etc.

These examples show the variety of sources from which
improprieties may arise, such as the slang habit, a hanker-
ing after " fine writing," affectation, and other causes.
Therefore, the best way to avoid them is to use our words
in as definite a sense as possible, and let it be remembered
that a word is definite when the limits of its meaning are
well understood. A vague word, or a word susceptible
of more than one definition, is one in which the
boundaries of meaning are not clear, or to which several
meanings may be given in any one passage, thereby crea-
ting confusion. The rest of the text in a sentence has
much to do with the matter of vagueness, uncertainty,
and indefiniteness in any phrase employed. But it may
be set down as a rule that the shorter, more familiar, and
more specific word is likely to be more definite than the
long, the sonorous, and the general word. Burn or eat
are more definite words than "consume;" fall, throw,
or hurl than "precipitate," legs than "lower limbs,"
coffin than " casket."

Overworked Words. — It is impossible to mention
here all the undesirable things in word usage, but one
curious and particularly bad custom may be specially
noted, since it has become common in all sorts of writing,
and is seen every day in the work of reporters for the
newspapers. This is the habit, alluded to before, of
using a specific word to cover a number of acts best de-
scribed by other specific words. Take the word grab,
for instance. This little word has to do duty for touch,

WORDS AND SENTENCES: GOOD FORM AND BAD 27

seise, take, assume, lift, lay hold of, steal, remove, and
several other perfectly good English words. Another
overworked word is start, which is used indiscriminately
to express the beginning of anything. To read much of
modern newspaper writing, one would think that our lan-
guage had no such words as begin, prepare, open, set out,
set forth, originate, establish, enter upon, or attempt.
The best use of the word start (aside from the meaning
of making a sudden physical movement) is to signify the
beginning of motion by some force other than that which
continues it. An engineer opens a throttle and starts a
train on its way; in broaching a cask of liquor, a man
starts the bung with a mallet; the person that gives the
signal to be off at a race starts the race. But, speaking
correctly, he opens or establishes a dry-goods shop — he
does not start it. Particularly bad, though very common,
is the addition of the prepositions in or out to the word
start. Many writers never say that a man begins a cam-
paign of reform in city politics, for instance ; he starts in
on the campaign, or he starts out to make things better.
Why in or out, or why starts at all? The same kind of
writers say of a woman, " She started to sob," instead of
" She began to weep." This senseless over-working of
one word is the formula for much slang; it is the desire
to get more meaning out of the word than usage ever
thought of putting into it. Persistence in such a prac-
tice results in impoverishing one's vocabulary and even his
thoughts. Besides, continual repetition becomes monot-
onous, and one's meaning is greatly helped by variety
in wording. New phrases, provided they express the
true meaning, are pleasant and piquant. A simple test
of the tediousness of much repetition is merely to read
aloud, with emphasis laid on the repeated words, the con-
tinual repetition of the pronoun I, or some small noun, or
some particular adjective, which will show the crudeness
of too frequent repetition ; although, if repetition is some-
times necessary for emphasis and exactness, such stress

28 GOOD ENGLISH IN GOOD FORM

on the repeated word will serve to bring its meaning out
more clearly.

Euphemism and "Fine Writing." — These are very
common sins against definiteness and compactness. A
euphemism is an expression used with the intention of
disguising or palliating facts or thoughts regarded as un-
pleasant or disagreeable, and the reason why it is objec-
tionable is because it uses general and inexact terms
where specific and definite words are needed. Many
persons appear to have a strange dislike of using such
words as " born, " go to bed," " die," " wash," and for
these and other good and honest English words they
substitute entered upon the stage of life, ushered into this
world, retire, seek his pillow, depart from this vale of
tears, pass away or pass on, shuffle off this mortal coil,
perform one's ablutions, etc. Sometimes it may be neces-
sary to use certain euphemisms in order to break bad
news in a gentle way ; but in general euphemisms are to
be shunned.

For that form of expression called "fine writing"
there is no excuse. It usually arises from a love of pre-
tentious posing or a sadly mistaken sense of humor, and
substitutes vague, general expressions, " high-polite "
phrases, and roundabout sentences for the simple words
that would ordinarily be employed. Used with humorous
intention, " fine writing " sometimes calls forth much in-
genuity and causes amusement ; but among discriminating
persons the literary style that indulges in disastrous con-
flagration when an ordinary fire is meant, in the fatal
chair for the electric method of executing criminals,
downy couch for a simple bed, aqueous fluid for plain
water, is regarded as extremely crude and tiresome.

Redundancy, Tautology, and Pleonasm, — Meaning
is lost not only through vagueness and the use of ab-
surdly pretentious words; it is lost also by using too
many words. Euphemisms and fine writing are usually
expressions for which simpler and shorter forms would

WORDS AND SENTENCES: GOOD FORM AND BAD 29

answer. Redundancy is the use of too many words or
unnecessary ideas. Certain recognized forms of re-
dundancy may be defined as coming under the heads of
tautology and pleonasm.

Tautology is a mere repetition of the same idea in dif-
ferent words. It is commonly used in legal writing, but
should be avoided carefully in elegant composition.

Pleonasm means the expression of an idea that has
been already distinctly expressed in the same sentence.
A well-known historian writes : " Fortune gave him the
means in after life of verifying the truth of this asser-
tion." As verify means to prove true, the author should
have omitted the words " the truth of," which are pleo-
nastic. The commonest case of pleonasm is the persistent
and inelegant use of the participle. Every day, in con-
versation and in print, we have the form of expression
" after having done," " after having walked," " after
having thought," instead of " having done," or " after do-
ing," " having walked," or " after walking," " having
thought," or " after thinking," etc. This is an error of
which nearly every translator of French is guilty, for
the reason that the perfectly correct French form, "apres
avoir marche " (literally, after to have walked) appears
to them translatable in no other way. The English form
is a pleonasm, however, and in making translations from
the French you will do well to be on your guard against
falling into this common error. Another form of
pleonasm is the redundant particle : as, win out, for win;
try out, for try; divide up, rise up, fall down, high up.
low down. A moment's thought will show that nothing
rises down; then why say up? Nothing falls up; then
why say down? The use of the word far to express dis-
tance of both height and depth is preferable to high and
low; write far up and far down rather than high up and
low down, since far expresses distance in either direction.

Vocabulary. — It is hardly necessary to say that any
person with a desire to write well should try to acquire a

30 GOOD ENGLISH IN GOOD FORM

knowledge of as many words as possible and to know all
the meanings of these words. Every person of any pre-
tension to intellectual culture may be said to have three
vocabularies: the speaking, the writing, and the reading.
The speaking vocabulary is the simplest of the three, and
probably with most persons a few hundred words are
enough for actual use. Our writing vocabulary is much
larger and more accurate, this being the result of more
careful thinking and probable revision of the written
words. Our reading vocabulary is many times larger
than either the speaking or the writing vocabulary, since
a fairly well educated person should be able to recognize
forty or fifty thousand English words. The matter of
acquiring a wide speaking vocabulary is to transfer as
many of the reading words as possible to the writing and
speaking lists. To do this one should read widely in
good literature, well- written history, books of travel or
science — in short, any good writing, both serious and
humorous. Find out the meaning of words that are not
clear, make note of the definition, and try to fix it in the
meaning. The best and easiest way to do this studying
of words is in a dictionary. If you have not an un-
abridged dictionary, use a small one. Keep this within
easy reach; form the habit of turning to it whenever in
your reading or writing you encounter a word in respect
to which you have the least doubt. Read the definition
through until you have found the precise shade of mean-
ing that you think you want. If it is not there, hunt up
one or more synonyms. Practise all the new words that
you learn, in both writing and speaking. Make a study
of their synonyms also, and try to discriminate among
them, in order to choose exactly the right word to express
your thought.

Construction of Sentences. — A sentence that makes
its mark most effectively, or carries along the idea in the
best way, conforms to three principles, which, however,

WORDS AND SENTENCES: GOOD FORM AND BAD 31

are of endless variety in application. Again, these prin-
ciples are unity, coherence, and emphasis.

In accordance with the principle of unity, a sentence
should be about one thing — that is, it should contain at
least one definite idea. To know what you wish each sen-
tence to express, enabling the reader to see what the sen-
tence is about — that is, of course, the first rule of
sentence-writing. This is the main rule of unity. De-
cide exactly what each sentence is to do, and save other
ideas for other sentences. This does not mean that all
sentences should be of simple declarative or interrogative
form, but that there should be one dominating idea, how-
ever much that idea should be limited or modified.

Coherence in a sentence means that the relation of its
parts, or phrases, should be made as clear as possible,
that ideas that belong together should go together, and
as far as possible should be firmly connected. Incoher-
ence is annoying and often ludicrous in effect. A sen-
tence is likely to be incoherent from several causes: it
may be ungrammatical ; the connective words may not be
correctly used, or the modifying clauses may not be
placed where they belong.

The use of " It " or " They " in beginning a sentence,
followed by the antecedent of the pronoun, is a common
practice, undesirable for its lack of immediate clear-
ness, however slight that may be, as : " He and his
father, having stayed long enough, Henry made a move-
ment to go," " His enemy having entered the room, John
decided that he would leave it." Incoherence is likely
to entangle a writer at any moment, and the successful
avoidance of this pitfall is a good test of care in writing.

The application of emphasis to the forming of sen-
tences means simply that unnecessary words and ideas
will be eliminated, and that to the main ideas the most
important places will be given. In short sentences em-
phasis is a simple matter. " The bird flies " cannot be

32 GOOD ENGLISH IN GOOD FORM

improved, for the only change possible would be a very
un-English form, " Flies the bird." When modifying
phrases are added, the question of position, or periodicity,
becomes important. A sentence shows periodicity of ar-
rangement when it is so constructed that the principal
thought comes last, and the meaning is not revealed until
the end of the sentence is reached. Still, though it is
the more natural form to put the subject first and the
predicate last, it may sometimes make better emphasis to
begin with the dependent clause, for the sake of contrast
or harmonious sound. Speaking generally, the periodic
sentence is likely to be better emphasized than the loosely
constructed sentence, for the reason that it usually carries
its own emphasis.

Examples of Loose Construction and Lack of Peri-
odicity.— One of the worst pitfalls leading to loose con-
struction, awkward phrasing, and lack of periodicity is
the erroneous and all too common use of the word
" there." Employed as an expletive or (mistakenly) as a
word of euphony, it is not only unnecessary but clumsy,
and actually spoils the euphony of a sentence. No phrase
that can be constructed properly without it ever should
contain it. Take the familiar translation of a famous
saying of Socrates : " There can no evil befall a good
man ; " it is difficult to understand how the translator
could have been so clumsy in his use of English. Why
did he not write the simple and natural phrase, " No evil
can befall a good man ? " Avoid such forms as the fol-
lowing, which are typical of much careless writing :

" There was no such thing possible for him ; " " In
1913 there appeared in print several articles on the sub-
ject;" "There will nothing be published anywhere like
it " (an example from a great New York newspaper once
famous for its good English) ; " There fell to the ground
the tallest tree in the forest." Writers that use this awk-
ward form probably do so with a vague idea that it can-
not be avoided if the sentence is to be made periodic.

WORDS AND SENTENCES: GOOD FORM AND BAD 33

But a little care in construction shows that it can nearly
always be avoided. Thus :

" No such thing was possible for him; " " In 1913 sev-
eral articles on the subject appeared in print;" "Noth-
ing like it will be published anywhere ; " "The tallest tree
in the forest fell to the ground." A rearrangement of
almost any sentence containing there, used in the awk-
ward way illustrated above, will show that it has no legi-
timate place in the phrase and cannot be parsed where
it stands. Examples of correct usage of " there " are :
" There is a land of pure delight ; " " There's a woman
like a dewdrop " (Browning).

But a common, hackneyed figure of speech becomes dis-
agreeable in proportion to the degree in which it is used.
A person with a good memory, and with some acquaint-
ance with Shakespeare, may make himself a dreaded
nuisance simply through his persistent phrasing of his
own ideas in the language of him of whom he invariably
speaks as " the immortal bard of Avon." Language that
is either obsolete or grown stale is to be avoided. " The
children of poverty," "the observed of all observers,"
" a sweet girl graduate," " this vale of tears," and most
slang phrases, belong in this class. Besides these, the
continual use of stock phrases, of technical terms, and
high-flown words that have become commonplace, shows
a lack of good taste, to say nothing of a woeful want of
originality. Every day we read or hear overworked
learned words — for instance, environment, evolution, at-
mosphere, temperament, etc., the users of which probably
flatter themselves that they are expressing their thoughts
in the best manner possible. Db not fall into this error ;
do not use these words and their like unless you are sure
that no other word would appropriately express your
meaning.

Hackneyed Words and Undesirable Phrases to be
Avoided. — We wish to call particular attention to words
and phrases which for various reasons one should avoid

34 GOOD ENGLISH IN GOOD FORM

in any attempt at good writing or elegant speech.
Speaking generally, there are but two justifications for
the use of many ordinary phrases that appear in nearly
every newspaper and in many modern works of fiction :
Either they are so commonly used, so much a part of our
ordinary talk that we do not notice them as unusual, or
they are so bright and pointed that their occasional use
is warranted.

The following selection of certain undesirable forms
of speech includes many that are placed on the forbidden
list of some of the magazines and newspapers of the bet-
ter class. This means that no one connected with these
publications is supposed to use them in preparing his
" copy " for the printer ; if he does, they are almost cer-
tain to be discovered and struck out by the editor or the
proofreader before the article finds it way into print. A
careful study of this Index Expurgatorius will prove a
useful guide to an inexperienced writer in showing him
what not to write in the story, essay, or special article
that he may be preparing to send to an editor.

WORDS AND PHRASES TO BE AVOIDED

"A" in a sentence like "What kind of a bird is it?"
" What kind of a coat did you buy ? " You mean " What
kind of bird is it? " etc.

" Above " in the sense of more than or the foregoing.
Do not say, " It cost above a hundred dollars " or " Ac-
cording to the above statement." Use "more than a
hundred dollars " in the first instance, and " the forego-
ing statement " or " the statement given above " in the
second. " Above " is a preposition, and should not be
used as an adjective.

" Affair " for thing or occasion. Do not say " This
watch is a pretty little affair ; " " The convention was a
notable affair."

" Along these lines " and " hard lines." Both phrases
have been worn threadbare, and " hard lines " is slang.

WORDS AND SENTENCES: GOOD FORM AND BAD 35

" Anxious " for desirous. " Anxious " always implies
anxiety, suffering from suspense, etc. Do not say, " I
am not anxious to travel ; " " He is anxious to see that
play."

"At length" for at last. "At length" means ex-
tended ; at last means ultimately.

" Averse from " for averse to.

"As though" for as if. Example (erroneous):
" His clothing is as wet as [it would be] though he had
fallen into the river." Example (correct) : " His cloth-
ing is as wet as [it would be] if he had fallen into the
river." The reason for this distinction may be more
clearly understood when it is known that " though," and
" although " imply negation, and that both words mean
notzvithstanding; whereas the proper conjunction, if, used
in this sense, means given or granted. It will be seen at
once that " notwithstanding," and its synonyms " though "
and " although," would make nonsense of such a sentence.
Yet no error so glaringly ungrammatical is found oftener
in all kinds of writing.

" Aware " for conscious and " conscious " for aware.
" Aware " means observance of outward things ; " con-
scious " means inward conviction.

" Balance " for remainder. " Balance " is a technical
term in bookkeeping, and it does not mean " remainder."
It means the amount that one must add to one side of an
account in order to make it equal to the other side. Do
not say, " He took part of the fruit and left me the bal-
ance ; " " They stayed the balance of the week."

" Bogus " for spurious. " Bogus " is a mere vulgarism.

" Centre around " for centre in or upon; concentrate.
A centre may be regarded as a geographical or geometrical
point, and an instant's thought will show that it is impos-
sible for a centre to go around itself.

" Claim " in the sense of declare, assert, say, maintain,
contend, believe, argue. This is a common vulgarism
among " hack " writers that overwork certain words.

36 GOOD ENGLISH IN GOOD FORM

" He claims that he has the best horse," " He claims to
have heard the news first," " Astronomers claim that Jupi-
ter is larger than Venus and the Earth combined." These
phrases should be " He asserts that he has," etc., " He
declares that he has," etc., " Astronomers say," etc.

"Commence" for begin. These words are synony-
mous, and, since " commence " is from the French verb
commencer and begin is an old Saxon word, " commence "
might well be dropped from our language, as it has a
clumsy, affected sound and appearance. Only custom
justifies " commencement " in connection with college
exercises, and even then it means not a beginning but an
ending of a college year.

" Common or garden variety " for common or ordinary
kind." This phrase might have been mildly amusing
when it was used first, but it has been so persistently
overworked by would-be wits of the newspapers — every
one of whom appears to think that he is saying something
highly original and clever — that the very sight of it is
irritating. Shun such cheap phrases as you would avoid
a lapse in grammar.

" Dates back to " for dates from. " It dates back to
the tenth century " should be " It dates from the tenth
century." Time moves forward, not backward.

" Differ from " for differ with, and conversely. " Dif-
fer from " applies to that which relates to outward ap-
pearance ; " differ with " to whatever relates to the mind.

" Disembark " for debark, and " disentangle " for un-
tangle.

" Donate " for give. This verb was ignorantly manu-
factured from the noun donation, and it never should be
used in the place of the good Saxon word give. It is a
favorite with those that incline to " fine writing."

" Generally " when usually is meant. " Generally "
refers to space and area ; " usually " to time and habit.
Say " That custom is generally followed," meaning that
it is followed by many persons scattered over a wide

WORDS AND SENTENCES: GOOD FORM AND BAD 37

area ; but say " I usually follow his advice," " I usually
go there once a week."

" He was given a dinner," " He was made to under-
stand," for " A dinner was given to him," " They made
him understand," etc.

" If " for whether. Do not say " I do not know if he
will come ; " say " I do not know whether he will come."
Avoid " We do not know if he will be pleased ; " say " We
do not know whether he will be pleased." It is not neces-
sary to add " or not " after " whether " — " I do not know
whether he will come or not." It may be used if desired ;
but whether is sufficient.

" Immense " for vast, enormous, huge, etc. " Im-
mense " belongs to things that are immeasurable, as the
ocean, the sky, illimitable space. Do not confuse the
meaning of " enormity " with enormous, which means
simply out of the normal, whereas " enormity " means an
outrageous act or a serious offence. Do not use a form
like " He was astonished at the enormity of the man-
sion," meaning the vastness of the structure. Use
" enormity " only in such a sense as " The enormity of
the offence shocked them."

" In so far as " for so far as.

" Indorse " in the sense of adopt, agree with, or ap-
prove.

" Infinitely " except in the true sense of infinity.
Avoid a phrase like " She is infinitely cleverer than he."

" Jeopardize " for to jeopard. " To jeopard his inter-
ests " is the correct infinitive form of this verb.

" In spite of " for despite, unless referring to ma-
licious action or intent.

" Later on " and " From now on " for later and hence-
forth.

" Lengthways " and " sideways " for lengthwise and
sidewise.

" Less than " when referring to specified numbers.
Use fewer than.

38 GOOD ENGLISH IN GOOD FORM

" Numerous " for many or large. Do not say " We
have numerous acquaintances," but " We have a large ac-
quaintance " or " a numerous acquaintance" Not " Nu-
merous cattle were in the field," but " Many cattle were in
the field," or " The cattle in the field were numerous"

" Of from " for from, as, " Several children, of from
six to twelve years old, appeared." Omit " of " or say
" whose ages ranged from six," etc.

" Old veteran " for veteran. This pleonasm appears
in the newspapers as regularly as Memorial Day comes
round.

" Only " is frequently misplaced before the verb in-
stead of after it, in such sentences as " John had only
gone out for a moment," instead of " John had gone out
[for how long?] only for a moment." Again, " He only
saw the play once," instead of " He saw the play [how
many times ?] only once." " I shall only marry him for
the sake of his rank," instead of " I shall marry him [for
what reason?] only for the sake of his rank." When
only qualifies the verb, it should be placed after the
verb.

" On behalf " for in behalf. We do not say " He
spoke on the interest of the people," " He pleaded on de-
fence of the prisoner," nor " He appeared on place of his
brother." Yet this is a very common error.

" Onto " for on or upon, though " on to " may be used
in their proper meaning — that of progression.

" Ought " for should, and conversely. These words
should not be used indiscriminately. Ought is the
stronger term; what we ought to do we are morally
bound to do as a matter of duty. We ought to be truth-
ful and honest; we should repair a leaky roof, or we
should look after a smoky chimney.

" Party," " parties," or " people " in the sense of per-
son or persons.

" Per " for a. Unless " per " is followed by a Latin

WORDS AND SENTENCES: GOOD FORM AND BAD 39

word, use a. Say " The rent is a thousand dollars a
year " or " a thousand dollars per annum.

" Thone " for telephone; " 'photo " for photograph.

" Position " for place, office, employment, engagement,
station, rank. This word is as unmercifully overworked
as start. Discriminate among its synonymns.

" Posted " for informed or well informed.

" Practically " for virtually, substantially, in effect.
" Practically " should be reserved for the opposite of
" theoretically."

" Remains " for corpse or body. " Remains " belongs
with the euphemism " casket."

" Rocker " for rocking-chair, " dresser " for bureau
or toilet-table. Both are Americanisms, and both should
be confined to colloquial written dialogue. Other ob-
jectionable Americanisms are " auto " for automobile or
motor-car, " depot " (pronounced dee-po) for railway
station, " fall " for autumn, " vest " and " pants " for
•waistcoat and trousers.

" Seem " for appear, and conversely. The distinction
is the same as that between " aware " and " conscious."
That which seems is in the mind ; that which appears is
external.

" So. . . .as " for " as. . . .as," and conversely. In an
affirmative phrase, as, " This is as good as that," use as;
in a negative phrase, as " This is not so good as that,"
use so. . . .as."

" Some twenty miles " (or any specified number) for
about twenty [miles] or twenty-odd [miles].

" Standpoint " or " viewpoint " for point of view.

" Such " for so. Avoid a construction like " I never
have seen such a large dog." A transposition of these
words would give " I never have seen a dog such large,"
which proves that the correct form is " I never have seen
so large a dog " or " a dog so large." " Such " refers to
kind or quality, and " so " to degree.

4O GOOD ENGLISH IN GOOD FORM

" Sunup " and " sundown " for sunrise and sunset.

" Transpire " for happen, take place, occur. A piece
of news or gossip " transpires " when it leaks out unex-
pectedly ; but events happen or take place.

" Their " for him or her when used after any one,
each, either, every, neither, nobody, no one, or not one as
the subject of a sentence. These words require a pro-
noun in the singular number, as, "If anyone wishes to
object, let him rise" (not them). "Every one of them
gave her consent; " " Each must decide for himself " (not
themselves) .

" Those sort," " those kind " for that sort, that kind.
" Kind " and " sort " are nouns in the singular number,
whereas " those " is obviously in the plural ; hence their
conjunction, as in " I do not like those sort of men," is
a solecism as distressing as " them sort " would be.

" Try an experiment " for make an experiment. To
" try an experiment " is equivalent to " try a trial,"
since an experiment is nothing else than a trial in itself.

" Try and " for try to. Do not say " I will try and
go ; " say " I will try to go," for the reason that the verb
following " try " should always be in the infinitive.

" Under the circumstances " for in the circumstances,
or under the conditions.

" Voice " for speak, express, or say, or any word to
denote speech. Never say " He voiced his sentiments,"
or " Do not voice that thought," for the reason that it is
not good English to make the noun do the duty of a verb,
since many other words exist that express speech.

" Wash down " for drink. This is a highly inelegant
phrase, if not a positive vulgarism — avoid it.

" While " for whereas or though. " While " means
only " during the time that," and is not synonymous with
the two words it often supplants. Do not use a form like
" While she was fond of him, she was not demonstrative."
Say " Though she was," etc., or, in an argumentative
tone, say " whereas."

WORDS AND SENTENCES: GOOD FORM AND BAD 41

" Wire " for send a telegram.

" Would seem " or " should seem " for seem. No
reason exists for using the redundant auxiliaries " would "
and " should," since seem expresses the same idea con-
cisely and exactly. In a sentence like " The police would
seem to be unable to find the murderer," the apparent
meaning is that the police are not really trying to find him,
but are only seeming to be trying to do so. The sentence
should be " The police seem to be unable to find the mur-
derer," unless the meaning intended is that they are try-
ing not to find him., when the use of " would seem " would
be correct.

Common Errors in Grammar. — Certain pitfalls in the
English language may be avoided by a careful study of
the following lists of the more common of these :

Shall and Will: Should and Would, — The nice dis-
tinctions that should be made between these auxiliaries
are rather complicated, and these words are often mis-
understood or disregarded even by persons of good edu-
cation. This failure to apprehend the correct usage of
these auxiliaries sometimes produces effects that are abso-
lutely shocking in the speech and writing of such persons.
The chief difficulty lies in the use of the first person (/
shall) , where there is a widespread tendency — especially
among newspaper writers — to use will instead of shall
to express the simple future tense. Four rules give the
correct usage of shall and will in a few words :

1. Shall, in an affirmative sentence, when used in the
first person (/ shall), denotes the simple future: " I shall
go," " I shall not go."

Will, in an affirmative sentence, in the second and third
persons (you will; he or they "will), also announces merely
future action : " You will be pleased to know this ; " " You
will soon be of age ; " " They will go with us."

2. Shall, in an affirmative sentence, in the second and
third persons (you shall; he or they shall}, announces the
speaker's determination to control : " You shall hear what

42 GOOD ENGLISH IN GOOD FORM

I have to say : " He shall go with me ; " " They shall do
it, whether they wish to of not."

Will, in an affirmative sentence, in the first person (/
will), expresses a promise, announces the speaker's de-
termination to control, or declares a resolution : " I will
(I promise to) help you; " " I will (I am determined to)
have what belongs to me;" "We will (we intend to)
come to see you soon."

3. Shall, in an interrogative sentence, in the first and
third persons (shall I ; shall he or they) consults the will
or the judgment of another; in the second person (shall
you) it inquires concerning the intention or future action
of another : " Shall I go with you ? " " When shall we see
you again ? " " When shall I receive it ? " " Shall he come
with us? " " Shall they be allowed to do that? " " What
shall you do for him ? "

Will, in an interrogative sentence, in the second per-
son (will you) asks regarding the wish of others, and in
the third person (will he; will they) inquires concerning
the purpose or future action of others : " Will you have a
peach ? " " Will you go with me to the library ? " " Will
she be of our party ? " " When will they be here? "

4. Will cannot be used interrogatively in the first per-
son (will I), singular or plural. We must not say " Will
I go? " " Will I help you? " " Will I be late? " " Will we
see you soon ? "

A mastery of these four rules will insure correct usage
of these auxiliaries. Should and would follow the rules
that govern shall and will. In conditional clauses (using
if) shall or would is used in all three persons to express
the simple future tense ; will or would in the three persons
to express will or determination, as : " If I should not go,
they would regret my absence : " // you should decide to
come, I shall be glad to see you ; " " // you should go, I
would (a promise) meet you without fail;" "// she
should go, we would meet her:" "// it should rain, we
should get wet."

WORDS AND SENTENCES: GOOD FORM AND BAD 43

As a general rule, when you are in doubt between the
use of " shall " and " will," use shall; between " should "
and " would," use should.

Lay and Lie. — These two irregular verbs are as fre-
quently misused as shall and will. Lay is often used for
lie and lie for lay. This confusion arises from the fact
that the present tense of the transitive verb (expressing
action) lay (I lay) is spelled and pronounced exactly the
same as the past tense of the intransitive verb (express-
ing rest) lie. But a little study given to the distinction
should enable one to avoid an error in the use of either
word. The past tense of lie is lay: " When I am tired I
lie on my couch; I lay there an hour this afternoon."
" The ships still lie at anchor in the harbour ; they lay
there all last week." The past tense of lay is laid : " The
man lay under the tree, while his companions laid a bridge
across the stream ; " " Our hens lay eggs every day ; to-
day they laid ten." It will be seen that lay expresses ac-
tion and that lie expresses rest. The past participle of
lay is laid; the past participle of lie is lain. These past
participles are often confounded. Laid is always fol-
lowed by an object, as, " He has laid [what object?] his
hat on the shelf." Lain never is followed by any object,
as " He has lain there too long." The presence or the ab-
sence of an object, and the kind of verb it is — transitive
or intransitive, expressing action or inaction — may be
decided by asking " Lay (or laid) what?"

Present tense Past Indicative Past Participle

I lay (I now lay I laid (I laid my I have laid my

my book on the book on the ta- book on the ta-

table). ble). ble.

I lie (often I lie I lay (I lay I have lain awake

awake all awake all last many a night.

night). night).

Difficult Verbs. — If a writer wishes to avoid many

44

GOOD ENGLISH IN GOOD FORM

solecisms and improprieties, he must become thoroughly
familiar with the principal parts of the following verbs :

Past Participle
begun
bidden

bid

chosen

done

eaten

fled

flown

flowed

got (avoid gotten)

hung

hanged
pleaded

proved (avoid

proven )
raised
risen
set
sat

waked
written

The Practical Use of Rhetoric. — As a formal study,
rhetoric, although it can aid in suggesting subjects for
writing, and tell in a general way how to find material,
does not apply with equal importance to all the methods
of writing that have been mentioned. But rhetoric does
give rules of the greatest value in the finishing or revis-
ing process just mentioned, and may assist in collecting
suggestive material.

Present

Past Indicative

begin

began

bid (ask or com-

bade

mand)

bid (at auction)

bid

choose

chose

do

did

eat

ate

flee

fled

fly

flew

flow

flowed

get

got

hang (clothes,

hung

pictures)

hang (men)

hanged

plead

pleaded

(never pled)

prove

proved

raise

raised

rise

rose

set

set

sit

sat

wake

woke

write

wrote

WORDS AND SENTENCES: GOOD FORM AND BAD 45

It is in the process of revision of one's first draft of a
subject that the laws of rhetoric are chiefly useful. A
good text-book gives rules and examples, and shows how
the effect of a word or a phrase may be emphasized, how
a sentence may be smoothly rounded, how a long para-
graph or an awkward phrase may be made compact, ele-
gant, and forceful, and many other points founded on
good examples. Rhetoric, then, is the application of cer-
tain rules to the expression of ideas, and it sets examples
of matters of usage. Its formal study, however, is for
beginners in the art of writing. As soon as a writer,
through the aid of his education and a study of text-
books on rhetoric — taking into account also his supposed
common sense and good taste, and his possible experience
— becomes competent and skillful in the written expres-
sion of his thoughts, he is not likely to think much more
about rhetoric as a regular study, but writes as his judg-
ment dictates and his habit of expression has been
formed.

'" Summary and a Few Last Words. — i. Lay out your
subject, whether it is a story, an essay, or a review of
some historical event, and make up your mind as to the
best order in which to place the important parts. To
illustrate how much depends on this, let us take the case
of the famous novel by Edward Westcott entitled
David Harum; the manuscript of that story went through
several publishing houses and was declined nine times;
but at last a wise editor saw the importance of the epi-
sode of the horse-trade, which, however, had been orig-
inally placed near the end of the story. He transposed
that chapter to a place where it created interest and
amusement almost at the beginning of the narrative,
and thus induced readers to follow the fortunes of the
quaint old country banker to the end of the book. David
Harum had a phenomenal success, which it might never
have won but for the wisdom of the editor who knew

46 GOOD ENGLISH IN GOOD FORM

better than the author where to place the most important
material to the best advantage.

2. Consider carefully your choice of words. Remem-
ber the general rule that the specific word is always more
forcible than the general term. If you observe, in news-
papers and novels, that a certain word or phrase is being
over-used by journalists and writers of fiction, avoid it.
If there is a " run " on a word, do not use it. A few
years ago, after the appearance of a certain book, every-
thing was called " strenuous." Everywhere we saw in
print " strenuous effort," " strenuous life," even " stren-
uous laughter " and " strenuous sleep," perhaps meaning
unusually vigorous snoring!

A good instance of a particularly happy choice of a
word is found at the beginning of a passage of Lowell's
— " What is so rare as a day in June ? " which is a
familiar quotation. If he had said, " What is so fine "
or " so lovely " no one would have thought it an un-
usually poetic line.

3. Avoid writing slang as coming from yourself, what-"
ever you may find it necessary to make your characters
say in a story. Occasionally a bright person invents a
new slang word or phrase that may be very apt ; but the
retailing of second-hand slang does not necessarily make
you a witty person.

4. Keep together the words that belong together.
Never split your infinitives. Keep your auxiliaries as
near as possible to the main verbs. Macaulay was a
grave offender against this rule of compact writing.
In his History of England he writes : " The castle had
in 1686 been almost uninhabitable," when it would have
been as easy to make the sentence graceful instead of
awkward by writing, " In 1686 the castle had been almost
uninhabitable." The auxiliary should not be separated
from the main verb, for the reason that logically they
form but one word — " had been." " Had " alone means
nothing in the sentence just quoted. Sometimes the

WORDS AND SENTENCES: GOOD FORM AND BAD 47

effect is not euphonious — that is, pleasing to the ear —
if the auxiliary and the main verb are kept together;
but as a rule there are few cases in which they should
be separated.

5. Ordinarily, in the arrangement of clauses, take care
to make your sentence periodic. As a general thing, re-
member, all sentences are better when written in periodic
form, as a matter of clearness and elegance ; in fact, it is
more a question of elegance than of anything else. But
sometimes periodicity should be sacrificed to a preference
for grace if the periodic form has an awkward effect, as
in the following sentence from a well-known history of
the Peninsular War : " Spain was circumvented by the
wiles, and then ravaged by the arms, of Napoleon." It
will be seen readily that the sentence would have been
more graceful had it been written : " Spain was circum-
vented by the wiles of Napoleon and then ravaged by his
arms."

CHAPTER VI

CONVENTIONAL FORMS: LETTER-
WRITING

Conventional Forms. — The forms, customs, and sym-
bols that are universally agreed upon and used by persons
who write are called literary conventions. They are
very useful: they save a great deal of time and trouble
in allowing us, with propriety, to shorten our sentences,
leaving the mind free for the really important thing that
is to be written at length.

Concerning Points of Grammar and the Correct
Usage of Words. — These two points are fundamentally
important. They are the very root of all expression.
Grammar is the prescribed order of thought; usage is
the choice of words. The words of a writer of English
must be English words used according to English rules,
and his sentences must be constructed according to the
rules of English syntax. The chief danger in a violation
of these rules, or conventions, is the possibility of mis-
understanding on the part of the reader. Besides, un-
grammatical diction, and a too free use of slang or col-
loquialisms, are regarded as signs of deficient education
and a lack of early good breeding ; and they show a want
of proper understanding of the mother tongue.

Requirements of Grammar. — As applied to composi-
tion, grammar means simply that in any writing the ex-
position of various facts and thoughts shall present the
usual form of an English sentence, that is, that it shall
have a subject and a predicate. In following these
forms, there is, of course, the widest imaginable range
for variation of forms in which the ideas may be ex-

48

CONVENTIONAL FORMS: LETTER-WRITING 49

pressed. The values of such variations may be learned
by studying a good book on rhetoric. Word usage is a
highly important subject of rhetorical study, for the ac-
curate use of words, in their most widely accepted sense,
is the very foundation of good style.

Spelling; Capitalising; Punctuating. — From the
point of view of many modern educators, spelling is not
of so much importance as grammar, phraseology, or even
punctuation. Yet, spelling is the most strictly conven-
tionalised part of written composition. Fewer departures
from established form are overlooked or forgiven than
are allowed in grammar or in rhetoric. To spell incor-
rectly is to bring reproach or ridicule on oneself. But,
difficult as is the mastery of English spelling, it can be
acquired with patience, persistent study, and the cultiva-
tion of memory. Select any one of the three or four
great modern dictionaries, and spell and hyphenate your
words strictly according to its rules, in order to be sure of
consistency in style.

Etymology of English Words. — Probably the only
successful method of learning to spell, apart from a sheer
effort of memory — and some persons are ill provided
with the kind of memory that accomplishes feats of that
kind — is by learning the etymology of words, which
means simply the original word or words of a foreign
language from which our English words have been de-
rived. Most of our longer words are made up of a cen-
tral part from some ancient language (called the root),
and of parts that have been annexed to this (called
prefixes and suffixes), together with connecting letters.
These annexed parts are much alike, and the changes
from or the additions to the original word that are made
in joining them usually follow a few simple rules, such
as the doubling of the consonant before a vowel, etc.
Now, therefore, if one can get into his head the spelling
of these separate parts so that he will recognise them in
all the various connections that they make in our vocab-

50 GOOD ENGLISH IN GOOD FORM

ulary, he will then really have to remember hardly more
than the root- word, and that will greatly simplify the
effort to spell correctly.

It is especially as an assistance in learning to spell that
the etymology of several hundreds of the more common
and important words of the English language have been
included in this book; and one that studies diligently —
and such a one will find it a deeply interesting study
— the origin and construction of the words of our lan-
guage, as revealed in the tables in Part II, will find him-
self learning to spell without making any special effort to
do so, because he has learned to spell the various parts
of which our words are composed.

Capitalising. — Capitals were used much more freely
in former days than at present, and they are still em-
ployed much more in England than in the United States.
The modern American tendency is to use capitals as little
as possible. Proper names, and their accompanying titles
(as, Mr. Browne, Harvard University, August, Lent, the
Passover, etc.), the first word of a sentence, or of a quo-
tation from literature, the first word of a line of poetry,
the pronoun " I " and the exclamation " O ! " are the
only matters of capitalising in which uniform practice is
observed in England and the United States.

In the use of capitals, conventional forms appear to
many persons — and usually to all unpractised writers —
of little importance ; but violations of the rules followed
generally in modern printing make a page of type look
very inelegant and unattractive. We present a fairly
comprehensive list of the words and phrases most in com-
mon use in which appear the forms of capitalising em-
ployed by the best printing-houses and by magazines of
the better class.

The following words should be capitalised when they
occur with a proper noun:

CONVENTIONAL FORMS: LETTER-WRITING

Act

Alley

Alliance

Avenue

Band

Bank

Bay

Bill

Bishop

Bridge

Bureau

Canal

Cape

Chairman (before name

only)
Church
Club
College
Commission
Company
Committee
Congressman
Corps
Creek

Custom-house
Department
Depot
Gulf
Harbor
Hotel
Island
Isthmus
Judge

Kingdom

Lake

Law

Library

Market

Mountain

Ocean

Palace

Place

Point

President (U. S.)

Province

Representative (before

name only)
River

Sea

Secretary (before name

only)
Senator
Society
Square
State (geographical), also

without a noun)
Station (railway)
Strait
Street
Terrace
Theatre
Treasurer (before name

only)

University
City of Mexico
New York City

Capitalise all titles when followed directly by the proper
noun, as: Captain Brown, Commander Fisher, Chief

52 GOOD ENGLISH IN GOOD FORM

Justice Chase, Senator White, etc. Compound titles are
hyphenated, with second title capitalised, as: Rear-Ad-
miral Jones, Vice- President Smith, etc.

Capitalise all pronouns referring to the Deity, as : If
we trust His love, we shall do well. Do not capitalise
pronouns used in royal titles, as : He spoke of his Royal
Highness the Duke of York.

Capitalise historical events and eras, as: the French
Revolution, the American Revolution, the Civil War
(U. S.), the Rebellion (U. S.), the Renaissance, the
Hundred Years' War, Wars of the Roses, War of 1812,
the Mexican War, etc. Capitalise the Roundheads, the
Royalists, the Cavaliers. Capitalise Nature and Heaven
only when personified.

In such phrases as " May it please the Court," " Give
the Court your real name," " May it please your Honor,"
use capitals as here printed. Capitalise Negro, Gipsy,
Protestant, Catholic.

Clubs and theatres when mentioned in the plural should
not have capitals, as : The Metropolitan, Knickerbocker,
and Union clubs; the Astor, Lyceum, and Garrick thea-
tres.

Use capitals for Congress (U. S.) ; House of Repre-
sentatives; the Mint (only when referring to the United
States Bureau); Treasury; Supreme Court (United
States only) ; East, West, North, South (when denoting
geographical region) ; Northern States, Southern States,
etc.; Senate, Assembly, and Legislature; Federal Gov-
ernment; Confederate, Confederacy (Civil War period).

Capitalise Government when the noun refers to the
United States or another government ; otherwise use a
small letter for both noun and adjective. Capitalise the
Union and the Nation when referring to the Federal
Government. Capitalise the European Powers; also the
Continent, when the Continent of Europe is meant.

Use a capital for Post-office when referring to the
Post-office Department of the United States or when

CONVENTIONAL FORMS: LETTER-WRITING 53

used with a proper noun, as, the New York Post-office;
otherwise use small letters.

Use a capital for Church only if followed or preceded
by a proper name, as : St. James's Church ; the Church
of the Pilgrims. Use small letters in phrases like " For
the sake of the church many have died ;" " They decided
to build a new church."

Punctuating. — This is a subject of great importance,
especially in making one's meaning absolutely clear.
Erroneous punctuation can obscure the sense of compo-
sition far more than the worst errors in spelling, for the
sense of an idea can usually be understood despite poor
spelling, whereas the misuse of a single comma may
change the whole significance of a sentence. Yet,
strangely enough, bad punctuation is not regarded by
most persons as so certain a mark of defective education
as bad spelling, or the breaking of the rules of grammar.
These critics should remember that lawsuits have been
known to follow the misunderstanding of legal docu-
ments wherein a misplaced comma, or the lack of a proper
point of punctuation, has distorted the sense of what the
person that drew the document intended to express.
Therefore, notwithstanding the prevalent leniency shown
toward faulty punctuation, every writer should study the
marks of punctuation, numbering only twelve, and learn
thoroughly the rules governing their use. The most im-
portant points of punctuation are the comma, the period,
and the marks of quotation. The others are more special,
but are little less important in the writing of correct and
elegant English. How necessary they are may be seen
if one wjU write one long sentence without any punctua-
tion whatever. The usual forms and rules governing
this art will be found in Part III, Chapter I.

Varying Forms of Address in Letters. — Custom has
laid down certain rules of diction to be used on different
occasions or in certain circumstances, as that one should
say " Ladies and Gentlemen " in addressing a mixed

54 GOOD ENGLISH IN GOOD FORM

audience, " Friends and Fellow-Citizens," or some simi-
lar phrase, in speaking to a political assemblage, and, in
writing, that one should use certain set phrases, of vary-
ing degrees of courtesy or familiarity. These accepted
forms, and the good reasons for using them, are best
shown in letters. To be unfamiliar with these common
usages of business and social life shows ignorance or ill
breeding, whereas familiarity with them, and ability to
write a good letter, is sure to create a favorable impres-
sion of the writer in whatever circle of society his letter
may be received. A good letter, from the conventional
point of view, shows whence, by whom, when, and to
whom it is written; it is correct in its forms of address
and closing, polite in its phraseology, and sets forth its
business simply, clearly, and concisely.

Spelling and Grammar of College Graduates. — In a
number of a popular magazine, in the year 1913, some
interesting discoveries were revealed regarding spelling,
punctuation, and grammar of American college seniors.
Out of one hundred letters received from recent gradu-
ates of women's colleges, who had been asked to tell what
their college had done for them physically, socially, and
intellectually, not one letter was entirely free from error.
Bad spelling was the most conspicuous offense, and for
this literary sin no doubt the young women would plead
in excuse the precedent of the vicious fad known as
" simplified spelling," which found champions in high
quarters not long ago, and is still fondly clung to by poor
spellers everywhere, because it is so convenient an excuse
for ignorance or laziness. But careless punctuation,
illegible handwriting, false syntax, and incoherent thought
and expression were hardly less numerous in these
communications. Four hundred letters from men's col-
leges made a better showing, but only forty-five were ex-
ceptionally good, whereas fifty-nine were total failures
and should not have come even from boys in a secondary
school.

CONVENTIONAL FORMS: LETTER-WRITING 55

Modern Newspaper English. — This melancholy con-
dition of ignorance among young people of both sexes
can be remedied — or at least prevented from growing
worse — only by individual effort to save oneself from
slipping down into the ditch of indifference as to the pres-
ervation of good literary style, a condition which at
present is most glaringly illustrated in the daily press.
One New York newspaper, once regarded as a criterion
of good English, under the rule of a famous editor and
scholar, now permits itself to use such expressions as
" she walked along ladened with bundles," " this was
•furthered from his thoughts," and other solecisms
equally bad.

Too great attention, then, can hardly be paid to our
manner of expression, in order to save our language from
contemptible corruption and degradation, and ourselves
from becoming the laughing-stock of all educated peoples,
for the disgraceful reason that American descendants of
English stock have lost, through sheer carelessness, the
knowledge of how to speak and write their mother tongue
correctly.

A few simple rules that are everywhere used by per-
sons of good taste may be given here for convenience as
an aid to acquiring the more common conventionalities
in letter-writing:

Place and Date. — These highly necessary but often
neglected details are usually placed at the upper right-
hand corner of the first page of a letter-sheet. In this
positiori* they can be soonest seen and easily referred to
later. Sometimes, in letters of a personal kind, the place
and the date do not head the letter, but are written a little
below the signature of the writer and placed at the left
of the page. When place and date are not given in a
printed or engraved letter-head, one should write the date
directly under the name of the place, as :

Ashfield, Massachusetts

August 16, 1914

56 GOOD ENGLISH IN GOOD FORM

or,

Philadelphia, Pennsylvania

January 13, 1914

Thus the two items of information — the place whence
the writer sends the letters and the date of its writing —
are kept distinct from each other.

The Salutation. — The differing degrees of conven-
tionality or familiarity in vogue among American people
may be given in a sort of descending scale from high
formality to intimacy. To persons of public official im-
portance, editors of newspapers or magazines, or other
personages of distinction, the address should be:

To the President
Washington

District of Columbia
Sir:

or

To the Editor of THE SUN — Sir :

In addressing strangers, or any person with whom
one's relations are confined simply to matters of business,
write :

Mr. Joseph West
No. 128 West 94th Street
New York City

This form may be varied, of course, to read according
to the usual title of the person addressed, as,

Joseph West, Esq., etc.,

The Hon. Joseph West,

The Rev. Joseph West (it is admissible to omit the
The),

Dr. Joseph West (though a medical man prefers to
be addressed as Joseph West, M.D.),

The Reverend Joseph West, D.D. (sometimes The
Reverend Dr.).

CONVENTIONAL FORMS: LETTER-WRITING 57

More formality is implied by beginning with " My dear
Sir," instead of " Dear Sir." In addressing a woman,
whether she is married or not, " Dear Madam," should
always be used. In the case of addressing a firm or a
society composed only of women, one writes " Ladies,"
or the French form," Mesdames." The address used
toward any body of people, as firms, councils, commit-
tees, etc., is usually in the plural form, " Gentlemen,"
being preceded by the name of the firm, if it is a business
association, as,

Messrs. Bell and Black
Gentlemen :

or

To the Honorable the Board of Trustees

or whatever designation is appropriate to the body ad-
dressed.

The Business of the Letter. — The chief point in this
is to set down what you have to say briefly and clearly,
with firmness and courtesy. Do not attempt to be famil-
iar and colloquial when it would be out of keeping
between you and the person to whom you are writing
(for instance, if you were asking a man for an appoint-
ment in his office), and do not affect too much stiffness
and dignity of form in addressing your friends. Assume
that your correspondents are persons of as much sense
and intelligence as you yourself possess. A beginning is
usually found in what has happened previously or in
some business requiring immediate attention. In either
case, there is no good reason why, despite a former con-
trary conventional usage, a writer should not begin his
letter with the pronoun " I " instead of " You " or
" Your." In business, a certain set form is usual, as
" In reply to your letter [do not say " favor," it is
outworn and is too high-flown for the ordinary incident
of having received a business communication] of Jan-

58 GOOD ENGLISH IN GOOD FORM

uary 13, I wish to say," etc. If no previous business has
been transacted, say simply, " I write to ask whether you
will kindly send to my address," or " inform me," etc.
The main idea is to begin with your business as soon as
possible, without unnecessary words. Other forms of
letter-writing have to do with general composition, but
it is well to remember that in business letters every sepa-
rate item of business should be treated in a paragraph by
itself, to avoid confusion.

The Close. — In closing a letter, various degrees of
formality are now followed, which have superseded the
more elaborate forms used in the past. These are rang-
ing from high ceremoniousness to friendly informality:

To public officials, and other persons of importance,

I am, Sir (or, I remain, Sir),

Very respectfully yours,

In business letters:

Yours respectfully, or
Very truly yours, or
Yours truly.

When indicating various degrees of acquaintance or
friendship :

Yours very truly,
Sincerely yours,
Cordially yours,
Faithfully yours,
Yours ever,
Yours, as always,

or these phrases with such changes as may be appropri-
ate.

In all cases, the name of the writer follows the closing
phrase. This should be accompanied by whatever infor-
mation is necessary to a knowledge of his personality

CONVENTIONAL FORMS: LETTER-WRITING 59

(when it is not already known) and his place of resi-
dence. Thus, in a business letter that requires a reply:

I am, with a request for a reply at your convenience,
Very truly yours,

(Miss or Mrs.) Anna E. Falls

To this the address may be added, if it has not already
been given at the head of the letter. If the writer is
married, and her husband is living, she should sign her
name thus :

Anna E. Falls

(Mrs. Charles L. Falls)

The address is added, if necessary. In some letters it
is necessary to give a writer's own title, especially if he is
writing officially, as president, manager, editor, etc. The
title should follow the signature, on the line below it.

The address on the envelope should be no longer than
is necessary to carry the letter to its destination ; thus :

Joseph West, Esq.

No. 128 West 94th Street

New York City

/•

To this it might be necessary to add the number of a
room in the building, or the care of some other person
or a business firm. Abbreviations in any form of address
should be avoided, for the reason that they put the post-
office officials to the trouble of trying to make them out.
Formerly, it was the custom to punctuate the single
lines in the opening address of a letter, as well as the
corresponding lines on the envelope ; but the more modern
style is to omit all punctuation at the ends of lines
(except in the case of an abbreviated word, like Esq.).
This rule is followed not only in letters but also on title-
pages of books, in the headings of chapters in a book,
and at the end of the lines at the tops of pages that are
called " running heads."

6O GOOD ENGLISH IN GOOD FORM

Personal Letters and Business Letters. — The dis-
tinction between these two styles of correspondence can-
not be shown exactly, for many letters partake of both
characteristics. Business letters are sometimes con-
cerned with personal affairs ; personal letters may include
questions on matters of business. Letters ordering mer-
chandise to be sent, asking for information, or requesting
debtors to call and pay their bills, are business letters.
Personal letters pass between correspondents for their
entertainment or the expression of their friendship or
otherwise. This kind of correspondence allows much
wider latitude of expression and address than is the case
with business letters, and of course the same person may
write you a formal letter on business matters at one
moment and a purely personal one immediately after.

One kind of letter, business-like in form though strictly
personal in import, allows very slight variation in style.
The form, with changes according to circumstances, is
customarily as follows:

Mrs. Joseph West requests the pleasure
of the company of Mr. William Ward at
dinner on Saturday, the ninth of May, at
half after seven.

No. 128 West 94th Street

The reply should read:

Mr. William Ward accepts with pleasure
(or, regrets that he is unable to accept) the
kind invitation of Mrs. Joseph West for
Saturday, the ninth of May.

May third, 1914

Literary References. — Writers and students should
learn the usual forms of making literary references, for
the citing of authorities is indispensable in literary work.
A good reference gives, first, the author's name; second,

CONVENTIONAL FORMS: LETTER-WRITING 6 1

the title of the book to which reference is made ; third, by
whom published, the place, date, and, if necessary (pre-
ceding the place), the edition, of the publication; thus:

Johnson, Rossiter, The Alphabet of Rhetoric. D. Ap-
pleton and Company. Second Edition. New York,

Lists of references are usually arranged in alphabeti-
cal order, according to the surnames of the authors.
When a certain reference immediately follows another
by the same author it is customary to write Ibid., fol-
lowed by the title of the book or simply by the number of
the page, when the book is the same as that named in
the preceding reference. If the second reference does
not follow immediately, being separated by a page or
more, the conventional form is op. cit., which means, the
work already cited. But it is better to repeat the title, as
if the preceding reference did not exist.

CHAPTER VII
NICETIES OF CORRESPONDENCE

On the principle that when we write to our friends
we are supposed not to be in haste, abbreviations should
be avoided and addresses should be written in full. In
a business letter certain abbreviations that do not inter-
fere with the sense may be allowable; but the funda-
mental difference between business life and social life is
that in the first named it is understood that time is
precious and must be economised, whereas in social life
there is, or should be, leisure to observe the rules of
polite forms.

Even when an address is supposed to be known by the
person to whom a letter is being written, it is proper to
place it at the top of the sheet. A thoughtless corre-
spondent sometimes taxes the memory of a friend or
obliges the recipient of a letter to look up an address to be
sure of it when replying.

Abbreviations. — It is a serious error to use abbrevia-
tions in the date. The name of the month also should be
written in full. It is not good form to write Jan., Feb.,
Aug., Sept., Oct., Nov., Dec. It is purely commercial
form to write dates in figures alone, as, 8, 16, 14. This
style might be excused in a brief business letter, but it
never is really in good taste. The correct form is August
16, 1914.

In an informal note the day of the month may be
written out and the year expressed in figures, thus:
August sixteenth, 1914. This is written after the signa-
ture, at the lower left-hand corner of the page ; but a full

62

NICETIES OF CORRESPONDENCE 63

letter should have the address and the date at the be-
ginning, as illustrated in Chapter III.

Do not shorten the names of towns, cities, or States.
Write them in full : Baltimore, Philadelphia, Cincinnati,
Maryland, Pennsylvania, not Bait., Phila., Cinn., Md.,
Pa. Do not abbreviate the words Street and Avenue in
writing an address. St. and Av., or Ave., are not in
good form.

A very objectionable habit is to write " wh." for which,
"thro"' for through, " tho " for though, "can't" for
cannot, " I've " for / have, " I'm " for / am.

If the day of the week instead of the date is used at
the conclusion of a very informal friendly note, it should
be written in full: Tuesday, Wednesday, Saturday, not
Tues., Wed., Sat.

The address on an envelope should always be written
in full. A widow, as well as a married woman, is prop-
erly addressed by her husband's name, Mrs. William
Ward, not Mrs. Florence Ward. A wife never should
be addressed by her husband's professional title. It is
highly incorrect to address Mrs. Doctor Jones, or Mrs.
General Hall; the correct style is Mrs. George Jones,
Mrs. Henry Hall. When addressing an invitation where
names must be put together, write General and Mrs.
Henry Hall.

Abbreviated names, in either addresses or signatures,
are in bad taste. The names James, John, William, or
Charles never should be shortened to Jas., Jno., Wm.,
Chas.

In writing or printing names of persons, it is bad taste
and bad typography to use the initials only for Christian
names, as, W. H. Browne and L. A. Smith. W. is not a
name, and H. is not a name. Write Walter Henry
Browne, or Walter H. Browne, or W. Henry Browne,
but never write W. H. Browne. In the days of ancient
Rome it was allowable to use the initials of men's names,
because those abbreviations stood for one name only —

64 GOOD ENGLISH IN GOOD FORM

C. for Caius, Q. for Quintus, M. for Marcus, etc. But
when we read of W. H. Browne we have no means of
knowing whether his name is William, Walter, Wilfred,
or Wallace.

Letters of Introduction. — Many persons find it diffi-
cult to write letters of introduction. It is not always
easy to frame a letter introducing one friend to another,
and often persons do not know when it is proper to give
such a letter. This point finally settles itself into the
question whether one has a right to make the persons
concerned acquainted with each other. If one of the
two is not a wholly desirable acquaintance, the third
person has no moral right to force that acquaintance on
a friend.

A letter of introduction requires the writing of two
letters. One letter is handed, unsealed, to the applicant,
to be sent or presented to the person to whom it is
addressed. It should contain some polite words as to
the reason why the writer thinks the acquaintance will
be mutually agreeable, and an expression of the pleasure
he feels in making two valued friends acquainted.

The second letter is quite as important, but is often
overlooked. It should be a private letter, sealed, and
sent by mail to the person to whom the open letter was
addressed. It should say that a letter of introduction
has been given to such and such a friend, and should con-
tain some hints about him, so that the recipient of the
letter may know how to receive the person who later will
present the formal note of introduction.

Letters of Application for Employment. — Another
letter of this formal kind that is hard to prepare is one
applying for employment. So difficult is such a letter to
write that a man advertising for an office assistant rarely
receives replies that show proper preparation for the
place. Often the letters are long-winded, and sometimes
the applicants go into details regarding their domestic
concerns, although a business letter calls for only busi-

NICETIES OF CORRESPONDENCE 65

ness forms and the omission of all details except such as
give an idea of the capabilities of the applicant.

The letter should begin, of course, with the name of
the person or firm to whom it is addressed, followed by
"Dear Sir," "Gentlemen," or "Dear Madam." If it
is written to an organization, a club, or a large business
corporation, the envelope should be addressed to the
secretary. It should say that the applicant is seeking a
certain appointment, and should give age, educational
advantages, qualifications, and business experience. Tes-
timonials regarding character and ability should be en-
closed, and more credentials, if desired, should be offered.

Credentials. — The original testimonials or credentials
should not be enclosed in the letter of application. These
should be retained and only copies of them sent. If the
originals are sent, they might be lost or mislaid. An-
other reason why it is desirable to send copies is that
the recipient may wish to retain them while making
inquiries about the applicant. An agency, and perhaps a
business man, will wish to keep them and put them on
file with the letter of application, for possible future ref-
erence.

If it is necessary or desirable to apply for an appoint-
ment by letter, it should be remembered that the appli-
cant may be one of hundreds that are writing to the
same place, and that all letters will be compared with
others. While it is true that different factors influence
people, as a rule a business man is attracted most by
neatness, business-like precision, conciseness, and atten-
tion to the important details of spelling and punctuation
in any letter of application that he receives.

SECOND PART
CHAPTER I

DERIVATION AND COMPOSITION OF
ENGLISH WORDS

Saxon and Latin Derivation. — The words of the Eng-
lish language may be separated into two principal classes :
words of Saxon origin and words of Latin origin. Words
derived from the ancient Greek belong, in this general
division, to the latter of the two classes, although, for
the sake of convenience, they are arranged by themselves
in the following pages. To find the origin of such words
as are of neither Saxon nor Latin derivation, let the
reader consult the Century Dictionary or the Standard
Dictionary, published respectively by The Century Com-
pany and Messrs. Funk and Wagnalls, New York City.
The reader that makes himself familiar with the prefixes
and suffixes, as presented here, will hardly need more for
all practical purposes to enable him to recognize readily
their proper force and effect.

Structure of Language. — Language, in its principles
and structure, is necessarily everywhere virtually the
same. The Latin and Greek scholar has the advantage of
the mere English scholar only in his ability to trace the
etymology of a large class of English words that have been
derived from those languages. Yet, by a careful study of
the etymology of the words, the derivation of which is
traced in the following pages, the student of English will
find some assistance that will partly make amends for the
lack of that classical learning which can be obtained only
by a long course of collegiate study.

66

DERIVATION AND COMPOSITION OF WORDS 67

Many of the words that are classed as words of Latin
origin were introduced into the English not directly from
the Latin itself but from the French, or from some other
of those modern languages that sprang from the Latin
and strongly resemble it. For example, the word finish
may have come into our language from the French word
finir; but both are to be traced to the Latin word finis,
signifying an end or a limit.

Words are to be considered principally in two relations :
in their definite meaning and in their grammatical con-
struction. In the latter aspect we learn the structure of
language, the different classes of words, with their philo-
sophical uses and their relative importance ; in the former,
the force and distinct significance of each separate word.
This requires an accurate knowledge of their origin and
their authorized use.

Changing Forms. — In tracing the etymology of words,
we go first to the original words in the language where
they were first employed, or to their first formation, if
original, in our own language. Thence we trace their
related meanings, the modified uses to which they have
been applied, and the new significations that have been
given to them in the process of time. Sometimes a word
is entirely changed from its original meaning, and is used
not only in varied but in opposite senses. Words are con-
tinually manufactured, too, to suit the times, for new
things that are the subject of thought, or for new modes
of thought. They are formed also by the combining of
different words, and by prefixes and suffixes. Thus they
are changed or modified in meaning, and new words spring
into use.

The Importance of Using the Right Word. — Lan-
guage, the first necessity of the mind, is not only the in-
strument but the nutriment of thought, and the impor-
tance of its correct use is readily perceived in its neces-
sity and its immeasurable influence. It is necessary to
the development of mind and to civilization. The Ian-

'68 GOOD ENGLISH IN GOOD FORM

guage of a nation or of an individual tests the character
as accurately as the thermometer tests the degrees of
temperature.

The study of words is in reality the study of philosophy,
of history, of morals. We may read a nation's history
in a nation's words. Mind is there stereotyped in form
and feature as is reality in life. There is often more
of true history to be learned in a dictionary, which can-
not lie, than in written records, which may have been
framed by prejudice, pride, affectation, misconception, or
intended falsehood. Tradition is shadowy; memories
may be imperfect ; history, even, is largely poetic, with an
admixture of fiction. But a nation's language is itself -
the record of the day and the hour, and the honest reality
of its thinking, acting, and speaking. Words are things,
and therefore in everything that they fairly indicate they
are reliable. In the study of words we trace the stream
of knowledge to its sources, explore its fruitful branches
and its delta, where, by a hundred mouths, it brings ac-
cumulated treasures to a common reservoir of human
thought, whence exhales a healthful influence that re-
freshes the whole earth.

Connection between Words and Emotions. — The
connection between the words we utter and the moral
emotions is palpable to everyone that has studied the
mental processes of his own consciousness. Physiolog-
ically, the connection between the vocal organs and the
brain is known to be delicately sensitive and powerfully
reciprocal. The same may be true, metaphysically, be-
tween the verbal definitions in our mental activities and
the permanent impressions of principles on the mental
and moral emotions. In the spiritual state, these verbal
mental processes place in permanent forms what words,
uttered or written, stereotype in vocables. They are then
ours, adopted — they attach to the mind as a part of itself
and become permanently operative. A man's thoughts,
which are words uttered within himself, are the record

DERIVATION AND COMPOSITION OF WORDS 69

by which he may read himself as truly as the opinion,
written or spoken and defended, reveals him to others.
Habits of thinking are as important influences — often
more important — on the character as habits of speak-
ing. Hence the wisdom of that old caution, " Be care-
ful of thy words, whether in thought or in utterance."

CHAPTER II
PREFIXES AND SUFFIXES

Prefixes and Suffixes. — Many English words are
formed from other English words by means of prefixes
and suffixes. A letter, syllable, or word joined to the
beginning of a word is called a prefix; a letter or syllable
joined to the end is called a suffix. Thus, from tell is
formed foretell, by joining a prefix; and from do is
formed doer, by joining a suffix. A word may take two
or more prefixes or suffixes at the same time. Thus, re-
pro-duce contains two prefixes, re and pro ; wonderfully
contains two suffixes, ful and ly.

Some of our prefixes and suffixes are of Saxon origin
and others are from the Latin. Some of them are words
that may be used separately, while the greater part are
inseparable, that is, they never are used by themselves.
Many prefixes that are inseparable in English are sepa-
rable in the languages from which they are derived.

In learning our own language, we become so familiar
with the meaning of most of the prefixes and suffixes
that as soon as we have ascertained the sense of any word
that is new to us we can tell what would be the meaning
of the several words framed from it by such additions.
Thus, after learning the meaning of the word confirm, we
know what must be the meaning of the words confirmed,
confirmation, confirmatory, confirmer, unconfirmed, etc.,
from the manner in which they are varied from the word
confirm.

When a prefix ends with a consonant, that consonant
is often changed or omitted in order that the prefix may
unite easily with the word to which it is to be joined.

70

PREFIXES AND SUFFIXES 71

In the words a/fix, cohere, implant, and suffix, for ex-
ample, the prefixes — originally, ad, con, im and sub —
are changed merely for the sake of euphony, that is, to
produce a more agreeable sound.

PREFIXES

The following is a list of the most important pre-
fixes used in forming English words. The abbreviation
(L.) shows that the prefix is from the Latin; (G.) that
it is from the Greek. Prefixes that are inseparable in
the languages from which they are derived, as explained
before, are denoted by the abbreviation (insep.).

A (when of English or Saxon origin), signifies in, on, or
at; as in the words abed, aboard, aloft, ashore, aside.

A, or AB (L.), from; as, avert (L.), to turn from; absolve
(L.), to release from.

A, or AN (G. insep.), destitute of; as, atheist (G.), one
without a God; anarchy (G.), want of government.

AD (Lat.), which may become, in composition as explained
above, a, ac, af, ag, al, an, ap, ar, as, or at, signifies to; as
adhere (L.), to stick to; ascend (L.), to mount to; allot, to
assign to; attest (L.), to bear witness to.

AM, or AMB (L. insep.), round or about; as, ambient (L.),
going round; surrounding.

ANA (G.), throughout, up; as, analysis (G.), a loosening
throughout; the solution of any compound; anatomy (G.), a
cutting up.

ANTE (L.) before; as antecedent (L.), going before.

ANTI, or ANT (G.), against; as onft'christian (G.), against
or opposed to Christianity; onf arctic (G.) against or oppo-
site to the north ; southern.

APO, or AP (G.), from; as apostle (G.), one sent out;
aphelion (G.), from the sun.

BE (from the word by), signifies upon, over, about; as, be-
sprinkle, to sprinkle on or over. In some words, the prefix
be seems to be one of a different origin, as in i^head, be-
siege.

CATA (G.), down, against; as cafarrh (G), a flowing
down; cataract, a dashing down.

72 GOOD ENGLISH IN GOOD FORM

CIRCUM (L.), around, or about; as, circumnavigate (L.),
to sail around; circumjacent (L.), lying around.

CON (in L., CUM), with, or together. It takes several
forms, viz., co, cog, col, com, and cor; as, connect (L.), to
bind together; cohere (L.), to stick together; compress (L.),
to press together.

CONTRA (L.), against; as, contradict (L.), to speak in op-
position. In many words it takes the form counter; as, coun-
teract (L.), to act against.

DE (L.), from, or down from; as deduct (L.). to take
from; descend (L.), to go down from.

DIA (G.), through; as, diameter (G.), the measure
through.

Dis, and the forms di and dif (L. insep.), asunder, apart,
away; as, dissent (L.), to be of a different opinion; divert
(L.), to turn one aside. This prefix often has a kind of
negative meaning; as in disadvantageous, not advantageous.

E, or Ex (L. & G.), out, or out of; as, eject (L.), to cast
out; exclude (L.), to shut out. It also takes the forms ec,
and ef; as eccentric (G), out of the centre; e/flux (L.), a
flowing out.

EN, or EM. See IN.

EPI, or EP (G.), upon, over, for; as epidemic (G.), upon
a people; ephemeral (G.), lasting for a day.

EXTRA (L.), beyond; as, extraordinary (L.), beyond what
is ordinary.

FORE, before; as, foretell, to tell beforehand.

HYPER (G.), above, beyond; as, w;y/>ercritical, critical be-
yond reason.

HYPO (G.), under; as, hypothesis, a supposition taken as
the basis of a theory.

IN, or EN (L. & G.), in, on, or into; as, insert (L.), to
put in; incubation (L.), sitting on; induce (L.), to lead into;
engrave (G.), to cut upon, or in. In may become il, im, or
ir; and en may become em. In and its equivalents often de-
note privation or negation; as, indecent (L.), not decent; il-
legal (L.), not legal. Some words are written with in or en
indifferently; as, enclose, or inclose.

INTER (L.), between, or among; as, interpose (L.), to
place between. It sometimes takes the form enter; as, enter-
tain (L).

INTRO (L.), within; as, introduce (L.), to lead within.

MET A, or MET (G.), after, beyond, from one to another;
as, me/ophysics (G.), the science which is after or beyond

PREFIXES AND SUFFIXES 73

physics; metonymy (G.), a putting of one word or name for
another.

Mis, signifies wrong, erroneous, defective; as, misconduct
(L.), wrong conduct; misconception (L.), an erroneous no-
tion.

NON (L.), not; as, nondescript (L.), not described.

OB (L.), denotes opposition; as, object (L.), to cast
against. In composition it may become oc, of, or op.

OUT, beyond; as oufdo, to surpass.

PARA, or PAR (G.), by the side of; as, parasite (G.), that
which grows or feeds at the side of something; parish (G.).

PER (L.), through; as pervade (L.), to extend through.

PERI (G.), around; as perimeter (G.), the outer line, or
measure around anything.

POST (L.), after; as, postscript (L.), something written
after.

PRE (L.), before; as, precede (L.), to go before; prejudge
(L.), to judge before.

PRETER (L.), beyond; as, preternatural (L.), beyond na-
ture.

PRO (L.), for, forth, forward; as pronoun (L.), a word
used instead of a noun; provoke (L.), to call forth; propel
(L.), to drive forward. It takes the form of pur, in pur-
pose, and por, in portray.

RE, or RED (L. insep.), back again, anew; as, recall, to call
back; redeem (L.), to buy back; to ransom.

RETRO (L.), backward; as, retrospect (L.), a looking back-
ward.

SE (L. insep.), aside, apart; as, secede (L.), to withdraw;
Delude (L.), to shut away, or apart.

SUB, or SUBTER (L.), under; as subscribe (L.), to write
under; subterfuge (L.), a flying under. It takes also the
forms sue, suf, sug, sup, and sus.

SUPER (L.), above, over, more than enough; as, supernat-
ural (L.), above nature; supervision (L.), overseeing. It
often takes the form sur; as, surcharge, to overload.

SYN (G.), with, together; as, synthesis (G.), putting to-
gether. It takes also the forms sy, syl, and syn.

TRANS, or TRA (L.), over, through, beyond; as, trans-
gress (L.), to go over a law, or rule; fronsparent (L.), clear
like glass; t reverse (L.), to pass over.

UN, denotes privation or negation (see IN) ; as, unbind, to
take off a band; «ncertain (L.), not certain.

UNDER, as undermine; underrate (L).

74 GOOD ENGLISH IN GOOD FORM

WITH, as a prefix, usually denotes opposition, or separa-
tion; as, withstand (L.), to stand against; withdraw, to re-
tire.

SUFFIXES

In the following list of suffixes, examples are given,
under each suffix, of the several parts of speech which
that suffix is used to form. Thus, under Ate, the ex-
ample preceded by the abbreviation a. illustrates the
manner in which ate is used to form adjectives; the
example marked «. illustrates its use in forming nouns.1

Ac; a. demoniac, like a demon; cardiac (G.), pertaining
to the heart.

ACEOUS; a. saponaceous (L.), having the qualities of soap.

ACY; n. obstinacy (L.), the state or condition of being ob-
stinate.

AGE ; n. bondage, the condition of one bound ; coinage, the
doing of work upon coins.

AL; a. personal (L.), relating to persons. — n. removal
(L.), the act of removing.

AN, or IAN; a. republican (L.), belonging to a republic;
barbarian, belonging to a barbarous people. — n. historian,
one who writes history.

ANCE, or ANCY; n. ignorance (G.), the state of being
ignorant; constancy (L.), the quality of being constant.

ANT; a. abundant (L.), being in abundance. — n. disputant
(L.), one who does the act or work of disputing.

AR; a. lunar (L.), belonging to the moon; annular (L.),
resembling a ring. — n. liar, one who tell lies.

ARD; n. drunkard, one who does, or is guilty of intemperate
drinking.

1 The signification of the suffixes must be learned by observa-
tion. In many cases, it is impossible so to state it that the student
can use the statement as a general definition in analyzing words.
Should he desire something like a general definition, the words
italicized in the explanations of the examples given in this list
may be used for this purpose, as the sentences are constructed
with a view to such a use of the italicized portion. In analyzing
words, with reference to their derivation, the student should be
accustomed to state what part of the word constitutes the suffix,
— what part or parts of speech it is used to form — and how
it affects the signification of the word in question. A careful
study of the examples here adduced and explained will give the
student facility in expressing the signification of the suffixes in
other cases.

PREFIXES AND SUFFIXES 75

ARY; a. rotary (L.), resembling a wheel; planetary (G.),
pertaining to the planets. — n. aviary (L.), a place where
birds are kept; missionary (L.), one who does the work, or
bears the responsibilities of a mission.

ATE; a. accurate (L.), having the quality of accuracy. —
n. magistrate (L.), one who performs the duties of a
ruler. — z/. abbreviate (L.), tcx make short; navigate, to per-
form the act of sailing.

BLE; a. arable (L.), that can be plowed; laudaftte (L.),
that may be praised.

CLE ; n. vesicle, a little cavity, or vessel ; corpusck, a little
body.

CULE, n. animalcule (L.), a minute animal.

DOM ; n. freedom, the condition of being free ; kingdom,
the realm of a king.

EE; n. referee (L-)> one who is referred to for a decision.

EER; n. engineer, one who does the work of managing an
engine.

EN; v. blacken, to make black.

ENCE, or ENCY; n. presence (L.), the state of being pres-
ent; tendency (L), the act or quality of tending toward.

ENT; a. prudenf (L-)» having the quality of prudence. —
n. studenf, a person who studies.

ER; n. carrier, one zy/to does the work of carrying. — a.
broader, more broad.

ERY; n. distillery (L.), a place where distilling is carried
on.

ESCENCE; n. convalescence (L.), state of growing or be-
coming healthy.

ESCENT; a. putrescent, becoming putrid.

Ess; a suffix denoting feminine gender; as, n. lioness, a
female lion.

FUL; a. joyful, full of joy.

HOOD; n. widow/tooo1, the condition of being a widow.

Ic; a. heroic, like a hero, or having the quality of hero-
ism.

ICE; n. cowardice, the quality of being cowardly.

Ics ; n. optics (G.), the science of vision; mathematics
(G.), the science of quantity.

ID; a. frigid (L.), having the quality of coldness.

ILE; a. fragile (L.), that may be broken; puerile (L.),
like, or pertaining to a boy.

INE; a. canine (L.), pertaining to dogs; alkaline, like, or
having the qualities of an alkali.

ION; n. rebellion (L.), the act of rebelling; expansion

76 GOOD ENGLISH IN GOOD FORM

(L.), the act of expanding, or state of being expanded.

ISH; a. whiti$7t; somewhat white; boyish, like a boy. — v.
publish (L.), to make public; vanish, to do the thing de-
noted by the word disappear.

ISM, or ASM ; n. heroism, the state of being a hero ; criti-
cism (G.), the practice of criticising; Hebraism, an idiom of
the Hebrew language.

Isx; n. artist (L.), one who does work in any branch of
art; fiorist (L.), one who practises the art of cultivating
flowers ; Calvinirt, one who is a follower of the doctrines of
John Calvin.

ITE ; n. favorite, one who is beloved ; Israelite, one belong-
ing to the nation of Israel.

IVE; a. instructive (L-), fitted to give instruction; active
(L.), having power or fitness to act.

IZE, or ISE; v. fertilise (L-), to make or render fertile.

LESS; a. fearless, without fear; penniless, destitute of a
penny.

LET; n. streamlet, a little stream.

LIKE; a. warlike, resembling war.

LING; n. a suffix denoting littleness, as in sapling, year-
ling lordling.

LY; a. beastly, like a beast. — adv. proudly, in a manner
exhibiting pride; fixedly (L.), in a manner unchanging or
unmoved.

MENT; n. banishment the state of being banished, or the
act of banishing; accompaniment, that which accompanies.

MONY; n. acrimony (L.), the quality of sharpness or se-
verity. In the words testimony (L.), matrimony (L.),
patrimony, &c., the suffix many is used with a singular va-
riety of signification.

NESS; n. firmness (L.), the state of being firm; littleness,
the quality or circumstance of being little.

OR; n. governor (L.), one who does that which is denoted
by the word govern.

ORY; a. preparatory (L.), fitted or designed to prepare. —
n. observatory (L.), a place where observations are taken.

OSE; a. verbose (L.), abounding in words.

Ous; a. dangerous, partaking of danger; courageous
(L.), having the quality of courage. V.

SHIP; n. clerkship, the place, or office of a clerk; friend-
ship, the condition or relation of being a friend.

SOME; a. quarrelsome, characterized by a disposition to
quarrel; burdensome, having the quality or character of op-
pressiveness.

PREFIXES AND SUFFIXES 77

STER; n. teamster, one whose business it is to drive a
team.

TUDE; n. servitude (L.), the condition of slavery; forti-
tude (L.), the quality of bravery.

TY; n. ability (L.), the condition or state of being able.

URE; n. departure (L.), the act of departing; posture, the
condition of being in a particular position; furniture, the
thing furnished.

WARD; adv. eastward, in the direction of the east. — a.
awkward, having the quality of uncouthness.

Y ; a. dewy, covered with dew ; watery, partaking of water.
— n. modesty (L.), the quality or state of being modest.

CHAPTER III

WORDS DERIVED FROM THE LATIN AND THE
GREEK

Pronunciation. — Latin words are usually pronounced
in this country in accordance with the general principles
of English pronunciation. The following directions,
however, are necessary for those who have not studied
Latin, and should be carefully observed.

Every Latin word has as many syllables as there are
vowels or diphthongs in it. Thus, in the expression
bona fide, in good faith, the word fide has two syllables,
the e being sounded as e in me. In like manner the
words voce, jure, parte, lege, etc., are pronounced each
with two syllables.

Words of two syllables have the accent always on the
first syllable; as a'cer, a' go, ar'bor. In this book the
accented syllable is marked in all Latin words of more
than one syllable; and the manner in which the word is
divided will usually show what sound is to be given to
the vowel of the accented syllable.

When a word of more than one syllable ends with a,
that letter is sounded as a in ah, except that the sound
is not prolonged; as cau'sa, cate'na.

The diphthongs & and ce are sounded as simple e
would be in the same place; thus, fce'dus and am'ulus,
are pronounced as if written je'dus, em'ulus.

C and g are hard before a, o, and u, and soft before
e, i, and y; thus, in the words ca'no, co'lo, and cu'ra, the
C has the sound of k; in ce'do and ci'vis it has the sound
of s. So g, in the words fuga'tus, li'go, and lon'gus,

78

WORDS DERIVED FROM LATIN AND GREEK 79

has the sound of g in give; in the words ge'ro and gig' no
it has the sound of g in gentle.

Ch always sounds like k.

as' In the following groups of words, a Latin word
placed in a parenthesis immediately after another Latin
word, as (acris) after Acer, shows the form which that
word assumes in the genitive case in Latin grammar, if
it be a substantive or an adjective; or in the supine, or
some other inflection, if it be a verb.

In the several paragraphs, the words are not always
arranged in exact alphabetical order, because it is de-
sirable that words formed immediately and obviously
from the Latin word should be placed before those of
which the derivation is more remote.

Acade'mia (G), a place near Athens, where
Plato taught philosophy.

ACAD'EMY, a high shool. — ACADEM'IC, belonging to a school
or college.

A'cer (a'cm), sour, pungent. Acu'tus, sharp.
ACER'BITY, sharpness of disposition. — AC'RID, of a biting
taste. — AC'RIMONY, sharpness; ill-nature. — ACID'ULATE, to
flavor with acid. — ACID'ITY, sourness ; tartness. — ACUTE',
sharp-witted; pointed. — ACU'MEN (Lat. acumen, a sharp
point), intellectual penetration; quickness of perception.

Ach'os (G), pain.
ACHE, to suffer pain. — ACH'ING, painful.

Adel'phos (G), a brother.
This word is used often in forming botanical terms.

A'er (G), the air.

AE'RIAL, consisting of air. — A'EROLITE, a meteoric stone. —
A'ERONAUT, one who sails in the air. — AEROSTA'TION, aerial
navigation. — AEROL'OGY, that branch of philosophy which
treats of the air.

A'ger (afgri}, a field.

AGRA'RIAN, relating to lands.1 — AG'RICULTURE, the cultiva-
tion of the ground. — AGRICUI/TURIST, a farmer.

1 The agrarian laws of ancient Rome, which caused much civil

8o GOOD ENGLISH IN GOOD FORM

A'gere (ac'tum), to do; to perform.

ACT, to behave; to perform. — AC'TION, a performance. —
ACTI/ITY, AGIL'ITY, quickness of motion. — AC'TUAL, real;
existing in act. — AC'TUARY, a register or clerk. — A'GENT,
a doer ; one intrusted with business. — AG'ITATE, to put into
motion or excitement. — ENACT', to decree. — EXACT', v. to
take by authority or force. — EXACT', a. accurate. — TRANS-
ACT', to conduct or perform.

A'gein (G), to lead.

DEM'AGOGUE, a leader of the people. — PED'AGOGUE, a school-
master.

A'gon (G), a contest.
AG'ONY, anguish. — AG'ONIZE, to writhe with pain.

Al'gos (G), pain.
CEPH'ALALGIA, headache. — ODONTAL'GIA, toothache.

A'lius, other; another. Alie'nus, foreign.
AL'IEN, foreign; estranged. — AL'IENATE, to transfer to an-
other; to estrange. — ALIEN A'TION, estrangement. — IN-
AL'IENABLE, that cannot be transferred or alienated.

Akou'ein (G), to hear.

ACOUS'TICS, the science of sounds. — OTACOUS'TIC (G), the
ears ; fitted to aid the hearing.

Ak'ron (G), the extremity.

ACROP'OLIS, the height or citadel. — ACROS'TIC, a kind of poet-
ical composition.

AUaj/is (G), a change.

PAR'ALLATC, an astronomical term. — PARALLAC'TIC, pertain-
ing to the parallax.

A'lere (al'itum, or al'tum), to feed; to nourish.
AL'IMENT, nourishment. — ALIMENT'ARY, pertaining to food.
— COALESCE' (L coalesce), to grow together; to unite. —
COALI'TION, combination; union.

Al'pha (G), the first letter in the Greek alphabet.
AL'PHABET, a list of the letters of a language. — ALPHABET'-
ICAL, pertaining to the alphabet.

commotion, related to the distribution of public lands among the
people.

WORDS DERIVED FROM LATIN AND GREEK 8 1

An'emos (G), the wind.
ANEMOM'ETER, a wind gauge. — ANEM'ONE, the wind-flower.

An'er — genitive audros (G), a man.*

AN'DROID, a machine in human form. — ANDROPH'AGUS, a
man-eater.

Angel'los (G), a messenger.

AN'GEL, a spirit; a spiritual messenger. — EVAN'GELIST, a
preacher of the gospel. The Greek prefix eu means
" good."

An'thos (G), a flower.

ANTHOL'OGY, a discourse on flowers; a gathering of divers
subjects. — HELIAN'THUS, the sunflower.

Anthro'pos (G), man.

MIS'ANTHROPE, a hater of mankind. — PHILANTHROPIST, a
friend of the human race.

Al'ter, the other. Alte/nus, one after the other.
ALTERCA'TION, quarrelling; disputing. — ALTERNATELY, one
after the other. — ALTERNATION, succession; performance
by turns. — ALTERNATIVE, a choice of two things.

Al'tus, lofty.
AL'TITUDE, height. — EXALT', to raise, lift.

Am'bulare (ambula'tum), to walk.

AM'BULATORY, pertaining to the act of walking. — AM'BLE,
to walk or run in an artificial manner. — PERAM'BULATE, to
walk through.

A' mare (ama'tum), to love.

AMATEUR' (Fr), a lover of the fine arts. — A'MIABLE,
lovely; worthy to be loved. — AMIABIL'ITY, loveli-
ness.— AM'ICABLE, friendly, peaceable. — AM'ITY, friend-
ship; good-will. — ENAM'ORED, inflamed with love; fond.

Am'plus, large.

AM'PLE, large; liberal. — AM'PLY, largely. — AM'PLIFY, to en-
large.— AMPLIFICATION, enlargement ; extension. — AM'-
PLITUDE, largeness.

* In Greek and Latin nouns the root of the word always ap-
pears in the genitive case (same as the possessive in English),
but not always in the nominative.

82 GOOD ENGLISH IN GOOD FORM

An'gere (anx'i), to vex.

AN'GER, wrath. — AN'GUISH, extreme pain. — ANXIETY, so-
licitude.— AN'XIOUS, solicitous.

An'gulus, a corner.

AN'GLE, a corner. — AN'GULAR, having corners. — RECT'-
ANGLE, a right-angled, four-sided figure. — TRI'ANGLE, a
three cornered figure. — QUAD'RANGLE, a square.

An'ima, the life, or spiritual principle. An'imus, the mind.

ANI'MAL, a living creature. — ANIMAL'CULE, a minute ani-
mal.— AN'IMATE, to make alive. — ANIMADVERT', to con-
sider or criticise. — INAN'IMATE, lifeless. — ANIMA'TION,
liveliness. — ANI'MOSITY, violent hatred. — UNANIM'ITY,
agreement in opinion. — UNAN'IMOUS, of one mind. —
EQUANIM'ITY, evenness of mind. — MAGNANIM'ITY, great-
ness of mind. — PUSILLANIMITY (L, pusillus, weak), cow-
ardice.

An'nus, a year.

AN'NUAL, happening yearly. — ANNU'ITY, a yearly income. —
ANNU'ITANT, one who receives an annuity. — ANNIVER'-
SARY, a stated day, returning with the revolution of the
year. — AN'NALS, yearly records. — BIEN'NIAL, of two
years. — TRIEN'NIAL, happening every three years. —
SEMIANNUAL, happening twice a year. — SEPTEN'NIAL, of
seven years. — SUPERANNUATED, impaired by old age. —
PEREN'NIAL, continuing through the year. — MILLEN'-
NIUM, a thousand years.

An'nulus, a ring.

AN'NULAR, in the form of a ring. — SEM'I-ANNULAR, having
the form of half a ring.

An'tiquus, ancient.

AN'TIQUARY, one who seeks ancient things. — AN'TIQUATED,
old; out of date. — ANTIQUE' (Fr), belonging to old times;
a relic of ancient times. — AN'CIENT, old.

Ape'rire, to open.
APE'RIENT, laxative. — AP'ERTURE, an opening.

Ap'tein (G), to fit or join.

APT, fit; inclined to. — APT'NESS, fitness; quickness of appre-
hension.— AP'TITUDE, tendency; disposition. — ADAPT', to
adjust ; to fit one thing to another.

WORDS DERIVED FROM LATIN AND GREEK 83

A'qua, water.

AQUAT'IC, living in or on the water. — A'QUEOUS, watery. —
AQ'UEDUCT, a channel for water. — TERRA'QUEOUS, consist-
ing of land and water.

A/biter, a judge or umpire.

ARBITRATOR, a judge appointed by opposite parties to decide
between them. — AR'BITRATE, to decide. — AR'BITRARY, ca-
pricious; absolute.

A/bor, a tree.

AR'BOR, a bower. — AR'BORIST, one who cultivates trees and
shrubs. — AR'BORICULTURE, the art of cultivating trees and
shrubs.

A/cere, to hinder or restrain.
COERCE', to restrain by force. — COER'CION, restraint.

A/che (G), the beginning; government.
AN'ARCHY, want of government. — AR'CHAISM, an ancient
phrase. — ARCHAN'GEL, the highest angel. — ARCHEOL'OGY,
a discourse on antiquity. — AR'CHETYPE, the original or
model. — AR'CHITECT (G, tekton, a builder), one skilled in
building. — AR'CHIVES, records. — PA'TRIARCH (G, pater, a
father), the father and ruler of a family.

Ardere {a/ si), to burn.

AR'DENT, burning; passionate. — AR'DOR, heat; earnestness.
— AR'SON, setting fire to a dwelling.

A/gos (G), inactive.
LETH'ARGY, drowsiness; stupidity. — LETHAR'GIC, inactive.

Arguere, to argue.

AR'GUE, to reason; to dispute. — AR'GUMENT, a reason of-
fered; controversy. — ARGUMENTATION, reasoning. — AR-
GUMENT7 ATIVE, containing argument.

Arts' 't os (G), best.

ARISTOCRACY, the rule or government of the nobility. —
ARISTOCRAT, one who favors an aristocracy.

Arith'mos (G), number.

ARITH'METIC, the science of numbers. — LOG'ARITHM, a
mathematical term.

84 GOOD ENGLISH IN GOOD FORM

Ark'tos (G), a bear.
Anc'Tic,2 northern. — ANTARC/TIC,S southern.

arms, weapons.

ARM, v. to take arms. — ARMS, weapons; war. — DISARM', to
deprive of weapons. — AR'MY, a number of armed men. —
AR'MISTICE, a cessation of hostilities. — AR'MORER, one who
makes arms. — AR'MOR, defensive weapons. — AR'MORY, the
place where arms are kept or made. — AR'MAMENT,
ARMA'DA, (Sp.), a naval warlike force. — ARMO'RIAL, be-
longing to the escutcheon of a family.

A'rare, to plough.
AR'ABLE, capable of being ploughed. — INAR'ABLE, not arable.

Aro'ma (G), spicy flavor.

AROMAT'IC, fragrant; spicy. — AR'OMATIZE, to give a spicy
taste.

Ars (aStis), art, skill.

ART, skill, cunning; a trade. — ART'IST, a professor of an
art. — ARTISAN, ARTIFICER; a workman, an operative. —
ARTIFICIAL, made by art, not genuine. — ART'IFICE, strata-
gem. — ART'FUL, cunning. — ART'LESS, unskilful; without
fraud. — INERT', dull ; motionless.

Artic'ulus, a joint or limb.

AR'TICLE, a single thing ; a part of speech. — ARTIC'ULATE, v.
to speak distinctly; to join. — ARTIC'ULATE, a. distinct;
branched out into joints. — ARTIC'ULATELY, with distinct-
ness of sound. — ARTICULA'TION, a juncture of bones; the
knots in the stalk of a plant; speech.

As'kein (G), to exercise; to train.

ASCET'IC, a. self mortifying; austere; retired from the world.
— ASCET'IC, n. one who retires from the world and
devotes himself to religious discipline.

Asfper, rough.
ASPER'ITY, roughness. — EXAS'PERATE, to enrage.

AStron (G), a star.

AS'TERISK, a mark like a star. — ASTROL'OGY, divination by
the stars. — AS'TRAL, star-like. — ASTRON'OMY, the science
of the stars.

2 Literally, pertaining to the constellation called the Bear.
8 Opposite to the north or the north pole.

WORDS DERIVED FROM LATIN AND GREEK 85

Ath'los (G), a combat.

ATHLET'IC, pertaining to active sports; vigorous. — ATH-'
LETE, a contender for victory.

At'mos (G), vapor; steam.

AT'MOSPHERE, the air above us. — ATMOSPHER'IC, pertaining
to the atmosphere.

Au'dire (audi'tum), to hear.

AUD'IBLE, that can be heard. — AUD'IENCE, a hearing; the
persons assembled to hear. — AUD'IT (L), to examine an
account. — AUD'ITOR, a hearer; an examiner. — AUD'ITORY,
an assembly of hearers.

Au'gere (aux'i, auc'tutn), to increase.

AUGMENT', to increase. — AUGMENTATION, enlargement. —
AUC'TION, a sale by bidding more and more. — AUC-
TIONEER', one who holds an auction. — AU'THORIZE, to give
authority. — AU'THOR (the Latin word is aucftor), an orig-
inator; a writer. — AUTHOR'ITY, legal power; influence. —
AUXIL'IARV, helping.

Au'los (G), a pipe.

HYDRAU'LIC, transmitting water through pipes. — HYDRAU'-
LICS, the science of motion and the force of fluids.

Au'tos (G), oneself.

AU'TOCRAT, a despotic ruler. — AU'TOGRAPH, one's handwrit-
ing.— AUTOM'ATON, a self-moving machine. — AUTON'OMY,
the right of self-government.

A'vis, a bird. Au'gur, Aus'pex (aus'picis), a soothsayer.
A'VIARY, a place enclosed to keep birds in. — AU'GUR, n. one
who predicted by observing birds. — AU'GUR, v. to fore-
bode.— INAU'GURATE, to invest with an office by solemn
rites. — AUS'PICES (L), the omens of an undertaking. —
AUSPIC'IOUS, favorable.

Bac'chus, in heathen mythology, the god of wine.
BAC'CHANAL, one who indulges in drunken revelry. — BAC-
CHANA'LIAN, pertaining to drunken revelry.

Bal'lein (G), to cast or throw.
EM'BLEM,* a representation. — HYPER'SOLE,' an exaggera-

4 The Greek word emblema signifies anything inserted; hence,
mosaic work, or a picture.
6 A casting over or beyond.

86 GOOD ENGLISH IN GOOD FORM

tion. — PAR'ABLE, a similitude. — PROBLEM,6 a question pro-
posed.— SYM'BOL, a sign.

Baptizein (G), to baptize.

BAP'TISM, a Christian sacrament. — BAPTIS'MAL, pertaining
to baptism. — PE'DOBAPTIST, one who believes in infant
baptism.

Bea'tus, happy; blessed.

BEATIF'IC, fitted to bless or make happy. — BEATITUDE,
blessedness; a blessing pronounced.

Bel'lum, war.

BELLIG'ERENT, waging war. — REBEL, one who revolts. —
REBELLION, insurrection.

Ba'ros (G), weight.

BAROM'ETER, an instrument for measuring the pressure of
the atmosphere. — BAR'YTONE, having a grave, deep sound.

Ba'sis (G), a foundation,

BASIS, a foundation ; a. mean. — DEBASE', to render mean or
vile.

Befne, well.

BOUN'TY (L, bo'nus, good), generosity. — BENIGN, kind;
favorable. — BENEF'ICENT, kind; doing good. — BENEF'-
ICENCE, active goodness. — BEN'EFIT, advantage. — BENEFI'-
CIAL, advantageous. — BEN'EFICE, a church living. —
BENEFACTOR, one who confers a benefit. — BENEDIC'TION, a
blessing. — BENEVOLENCE, disposition to do good.

Be'ta (G), the second letter of the Greek alphabet.

Bib'los, a book.

BI'BLE, the Holy Scriptures. — BIB'LICAL, pertaining to the
Bible. — BIBLIOG'RAPHY, a history or description of books.

Bifos (G), life.

AMPHIB'IOUS,T having the power of living in two elements.
— BIOG'RAPHY, the history of a person's life.

Bi'bere, to drink.

BIB'BER, a tippler. — BIBA'CIOUS, fond of drinking. — BIB'-
ULOUS, absorbing. — IMBIBE', to drink in.

6 Something cast or placed before one.
1 Literally, having double life.

WORDS DERIVED FROM LATIN AND GREEK 87

Bis, twice.

BISECT', to cut into two equal parts. — BISECTION, division
into two equal parts. — BIS'CUIT, hard, dry, flat bread. —
COMBINE' (L, bi'ni, two by two), to unite. — BI'PED, an ani-
mal having two feet. — Bi' VALVE (val'va, folding-doors),
a molluscous animal, having two valves or shells; an
oyster ; a mussel, etc.

Bot'ane (G), an herb or plant.

BOT'ANY, the science of vegetable life. — BOT'ANIST, one
skilled in botany.

Bou'colos (G), a herdsman.
BUCOL'IC, a. pastoral. — BUCOL'IC, n. a pastoral poem.

Brei/is, short.

BREVET', a commission without seal, giving title and rank in
the army above that for which pay is received. — BREVET',
taking rank by brevet. — BREV'ITY, shortness. — ABBRE'-
VIATE, to shorten. — BRIEF, a. short ; concise. BRIEF, n. a
pleader's notes.

Ca'dere (ca'sum), to fall.

CA'DENCE, fall of the voice. — DECA'DENCE, falling; decay. —
CASE, state of a thing. — CAS'UAL, happening by chance. —
CAS'UALTY, accident. — CASCADE ; a waterfall. — AC'CIDENT,
that which happens unforeseen. — COINCIDE', to agree. —
COINCIDENCE, concurrence. — DECAY', to fall away. —
DECID'UOUS, falling. — IN'CIDENT, n. an event. — IN'CIDENT,
a. likely to happen as an attendant event. — OCCA'SION, op-
portunity; time of a particular occurrence. — OC'CIDENT,
the west, where the sun sets.

Ca'dere (c&'sum), to cut; to kill.

INCIS'ION, a cut into any thing. — EXCIS'ION, a cutting out. —
EXCISE', a duty on goods. — CONCISE', short, brief. — DE-
CIDE', to determine. — DECIS'ION, determination. — PRE'-
CISE', exact ; strict. — PRECIS'ION, exact limitation. — FRAT'-
RICIDE, killing a brother. — HOM'ICIDE, manslaughter; a
manslayer. — INFAN'TICIDE, killing an infant. — MAT'RI-
CIDE, killing a mother. — PAR'RICIDE, killing a father. —
SUI'CIDE, self-murder. — REG'ICIDE, murder of a king.

Cal'idus, warm or hot.

CAL'DRON, a boiler; a large kettle. — CALOR'IC, the element
of heat. — SCALD, to burn with a boiling fluid.

88 GOOD ENGLISH IN GOOD FORM

Calx (cal'ds), chalk; limestone. Cal'culus, a little pebble.
CALCINE', to expel all volatile ingredients from a compound
by heat (as water and carbonic acid from limestone in
the manufacture of lime) ; to reduce to powder or ashes.

— CAI/CULATE, to reckon. [Anciently, pebbles were used
in numerical computation.] — INCALCULABLE, that cannot
be calculated; beyond calculation.

Can'dere, to glow with heat.

CAN'DLE, a tallow or wax light. — IN'CENSE, n. perfumes
burnt. — INCENSED v. to enrage. — INCEN'TIVE, inducement.

— INCEND'IARY, one who sets houses, etc., on fire. — CAN'-
DOR, sincerity. [This signification is derived figuratively
from the light pertaining to a red-hot substance.] — CAN'-
DID, open, ingenuous. — CAN'DIDATE, one proposed for
office, or preferment.8

Ca'nis, a dog.

CA'NINE, pertaining to dogs. — CANICULAR, pertaining to
the dog-star.

Can'tus, a song.

CHANT, a kind of sacred music. — CHAN'TICLEER, the cock
that crows. — CAN'TICLE, a song; the Song of Solomon. —
CAN'TO (It.), a section of a poem. — CANT, a set phraseol-
ogy used to manifest religious zeal. — DESCANT', to dis-
course in a formal manner. — AC'CENT, a modification of
the voice. — ENCHANT', to delight highly. — INCANTA'-
TION, charms by singing. — RECANT', to recall, to retract.

. Ca'pere {cap' turn}, to take.

CA'PABLE, able to do or take. — CAPA'CIOUS, large, holding
much. — CAPAC'ITATE, to enable; to qualify. — CAP'TIOUS,
peevish; cavilling. — CAP'TIVATE, to take prisoner; to
charm. — CAP'TIVE, a prisoner. — CAP'TOR, one who takes
a prize. — CAP'TURE, a seizure. — ACCEPT', to receive. —
ACCEPTABLE, grateful ; pleasing. — INTERCEPT', to seize on
the way; to stop. — OCCUPA'TION, possession; employment.

— OC'CUPY, to possess. — PARTICIPATE, to share. — PAR'-
TICIPLE, a word partaking of the nature of an adjective
and of a verb. — RECEIPT', a taking ; acknowledgment for
money paid. — RECEIVE', to take, to admit. — REC'IPE, a
medical prescription.9 — RECIP'IENT, one who takes.

8 Among the ancient Romans, those who sought the consulship
wore robes of remarkable whiteness, and were thence called
candidate.

8 Recipe is an imperative form of the verb recipio, and would

WORDS DERIVED FROM LATIN AND GREEK 89

Cap'ut (cap'itis), the head.

CAP'ITAL, chief ; principal.10 — CAPITA'TION, counting by
heads. — CAPITULATE, to surrender on conditions.11 —
CAPE, a head-land. — CAP'TAIN, a chief commander. —
CHAP'TER, a division, or head. — DECAP'ITATE, to behead.

— PRECIP'ITATE, v. to tumble headlong; to hurry. —
PRECIP'ITATE, a. headstrong ; hasty. — PRECIP'ITATELY,
headlong, hastily, rashly. — PRECIPICE, a headlong steep.

— RECAPITULATE, to repeat again (as the topics or heads
of a discourse).

Car'cer, a prison.
INCAR'CERATE, to imprison. — INCARCERATION, imprisonment.

Ctfro (CO/MW), flesh.

CAR'NAL, fleshly, not spiritual. — CAR'NAGE, slaughter. — IN-
CARNA'TION, the taking of a body of flesh. — INCAR'NATE,
embodied in flesh. — CAR'NIVAL, in Roman Catholic coun-
tries, a feast before Lent (goodby to flesh). — CAR'NALLY,
according to the flesh; not spiritually. — CAR'CASS, a dead
body. — CARNIVOROUS, feeding on flesh. — CHAR'NEL-
HOUSE, a place for depositing human bodies.

Ca/po, to pluck.

CARP, to cavil; to find fault. — CARP'ING, captious, fault-
finding.

Casftigo, to chastise.

CAS'TIGATE, to punish by stripes. — CASTIGA'TION, punish-
ment by blows.

Catena, a chain.

CONCATENATION, a series of links ; a successive order of
things depending on one another (as, a concatenation of
causes).

Cau'sa, a cause.

CAUSE, that which produces an effect. — CAUSELESS, having
no cause. — ACCUSE', to charge with a crime. — ACCUSA'-

be the first word in a prescription written in Latin — " Take,"
etc. In books of pharmacy the word is usually represented by R.
or some other character.

10 Capital crimes are those which are punishable by loss of the
head or of life by some other form of execution.

11 The word arose from the stipulation being drawn up under
heads.

9O GOOD ENGLISH IN GOOD FORM

TION, the act of charging with an offence or crime. — EX-
CUSE', to pardon. — BECAUSE', for this reason. — RECU'-
SANT, making opposition.

Ca'vere (cau'tum), to beware.

CAU'TION, prudence in respect to danger. — CAU'TIOUS,
using caution. — INCAU'TIOUS, heedless. — PRECAU'TION,
previous care.

Ca'vus, hollow.

CAVE, a hollow place. — CON'CAVE, hollow, opposed to con-
vex.— EX'CAVATE, to hollow out. — ExcAVA'xiON, a cavity
made by digging.

Ce'dere faces' sum}, to yield; to go away.
CEDE, to yield or give up. — CES'SION, a giving up ; resigna-
tion.— CEASE, to stop ; to leave off. — CESSA'TION, a stop, a
discontinuance. — ACCEDE', to assent to; to agree. — AC-
CESS', approach. — ACCES'SION, a coming to; an increase
by the addition of something. — AC'CESSORY, rendering aid.
— AN'CESTOR (L, ante censor), a person from whom one is
distantly a descendant. — ANTECE'DENT, going before. —
CONCEDE', to admit, to grant. — DECEASE', departure from
this world ; death. — PRECEDE', to go before. — PRECE'-
DENCE, priority, superiority. — PREDECES'SOR, one that was
in a place before another. — PREC'EDENT, an example. —
PROCEED', to go forward. — PROCE'DURE, manner of pro-
ceeding.— PROC'ESS, progressive course. — PROCES'SION, a
ceremonious march. — RECEDE', to go back ; to retreat. —
RECESS', a place or time of retreat. — SECES'SION, a with-
drawing from. — SUCCEED', to follow after ; to prosper. —
SUCCESS', prosperity ; the event of an affair. — SUCCES'-
SION, series. — SUCCESSIVE, following in order.

Cel'eber, renowned, famous.

CEL'EBRATE, to praise ; to commend solemnly. — CEL'EBRATED,
renowned, famous. — CELEBRA'TION, a distinguishing by
ceremonies. — CELEB'RITY, renown ; fame.

Ce'ler, swift.
CELER'ITY, swiftness. — ACCEL'ERATE, to hasten forward.

Cel'la, a cellar.

CEL'LAR, an underground store. — CEL'LARAGE, charge for
storage in a cellar. — CEL'LARIST, a butler ; one who has
the care of the cellar.

WORDS DERIVED FROM LATIN AND GREEK 9!

Ce'lare, to cover, to hide.

CONCEAL', to hide. — CONCEAL'MENT, the act, place, or mode
of hiding.

Coeflum, the heaven.
CELES'TIAL, heavenly. — SUBCELES'TIAL, beneath the heavens.

C en' sere, to judge or estimate.

CEN'SOR, an officer who examines the works of authors be-
fore they are allowed to be printed. — CENSO'RIOUS, judg-
ing severely. — CEN'SURE, blame, reproach. — CEN'SURABLE,
blame-worthy. — CEN'SUS (L), an official enumeration of
the inhabitants of a country.

Cen'tum, a hundred.

CENTEN'NIAL, occurring once in a hundred years. — CEN'-
TURY, a hundred years. — CEN'TURION, an officer over a
hundred men. — CENTENA'RIAN, a person who is a hundred
years old. — PERCENT' AGE, a rate, allowance, or estimate
by the hundred.

Ce/nere (cre'tum), to separate; to distinguish; to discern.
CER'TAIN, determined ; sure. — CFR'TIFY, to assure. — CERTIF'-
ICATE, a written declaration or testimony. — ASCERTAIN',
to find out certainly. — CONCERN', business ; anxiety. — DIS-
CERN', to see; to distinguish. — DISCREET', discerning, pru-
dent.— DISCRETE', distinct, separate. — DISCERN'MENT,
judgment. — SECRETE', to put aside. — SE'CRET, concealed;
private. — SEC'RETARY, one who writes for another.12

Ce/tere, to contend; to vie.

CONCERT', to contrive together. — CON'CERT, union ; a musical
entertainment. — DISCONCERT', to disturb. — PRECONCERT'ED,
contrived together beforehand.

Cer'tus, sure (see Cer'nere).
Cha'os (G), a chasm or abyss.
CHA'OS, confusion; disorder. — CHAOT'IC, without order.

Cha'ris (G), favor; grace.

CHAR'ITY, kindness; good will. — EU'CHARIST, the Lord's
supper.

Cheir (G), the hand.
CHIROG'RAPHY, handwriting. — CHIRUR'GEON, a surgeon.

12 So called from the private or secret affairs intrusted to him.

92 GOOD ENGLISH IN GOOD FORM

Cho'le (G), bile, anger.

CHOI/ERA, a disease. — CHOL'ER, anger; wrath. — CHOI/ERIC,
irascible. — COL'IC, pain in the bowels. — MEI/ANCHOLY,
gloom, dejection.

Cho/ein (G), to go.

AN'CHORET, or AN'CHORITE, a hermit; one who retires from
society to avoid the temptations of the world.

Chris' t os (G), the Anointed.

CHRIST, the Messiah. — CHRISTIANITY, the religion of
Christ. — CHRIST'MAS, a Christian festival. — CHRISM, con-
secrated oil.

Chro'ma (G), color.

CHROMAT'ICS, the science of colors. — ACHROMAT'IC, desti-
tute of color.

Chron'os (G), time.

CHRON'IC, of long duration. — CHRON'ICLE, a record or his-
tory.— CHRONOI/OGY, the science of time or eras. —
CHRONOM'ETER, a time-piece. — ANACH'RONISM, an error
in dates. — ISOCH'RONOUS, performed in equal times.

Chru'sos (G), gold.

CHRYS'ALIS, the caterpillar in its dormant state.13 — CHRYS'-
OLITE, a mineral of a yellowish color.

Cita're (ci'tum), to rouse; to call forth.
CITE, to summon into a court ; to quote. — CITA'TION, a sum-
moning; a quotation. — EXCITE', to stir up, to encourage.

— EXCI'TABLE, easily stirred up. — EXCITE'MENT, agita-
tion.— RESUS'CITATE, to rouse or enliven again. — INCITE',
to animate ; to urge on. — INCITE'MENT, impulse. — RECITE',
to repeat; to tell over. — RECITA'TION, repetition; re-
hearsal.— RECI'TAL, account; narration; rehearsal.

Cin'gere (cincftum), to gird.
CINCT'URE, a belt ; a girdle. — PRE'CINCT, a limit or bound.

— SUCCINCT', brought into small compass ; compact ; con-
cise.

Ci'nis (Cin'eris'), ashes.
CIN'DER, a burnt mass. — CINERA'TION, the reduction of any-

18 The name is derived from the golden color.

WORDS DERIVED FROM LATIN AND GREEK 93

thing to ashes. — INCIN'ERATE, to burn to ashes. — INCIN'-
ERABLE, that may be reduced to ashes.

Cir'cus, a circle.

CIR'CLE, a round space, also the line enclosing it. — CIR'CLET,
a little circle. — CIR'CULAR, round like a circle. — CIR'-
CULATE, to move in a circle. — CIR'CUIT, extent round
about. — CIRCU'ITOUS, going round about; not direct. —
CIR'CUS, an open space for sports. — ENCIR'CLE, to sur-
round.— SEMI'CIRCLE, half a circle.

Ci'vis, a citizen.

Civ'ic, relating to civil honors. — CIV'IL, relating to the
community; gentle, well bred. — CIVII/IAN, one versed in
law or political affairs. — CIT'IZEN, an inhabitant of a
state or city. — CIT'Y, a large corporate town. — CIVIL'ITY,
gentleness, politeness. — CIVILIZA'TION, the state of a civil-
ized people. — CIV'ILIZE, to reclaim from a savage state. —
UNCIVIL, rude, clownish.

Clam, secretly.
CLANDES'TINE, secret. — CLANDES'TINELY, in a secret manner.

Cla'mare (clama'tum) , to cry out; to shout.
CLAM'OR, outcry ; noise. — CLAM'OROUS, noisy ; vociferous. —
CLAM'ORER, a noisy person. — ACCLAMA'TION, a shout of
applause. — DECLAMA'TION, discourse addressed to the pas-
sions; exercise of public speaking. — CLAIM, to demand. —
CLAIM'ANT, one that demands a right. — DISCLAIM', to
deny the possession of any right or character. — EXCLAIM',
to cry out. — PROCLAIM', to announce publicly. — PROCLA-
MA'TION, publication by authority. — RECLAIM', to recall;
to reform.

Cla'rus, clear, bright.

CLAR'ION, a shrill trumpet. — CLEAR, bright; evident. — DE-
CLARE', to make known ; to proclaim. — CLAR'IFY, to purify.
— DECLARA'TION, a proclamation ; an open avowal.

Clas'sis, a class.

CLASS, a rank of persons, a set. — CLAS'SIC, CLAS'SICAL, re-
lating to authors of the highest rank, particularly ancient
Greek and Roman authors. — CLAS'SIFY, to arrange in
classes. — CLASSIFICATION, arrangement in classes, —
CLAS'SIS, a convention.

94 GOOD ENGLISH IN GOOD FORM

Clau'dere (clau'sum), or Clu'do (clu'sum), to shut, to close.

CLOSE, to shut. — CLOS'ET, a small private room. — CONCLUDE',
to come to a decision. — CONCLUSIVE, decisive. — CLAUSE,
a subdivision of a sentence. — CLOIS'TER, a monastery or
a nunnery. — EXCLUDE', to shut out. — SECLUDE', to shut up
apart. — INCLUDE', ENCLOSE', to shut in ; to bring within
certain limits. — PRECLUDE', to hinder or prevent. — RE-
CLUSE', one who lives in retirement or seclusion. — SECLU'-
SION, retirement.

Cle'mens (clemen'tis), merciful, kind.

CLEM'ENT, merciful, kind. — CLEM'ENCY, mercy. — INCLEM'-
ENT, unmerciful ; harsh. — INCLEM'ENCY, severity.

Cli'nare, to incline or bend.

INCLINE', to bend, to lean. — INCLINATION, propensity. —
DECLINE', to lean downwards; to refuse. — DECLIVITY (L,
cli'vus), descent; inclination downwards. — ACCLIVITY,
ascent, inclination upwards. — PROCLIVITY, proneness. —
RECLINE', to lean back. — CLIN'ICAL, relating to a couch or
a bed.1*

Cli'vus, an ascent; a hill. See derivatives under CIV no.

Co'dex (cod'icis), the trunk of a tree; a volume or a roll.
CODE, a collection or digest of laws. — COD'ICIL, a supplement
to a will.

Co'lere (cul'tum), to cultivate.

COL'ONY, a settlement or plantation abroad. — COL'ONIST, a
settler in a colony. — COUL'TER, the sharp iron of a plough.
— CUL'TIVATE, to improve by labor. — CUL'TURE, improve-
ment by labor. — AG'RICULTURE, husbandry, farming. —
HORTICULTURE, gardening.

Co'mes (com'itis), a companion.
COM'ITY, kindness of manner. — CONCOM'ITANT, going with.

Concil'ium, an assembly; a council.

COUN'CIL, an assembly held for consultation. — CONCILIATE
(L, concil'io), to bring together; to win to friendship. —
CONCILIATORY, fitted to allay angry feelings. — RECONCILE',
to conciliate again; to render consistent.

14 Clinical lectures are medical lectures given at the bedside of
the patient,

WORDS DERIVED FROM LATIN AND GREEK 95

Co'quere (coc'tum), to cook.

CONCOCT', to prepare by digesting; to devise; to plot; (as,
to concoct a scheme). — DECOC'TION, the act of boiling
anything to extract its virtues. — COOK, to prepare food by
heat.

Cor (co/dis), the heart.

CORE, the central part, as of fruit. — COR'DIAL, a. sincere,
hearty. — CORDIAL'ITY, sincerity. — CON'CORD. agreement. —
COUR'AGE, boldness. — DIS'CORD, disagreement. — RECORD'
(L, Reco/dor, to remember, call to mind), to register.

Co/nu, a horn.

COR'NET, a musical instrument blown with the mouth ; a sort
of trumpet. — CORNUCO'PIA (L, co'pia, plenty), the horn
of plenty. — BICOR'NOUS, having two horns or antlers. —
U'NICORN, an animal having a single horn.

Coro'na, a garland, or crown.

CROWN, the head ornament worn by kings. — CORONA'TION,
the solemnity of crowning a king. — COR'ONAL, a crown or.
garland. — COR'ONET, an inferior crown worn by the no-
bility.— COR'ONER, an officer to inquire into violent
deaths.15 — COR'OLLARY, an inference.10

Co/ pus (co/poris), a body.

COR'PORAL, the lowest officer over a body of soldiers. — COR'-
PORATE, united into a body or community. — CORPORA'TION,
a body politic. — INCORPORATE, to embody. — COR'PUSCLE, a
minute body. — CORPO'REAL, having a body ; not imma-
terial ; relating to the body. — COR'PULENTJ having a bulky
body. — CORPSE, a dead body. — CORPS (Fr), (pronounced
core), a body of soldiers.

CoJta, a rib.

COAST, the margin of the land. — COS'TAL, pertaining to the
ribs. — INTERCOS'TAL, lying between the ribs.

Cras, to-morrow.
PROCRAS'TINATE, to put off. — PROCRASTINA'TION, deferring.

Cre'dere (cred'itum), to believe.
CREED, articles of belief. — CRE'DENCE, belief. — CRED'IT, be-

15 The name was derived from the relation of the office to the
crown.

16 So called because it crowns the leading proposition or argu-
ment.

96 GOOD ENGLISH IN GOOD FORM

lief ; reputation ; trust. — CREDEN'TIAL, that which gives
title to belief. — CRED'IBLE, worthy of belief. — CRED'ITOR,
one who trusts another for a debt. — CRED'ULOUS, apt to
believe. — DISCRED'IT, to disbelieve. — INCREDU'LITY, slow-
ness of belief.

Crea're (crea'turn), to create.

CREATE', to cause to exist. — CREA'TION, the act of creating ;
the universe. — CREAT'URE, a created being. — CREA'TIVE,
that can or does create. — CREA'TOR (L), God, who gives
existence. — RECREA'TION, amusement, diversion (because
it re-creates vigor).

Crep'are (crep'itum), to sound; to rattle.
DECREP'IT, wasted and worn out with age. — DECREP'ITUDE,IT
the feebleness of age. — DISCREPANCY, literally, disagree-
ment of sound ; inconsistency.

C res? cere (ere' turn), to grow.

CRES'CENT, the shape of the new moon.18 — CON'CRETE, to
coalesce into one mass ; to coagulate. — EXCRES'CENCE,
something growing out of another. — DECREASE', to grow
less. — INCREASE', to grow larger.

Cri'men (crim'inis), an accusation; a crime.
CRIME, an offence; a great fault. — CRIM'INAL, partaking of
crime. — CRIMINA'TION, an accusing. — RECRIMINA'TION,
return of one accusation with another. — RECRIM'INATE, to
retort a charge.

Cru'dus, raw, unripe.

CRUDE, raw; unripe; undigested. — CRU'DITY, unripeness; in-
digestion; crudeness. — CRU'EL (L, crude'lis\ hard-
hearted.— CRU'ELTY, inhumanity.

Crux (cru'cis}, a cross.

CROSS, n. one straight body laid across another. — CROSS, a.
peevish. — CRUCIFIX'ION, death on a cross. — CRU'CIFIX, a
cross bearing an image of Jesus. — CRU'CIAL, crosswise ;
transverse. — CRU'CIFY, to put to death by nailing to a
cross. — EXCRU'CIATE, to extort by suffering; to put to se-
vere pain. — EXCRU'CIATING, extremely painful; torturing.

17 The derivation of this word is doubtful. If derived from
crepare, its signification has reference to the rattling or creaking
of anything which is broken, or loosened from its place.

18 So called from its change of size.

WORDS DERIVED FROM LATIN AND GREEK 97

Cum' 'b ere, to lie down.

ENCUM'BER, to oppress with a burden; to hinder. — ENCUM'-
BRANCE, a burden. — INCUBA'TION, the act of sitting upon
eggs. — IN'CUBUS (L), nightmare; a sense of weight. —
INCUM'BENT, resting upon. — RECUM'BENT, lying; leaning.
PROCUM'BENT, lying down. — SUCCUMB', to yield ; to sink
under a difficulty. — SUPERINCUM'BENT, lying on the top of
something.

Cul'pa, a fault.

CUI/PABLE, faulty; blamable. — CUL'PRIT, an accused person.

— EXCUL'PATE, to clear from blame. — INCUL'PATE, to
blame.

Cu'mulus, a heap.
CUMULATIVE, piled up. — ACCU'MULATE, to heap up.

Cu'ra, care.

CURE, a healing. — CU'RABLE, admitting of a remedy. — Cu'-
RATE, a clergyman hired to do the duties of another. —
CU'RIOUS, inquisitive. — CU'RATOR, a superintendent. — Ac'-
CURATE, exact ; done with care. — PROCURE', to obtain. —
PROCURE'MENT, the act of procuring; attainment. — SECU'-
RITY, safety. — SI'NECURE (L, si'ne, without), a station
which gives income without employment.

Cu/rere (cu/sum), to run.

CUR'RENT, a. passing. — CUR'RENT, n. a running stream. —
CUR'RENCY, circulation ; money. — CUR'RICLE, an open
chaise, with two horses abreast. — CUR'SORY, hasty. — DIS-
COURSE', conversation ; a sermon. — EXCUR'SION, an expedi-
tion; a digression. — INCUR'SION, inroad; invasion. — IN-
CUR', to become liable to. — OCCUR', to happen. — OCCUR'-
RENCE, an event. — RECUR', to happen again ; to go back.

— PRECUR'SOR, forerunner. — RECOURSE', application to for
help. — SUC'COR, help in distress.

Cu/vus, crooked; winding.

CURVE, a bent line. — CURV'ATURE, crookedness. — CUR'VATED,
bent; crooked. — INCUR' v ATE, to bend.

Cusftos (custo'dis), a keeper.

CUS'TODY, watch, imprisonment. — CUSTO'DIAL, relating to
custody.

Cu'tis, the skin.

CUTA'NEOUS, affecting the skin. — CU'TICLE, the thin outer
skin.

98 GOOD ENGLISH IN GOOD FORM

Dam'num, harm, loss.

DAM'AGE, injury. — DAMNA'TION, the word used in the New
Testament to signify condemnation to everlasting punish-
ment.— CONDEMN', to give sentence against; to denounce.
— INDEM'NIFY, to relieve from loss.

De'bere (deb'itum), to owe.

DEBT, that which is due. — DEBT'LESS, free from debt. —
DEB'IT, v. to charge with debt. — DEBT'OR, one who is in-
debted.

De'cem, ten.

DEC'IMAL, numbered by tens. — DEC'IMATE, to tithe ; to take
the tenth; to destroy a large but indefinite part of any
aggregate body. — DECIMA'TION, selection of every tenth;
a heavy loss of life. — DEC'ADE, the sum or number of ten;
(as, ten days, ten years, or ten parts). — DECEN'NIAL, hap-
pening every ten years. — DECEM'VIRATE, a body of ten
magistrates. — DUODECIMAL (L, duod'ecim, twelve), reck-
oned by twelves. — DUODEC'IMO (L), a sheet folded into
twelve leaves.

De'cere, to be becoming or proper.

DE'CENT, becoming. — DE'CENCY, propriety of manner. —
DECO'RUM (L), propriety of behavior. — DEC'ORATE, to
adorn. — DEC'ORUS, observing propriety. — INDECO'RUM
(L), impropriety.

Dek'a (G), ten.

DEC'ALOGUE, the ten commandments. — DEC'AGON, a figure
having ten angles.

Dens (den'tis), a tooth.

DEN'TAL, belonging to the teeth; sounded by the aid of the
teeth. — DEN'TIST, a dental surgeon. — DEN'TIFRICE (L,
fri'co, to rub or chafe), tooth-powder. — DENTI'TION, cut-
ting the teeth ; teething. — INDENT', to make inequalities
like teeth. — TRI'DENT, Neptune's sceptre with three
prongs. — INDENTATION, a notch. — INDEN'TURE, a species
of contract.19

Demos (G), the people.

DEM'AGOGUE, a popular leader. — DEMOC'RACY, a popular gov-
ernment.— DEM'OCRAT, one who favors democracy. — EPI-
DEM'IC (G, upon), a prevailing disease.

19 So called from a custom of cutting notches in the edge of the
paper or parchment on which it is written.

WORDS DERIVED FROM LATIN AND GREEK 99

Derisus, thick, close.

DENSE, close, compact. — DENS'ITY, closeness, compactness. —
CONDENSE', to compress. — CONDENSA'TION, a thickening or
compression.

Despo'tes (G), a master or lord.

DES'POT, a monarch ; a tyrant ; an absolute ruler. — DES'-
POTISM, unlimited monarchy.

Dete'rior, worse.

DETERIORATE, to become worse. — DETERIORATION, becoming
worse.

De'us, God. Di'vus, a god.

DE'ITY, the nature and essence of God. — DE'IST, one who
believes in God, but denies revelation. — DIVINA'TION,
foretelling. — DIVINE', a. of the nature of God. — DIVINE',
n. a theologian. — DIVINE' v. to presage. — DIVIN'ITY, the
nature of God; theology.

Dex'ter, pertaining to the right hand.

DEX'TROUS, expert ; ready. — DEXTER'ITY, expertness ; activ-
ity; readiness. — DEXTER, right as opposed to left; (as, the
dexter cheek) . — DEX'TROUSLY, with dexterity ; expertly.

Dica're (dica'tum), to devote; to show.
DED'ICATE, to devote; to inscribe to. — IN'DICATE, to point
out ; to show. — AB'DICATE, to give up right ; to resign. —
INDICATION, mark; token.

Di'cere (dic'tum), to say.

DICTION, language; style. — DICTIONARY, a book containing
the words of a language. — DIC/TATE, to give directions
authoritatively. — DICTA'TOR (L), a Roman magistrate. —
DICTATORIAL, authoritative. — BENEDIC'TION, a blessing.

— CONTRADICTION, opposition ; inconsistency. — CONTRA-
DICTORY, implying contradiction or denial. — E'DICT, a
proclamation. — INDICT7, to charge by formal accusation.

— INDITE', to draw up; to compose. — INTERDICT', to pro-
hibit.— MALEDIC'TION, a curse. — PREDICT', to foretell; to
prophesy. — VER'DICT, the decision of a jury.

DidaSkein (G), to teach.

DIDAC'TIC, adapted to teach; preceptive. — DIDACTICALLY, in
a didactic manner.

IOO GOOD ENGLISH IN GOOD FORM

Di'es, a day.

DI'ARY, a daily account — DIUR'NAL, daily. — QUOTID'IAN
(L, quot, as many as), happening daily. — DI'AL, a plate
with the hours of the day marked on it. — MERID'IAN,
noon; midday. — POST-MERID'IAN, relating to or being in
the afternoon; P.M. — NOCTID'IAL, comprising a night and
a day.

Dig'itus, a finger; a finger's breadth.

DIG'IT, a numerical figure ; three- fourths of an inch ; a finger.
— DIG'ITATED, branched like fingers.

Dig'nus, worthy.

DIG'NITY, honor. — DIG'NIFY, to advance to honor. — DEIGN,
to think worthy; to condescend. — INDIG'NITY, unworthy
treatment. — INDIG'NANT, angry and disgusted. — INDIGNA'-
TION, anger mixed with contempt. — CONDIGN', suitable ;
merited. — DISDAIN', to think unworthy.

Dimid'ium, half.

DEM'I-GOD, one esteemed as half a god. — DEM'I-DEIFY, to
half deify.

Dis'cere, to learn. Discip'ulus, a learner.
DISCI'PLE, a learner; a follower. — DISCIPLINE, instruction;
education.

Divid'ere (divi'sum), to divide.

DIVIDE', to separate into parts. — DIVIS'ION, the act of sepa-
rating.— DIVIDEND, the number to be divided. — DIVI'SOR,
the number given to divide by. — DIVIS'IBLE, separable into
parts. — INDIVID'UAL, a single being or thing.

Dare (da'tum), to give.

DO'NOR, a giver. — DONA'TION, a gift. — DONATE', to give;
to contribute. — PAR'DON, to forgive.

Do' cere (dotftuni), to teach.

DOC'TOR, a man who has taken the highest degree in divinity,
law, or medicine: D.D., LL.D., or M.D. — DOC'TRINE,
whatever is taught. — DOCUMENT, a paper containing evi-
dence.— DO'CILE, teachable. — DOCIL'ITY, readiness to be
taught.

Do'lere, to grieve; to be in pain.
DOLE'FUL, sorrowful. — DOL'OROUS, melancholy. — CONDOLE',

WORDS DERIVED FROM LATIN AND GREEK IOI

to sympathize with the grief of another. — IN'DOLENCE,
laziness.20

Dom'inus, a master or lord.

DOMINION, supreme authority. — DOMINA'TION, power ; tyr-
anny.— DOMAIN' (L, domin'ium), property; empire; do-
minion.— DOM'INANT, prevailing. — DOMINEER', to rule
with insolence. — PREDOMINATE, to prevail over the rest.

Do'-mus, a house ; a home.

DOME, a house; a spherical roof. — DOMES'TIC, belonging to
the house or family. — DOM'ICIL (L, domicil'ium, an
abode), a mansion or an abode. — DOMICIL'IATE, to fix a
residence.

Dormi're (dormi'tum), to sleep.

DOR'MANT, sleeping; insensible. — DOR'MITORY, a sleeping-
room.

Do/ sum, the back.

DOR'SAL, pertaining to the back. — ENDORSE', to write on the
back of a paper.

Dox'a (G), an opinion.

HET'ERODOX, holding erroneous opinions. — OR'THODOX, cor-
rect in opinion. — PAR'ADOX, a proposition seemingly ab-
surd.— Doxoi/oGY,21 an ascription of praise.

Dra'ma (G22), an action; a drama.

DRAMA'TIC, pertaining to the drama. — DRAM'ATIST, a writer
of plays.

Drom'os (G), a race.

DROM'EDARY, a species of camel. — OR'THODROMY, sailing in
a straight course.

Du'bius, doubtful.

DU'BIOUS, uncertain. — INDU'BITABLE, not to be doubted. —
DOUBT, uncertainty of mind.

Du'cere (due' turn), to lead.

DUCT, a little channel or canal. — DUC'TILE, capable of being
drawn out into a thread or wire. — ABDUC'TION, a leading
away. — ADDUCE', to bring forward. — AQ'UEDUCT, a chan-
nel or tube for conveying water. — CONDUCT', v. to lead or

20 Literally, freedom from pain or trouble.

21 The word doxa signifies also, glory; renown,

22 From horao, to do or perform.

IO2 GOOD ENGLISH IN GOOD FORM

guide. — CON'DUCT, n. behavior ; management. — CONDUCE',
to lead or tend. — CON'DUIT (Fr), a water pipe or canal.
DEDUCE', to draw an inference. — DEDUCT', to subtract. —
DEDUCTION, an inference. — DUKE, a leader ; a noble. —
ED'UCATE, to lead by instruction and discipline. — INDUCE',
to lead by motives. — INTRODUCE', to bring or usher in. —
INTRODUCTION, the act of introducing or ushering; exor-
dium; preface. — PRODUCE', to bring forward; to bear. —
PRODUCTIVE, capable of producing. — REDUCE', to bring
down; to subject. — SEDUCE', to draw into error or crime

— SEDUC'TIVE, fitted to entice. — TRADUCE', to calumniate.

Du'namis (G), power.

DYNAM'ICS, the science of forces. — DY'NASTY, a race of
kings.

Du'o, two.

DU'AL, relating to two or a pair. — DU'EL, a combat between
two. — DUET, a piece of music in two parts. — DOUB'LE,
consisting of two. — DU'PLICATE, two-fold. — DUPLIC'ITY,
double dealing; deception.

Du'rus, hard.

DU'RABLE, lasting. — DU'RANCE, imprisonment. — DURA'TION,
continuance. — ENDURE, to bear ; to last. — OB'DURACY,
hardness of heart ; stubborn impenitence. — OB'DURATE,
stubborn; hard-hearted.

Dus (G), an inseparable particle, denoting difficulty,

pain, etc.
DYS'ENTERY (G, entera, the bowels), a disease of the bowels.

— DYS'PHONY, difficulty of speaking. — DYSPEP'SIA (G,
pephis, digestion), difficulty of digestion.

Eb'rius, drunken.
EBRI'ETY, drunkenness. — INE'BRIATE, a habitual drunkard.

— SOBRI'ETY (L, si'ne), freedom from intoxication; dig-
nity of deportment.

JE'des (ff'rfu), a house or building.

ED'IFICE, a building. — ED'IFY, to build up in knowledge or
faith.

E'dere, to eat.
EDACITY, greediness. — ED'IBLE, eatable.

WORDS DERIVED FROM LATIN AND GREEK IO3

E'go, I.

E'GOTISM, talking much of oneself. — EGOTIST'ICAL, self-con-
ceited; opinionated.

E'mein (G), to vomit.

EMET'IC, a medicine that causes vomiting. — EM'ETIN, a sub-
stance obtained from the ipecacuana.

Em' ere (emp'tum), to buy.

EXEMPT' (literally, bought off), not liable. — EXEMPTION,
freedom from a task or burden. — PEREMPTORY,23 positive;
absolute. — PROMPT,24 ready; quick. — REDEEM', to buy
back; to ransom. — REDEMP'TION, the act of redeeming.

^Em'ulus, a rival.

EM'ULATE, to strive to equal, excel. — EM'ULOUS, rivaling;
competing.

En'tera (G), the bowels.

DYS'ENTERY, a disease of the bowels. — ENTERI'TIS, inflam-
mation of the intestines. — MES'ENTERY (G, mesas, mid-
dle), a membrane supporting the intestines.

En'tomos (G), cut into.

ENTOMOL'OGY, the science which treats of insects.25 — EN-
TOMOL'OGIST, one versed in the science of insects.

E'quus, a horse.

EQUES'TRIAN, pertaining to horsemanship. — EQ'UIPAGE, the
arms, etc., of a mounted soldier; any accoutrements.

Ep'os (G), a speech; a poem.

EP'IC, containing narration of an elevated character. — OR'-
THOEPY, correct pronunciation.

JE'quus, equal, just.
E'QUAL, of the same size or importance. — E'QUALIZE, to

23 The Latin word peri' mo, signifies to take away wholly; to
destroy; and peremp'tor, signifies a destroyer.

24 From pro' mo, (promp'tum), which is compounded of pro
and emo, and signifies to bring or put forward.

25 The words insec'tum in Latin and entomos in Greek corres-
pond to each other precisely. The former is compounded of in,
into, and se'co, to cut ; and the latter of en and tomos, which have
the same significations as the Latin words above mentioned. The
names were undoubtedly suggested by the form which many
insects have, i. e., the appearance of being almost cut in two.

IO4 GOOD ENGLISH IN GOOD FORM

make even or equal. — E'QUABLE, not varying. — AD'-
EQUATE, equal to; sufficient. — EQUA'TION, a making equal.
— EQUA'TOR, a line which divides the earth into two equal
parts. — EQUILIB'RIUM, equal weight. — E'QUINOX, the time
when the day and night are of equal length. — EQ/ITY,
justice. — EQUIVALENT, of equal value or force. — EQUIV'-
OCATE, to use words in a doubtful and deceptive manner. —
INIQ'ITY, injustice.

Er'emos (G), lonely.

ER'EMITE, one who lives in a wilderness. — HER'MIT (same
signification).

E/gon (G), a work.

EN'ERGY (G), vigor of operation. — LIT'URGY (G, lite,
prayer), a formulary of public prayer. — METALLURGY
(G, metallon, a metal), the art of working metals and ob-
taining them from the ore.

Erra're (erra'tum), to wander.

ERR, to mistake. — ERRA'TUM (L), (pi. erra'ta), an error in
writing or printing. — ERRAT'IC, deviating from the usual
way ; wandering. — ERR'ING, irregular ; vicious. — ERRO'-
NEOUS, wrong ; incorrect. — ABERRA'TION, wandering from
the right path. — UNER'RINGLY, without mistake.

E'so (G), within.
ESOT'ERY (little used), mystery. — ESOTER'IC, private; secret.

JEstim'are, to value.

ES'TIMATE, to judge concerning the value. — ES'TIMABLE,
worthy of esteem. — ESTEEM', high regard. — INES'-
TIMABLE, of value too great to be computed.

Ai'ther (G), the air.
E'THER, a light fluid. — ETHE'REAL, immaterial; subtile.

Eth'os (G), a custom.

ETH'ICS, the science of morals; moral philosophy. — ETH'-
ICAL, relating to morals or duty.

Eth'nos (G), a nation.

ETH'NICAL, relating to the races of mankind. — ETHNOL'OGY,
a classification and description of races.

WORDS DERIVED FROM LATIN AND GREEK

Eu (G), well; rightly.

EU'LOGY, praise; panegyric. — EU'PHONY, pleasantness of
sound. — EvAN'GELiST,26 a preacher of the Gospel. — EVAN'-
GELIZE, to instruct in the Gospel.

Etfumon (G),27 the true derivation.

ET'YMON, a root or primitive word. — ETYMOL'OGY, the study
of derivation and inflection.

JE'vum, an age.

COE'VAL, existing at the same period. — LONGEVITY, length of
life. — PRIME'VAL, of the first age; existing in the earliest
times.

Exem'plum, an example.

EXAM'PLE, model, pattern; instance. — EXEM'PLAR, a pattern
to be imitated. — EX'EMPLARY, worthy of imitation. —
EXEM'PLIFY, to illustrate by example. — SAM'PLE, a speci-
men.— SAM'PLER, a pattern of needlework.

Eyfterus, outer ; foreign.

EXTE'RIOR, the outside. — EXTER'NAL, pertaining to the out-
side.— EXTRA'NEOUS, not belonging to the subject; foreign
to the subject. — EXTREME', utmost. — ^EXTREM'ITY, the ut-
most point. — EXTRIN'SIC (L, secus, otherwise), from with-
out.

Fafber, an artificer.
FAB'RIC, a structure. — FAB'RICATE, to form ; to devise falsely.

Fa' ties, a face.
FACE, the countenance; appearance. — DEFACE', to disfigure.

— EFFACE', to wipe out. — SUR'FACE, SUPERFIC'ES, outside.

— SUPERFICIAL, lying on the outside.

Ftfcere (fac'tum), to do or make : and Fi'o (fac'tus), to

become.
FACT, a thing done; a reality. — FAC'TOR, an agent or doer.

— FAC'TION, a party counteracting the government. —
FAC'TORY, a building in which anything is manufactured ;
the residence of traders abroad. — FACILE (L, fa'cilis,
easy), easy to be done. — FACILITATE, to make easy. —
AFFECT', to move the passions. — AFFEC'TION, love, kind-
ness; any passion. — AFFECTA'TION, assumed feeling. — DE-

26 The Greek u had, in certain words, the sound of the English v.
The word evangelist signifies, primarily, good tidings.

27 The adjective etumos signifies true, genuine.

IO6 GOOD ENGLISH IN GOOD FORM

FEAT7, to undo; to overthrow. — DEFECT', want; a blemish.

— DEFEC'TION, departure ; revolt. — DEFICIENT, DEFECTIVE,
failing. — DIF'FICULT, hard to be done. — Fi'AT28 (L), a
command. — EFFECT', to bring to pass; the thing produced.

— EFFECT'IVE, EFFICIENT, operative; active; producing. —
EFFECTUAL, EFFICA'CIOUS, not failing to accomplish the
object in view. — MANUFACTURE, to make things by hand
or machinery. — OF'FICE, employment ; station ; place of
business. — OFFICIATE, to discharge an office. — PER'FECT
(L, perfic'io, to accomplish), complete; pure. — PoN'TiFF,29
(L, pans, a bridge), a high priest; the pope. — PROFIC-
IENCY, advancement or improvement in any study or busi-
ness.— SACRIFICE, to offer; to surrender; to devote.

Fal'lere (fal'sum), to deceive.

FALSE, not true; not real; counterfeit. — FALS'ITY, the state
of being false. — FALLA'CIOUS, fitted to deceive. — FAL'-
LACY, deceitful argument or appearance. — FAL'LIBLE,
liable to error. — FALSE'HOOD, an untruth ; a lie. — FAL'SIFY,
to make a false representation.

Fa'ma, a report.

FAME, celebrity ; renown. — FA'MOUS, renowned. — DEFAME',
to injure one's reputation maliciously. — DEFAMA'TION,
calumny. — DEFAM'ATORY, slanderous. — IN'FAMOUS, openly
censured. — IN'FAMY, public reproach.

Fa'mes, hunger.

FAM'INE, scarcity of food. — FAM'ISH, to suffer extreme hun-
ger.

Faanil'ia, a family.

FAM'ILY, persons living in a house; a race; a class; a group
of relatives. — FAMIL'IAR, a. easy in conversation; affable;
well known. — FAMILIAR'ITY, omission of ceremony; ac-
quaintance.— FAMIL'IARIZE, to make easy by habit.

Fa'num, a temple.

FANE, a temple. — FANAT'IC, enthusiastic. — FANAT'ICISM, re-
ligious phrensy. — PROFANE', v. to pollute ; to violate or
abuse that which is consecrated. — PROFANE', a. irreverent
to sacred things ; secular.

28 The word signifies, let it be done.

29 So called, because the first bridge over the Tiber was con-
structed and consecrated, it is said, by the chief priest.

WORDS DERIVED FROM LATIN AND GREEK 1 07

Fafri (fa'tus), to speak.

FATE, decree of destiny or a superior power. — FA'TAL,
deadly; destructive. — AFFABIL'ITY, kindness of manner in
conversation. — IN'FANT (L, in' fans, not able to speak), a
young child. — IN'FANCY, the first stage of life. — PREF'ACE
(L, prcefa'tio, a speaking beforehand), an introductory
speech or writing. — PREF'ATORY, introductory.

Fari'na, meal, flour.

FARI'NA, the flour of any species of corn or starchy root. —
FARINA'CEOUS, made of meal or flour.

Fa'teor (fas'sus, or in composition fes'sus), to confess.
CONFESS', to own. — PROFESS', to declare; to avow.

Fe'bris, a fever.

Ffi'vER,30 a disease. — FE'VERISH, affected with fever. — FE'-
BRILE, pertaining to fever. — FEB'RIFUGE, any medicine that
mitigates fever.

Foe'dus, a league or covenant.

FED'ERAL, pertaining to a covenant or league. — CONFED'-
ERATE, one joined in a league. — FED'ERATIVE, securing
union. — CONFEDERACY, a number of persons or states
united by a league.

Fe'lix (feli'cis), happy.

FELIC'ITY, happiness. — FELICITOUS, happy, fortunate. —
FELIC'ITATE, to congratulate. — INFELIC'ITY, misfortune.

Fewfina, a woman.

FEM'ININE, of the female sex. — EFFEM'INATE, a, like
woman; delicate. — EFFEM'INATE, v. to grow or become
womanish or weak.

Fen'dere (fen'sum)*1 to strike.

DEFENCE', guard, security ; resistance. — FEN'CING, practice in
using a sword for defence. — DEFEND', to protect. — DE-
FEND'ANT, one who makes his defence against a prosecutor
or plaintiff. — FEND, to ward off. — OFFEND', to displease;
to transgress. — OFFENCE', crime; injury. — OFFEN'SIVE,
making the first attack ; aggressive. — DEFEN'SIVE, resisting
attack or aggression.

30 The Latin word fe'bris is supposed to be derived from fer'veo,
to boil,
si Fendo is used in Latin only in composition.

IO8 GOOD ENGLISH IN GOOD FORM

Fe'ra, a wild beast.
FERO'CIOUS, cruel, savage. — FIERCE, vehement; furious.

Fe/rere, to bear or carry.

FER'RY, a boat which carries passengers across a river. —
FER'TILE, fruitful ; producing abundantly. — DEFER', to put
off. — DEF'ERENCE, yielding to another's opinion. — DIF'FER,
to be unlike ; to contend. — DIFFERENCE, distinction ; dis-
pute.— ELATE', to uplift; to render proud by success. — IN-
FER', to draw a conclusion. — PESTIF'EROUS (L, pes'tis, a
plague), producing the plague. — PREFER', to like better. —
PREF'ERENCE, estimation of one thing before another. —
REFER', to leave to the decision of another. — SUF'FER, to
bear, endure ; to allow, permit. — SUF'FERANCE, pain ; pa-
tience; permission. — TRANSFER', to convey; to remove.

Fe/runt, iron.

FAR'RiER,32 a horse-doctor. — FAR'RIERY, the science of medi-
cine for horses ; the veterinary art. — FERRU'GINOUS, par-
taking of the quality of iron. — FER'RULE, an iron ring or
band.

Fer'vere, to boil; to be hot.

FER'VOR, heat; zeal. — FER'VENT, hot; zealous. — EFFERVESCE',
to bubble up. — FERMENT', to be in intestine motion.

Fes'tus, joyful.

FES'TAL, belonging to a feast; joyful. — FES'TIVE, joyful. —
FES'TIVAL, an occasion of rejoicing. — FEAST, a sumptuous
entertainment. — INFEST', to harass; to disturb.

Fide're, to trust.

FIDEL'ITY, honesty; faithful adherence. — CONFIDE', to trust;
to rely. — CON'FIDENCE, trust; boldness. — IN'FIDEL, an un-
believer.— INFIDEL'ITY, unfaithfulness ; disbelief. — PER'-
FIDY, treachery.

Fi'gere (fixfum), to fix, to fasten.

Fix, to make fast; to settle. — AFFIX', to join to. — CRUCI-
FIX'ION, fastening to a cross. — CRU'CIFIX, a cross bearing
an image. — FIX'TURE, furniture or apparatus not separate
from the building. — PREFIX', to put before. — TRANSFIX',
to pierce through. — SUFFIX', to add to the end of a word.

82 A name applied originally to a shoer of horses.

WORDS DERIVED FROM LATIN AND GREEK IO9

Fil'ius, a son; Fil'ia, a daughter.

FIL'IAL, pertaining to a son or daughter. — AFFIL'IATED,
adopted; received as a member of a family or association.

Fi'lum, a thread.

FIL'AMENT, a thread; a fibre. — FII/LET, a little band for the
hair. — FILE, a line of soldiers.

Fin'gere (fie' turn), to form; to fashion.

FIC'TION, an invention; a falsehood. — FICTI'TIOUS, im-
aginary; not real. — EF'FIGY, image; likeness. — FEIGN,
to pretend. — FIG'URE, form; a statue; a character. —
FIG'URATIVE, representing something else. — TRANSFIGURA'-
TION, change of form.

Fi'niSj an end or limit.

FIN'ISH, to complete, to end. — FIN'ITE, limited; having an
end. — IN'FINITE, unlimited; immense. — INFIN'ITY, infinite
extent. — INFIN'ITIVE, the name of a mood, in grammar,
which is not limited by person or number. — DEFINE', to
limit ; to explain. — DEFINITE, certain ; limited. — DEFINI'-
TION, a short description. — CONFINE', v. to limit; to re-
strain.— INFINITES'IMAL, indefinitely small.

Fi/mus, strong.

FIRM, hard; steady. — FIRM'AMENT, the sky. — AFFIRM', to
declare positively. — AFFIRM'ATIVE, declaring; opposed to
negative. — CONFIRM', to settle ; to establish. — CONFIRMA'
TION, additional proof; a religious rite. — INFIRM', weak;
decrepit.

Fisfcus, a money-bag; the exchequer.

FIS'CAL, pertaining to the revenue. — CONFISCATION, transfer
of forfeited goods to public use. — CONFIS'CATE, to transfer
private property to the public, by way of penalty.

Flagrafre, to burn ; to be in flames.

FLA'GRANT, glaring; enormous. — FLA'GRANCY, burning heat;
enormity. — CONFLAGRATION, an extensive fire ; a great
burning.

Flam'ma, a flame.

FLAME, burning vapor. — FLAM'BEAU (Fr.), a kind of torch.
— INFLAME', to kindle; to irritate. — INFLAM'MABLE, easily
set on fire. — INFLAMMA'TION, the act of setting on fire;
diseased heat of the body.

IIO GOOD ENGLISH IN GOOD FORM

Flec'tere (flex'uin), to bend.

FLEX'IBLE, pliable; that may be easily bent; manageable. —
FLEX'URE, the act of bending, a bending. — INFLEXIBLE,
not to be bent; obstinate. — INFLECT', to bend; to vary. —
INFLEC'TION, variation of the form of words ; a modulation
of the voice.

Fli'gere (flic' turn), to beat; to dash.

AFFLICT', to give pain; to grieve. — AFFLICTION, calamity. —
CON'FLICT, contest; struggle. — INFLICT', to impose a pun-
ishment.— PROF'LIGATE, shameless; abandoned.

Fla're (fief turn), to blow.

INFLATE', to fill with air; to elate with notions of self-im-
portance.— INFLA'TION, the act of inflating or swelling.

Flos (flo'ris), a flower.

FLO'RA (L), the goddess of flowers; a list or account of
flowers. — EFFLORES'CENCE, an appearance resembling
flowers. — FLOR'AL, pertaining to flowers. — FLOR'IST, a cul-
tivator of flowers. — FLOW'ER, n. a blossom. — FLOW'ER, v.
to blossom. — FLOUR'ISH, to be in vigor. — FLOUR, the
edible part of wheat or other grain, bolted and sifted;
meal.

Flu' ere (ftuxum), to flow.

FLI/ENT, flowing; voluble; ready in the use of words. —
FLU'ID, anything that flows. — FLUCTUATE (L, ftucftus, a
wave), to move backwards and forwards. — EF'FLUX, a
flowing out. — AF'FLUENCE, plenty; riches. — CIRCUM'-
FLUENT, flowing round. — CON'FLUENCE, a junction of
streams. — EFFLU'VIA (L, plural of efflu'vium, a flowing or
running over), minute particles which are always flying off
from bodies. — IN'FLUX, a flowing in. — IN'FLUENCE,
power ; tendency to produce change. — INFLUENTIAL, ex-
erting power. — RE'FLUX, backward course ; ebb. — SUPER'-
FLUOUS, more than enough.

Fo'lium, a leaf.

FO'LIAGE, a growth of leaves. — FOLIA'CEOUS, consisting of
leaves. — FO'LIATE, to beat into leaves. — FOLIA'TION, beat-
ing a metal into foil or thin leaves. — FOIL, leaf metal. —
FO'LIO (L), a large book, in which the sheets of paper
are folded only once. — PORTFO'LIO, a case for loose leaves.

WORDS DERIVED FROM LATIN AND GREEK III

Fo/mo, form; beauty.

FORM, n. shape. — FORM, v. to make ; to contrive. — FORM'AL,
ceremonious ; solemn. — FORMAL'ITY, ceremony. — FORM'-
ULA (L), a prescribed form. — CONFORM', to make like; to
comply with. — CONFORM'ITY, agreement. — DEFORM', to
disfigure. — DEFORM'ITY, unsightly shape. — INFORM', to in-
struct; to acquaint. — INFORM'ANT, INFORM'ER, one who
gives intelligence. — MUL'TIFORM, of various shapes. —
PERFORM', to do or act; to execute. — PERFORM'ANCE, ac-
tion ; work. — REFORM', to grow better. — TRANSFORM', to
change. — UNIFORM'ITY, agreement with one pattern.

Fors (for'tis), chance.

FOR'TUNE, the good or ill that befalls man. — FOR'TUNATE,
successful. — UNFOR'TUNATE, unlucky. — MISFOR'TUNE, ca-
lamity.— FORTU'ITOUS, accidental.

Fo/tis, brave; strong.

FOR'TITUDE, courage ; bravery. — FOR'TIFY, to strengthen. —
FORT, a fortified place. — FORCE, strength. — COM'FORT, to
strengthen; to cheer. — EF'FORT, exertion.

Fos'sa, a ditch or trench.

FOSSE (Fr), a trench. — FOS'SIL, a substance dug from the
earth.

Fran'gere (frac'tutn), to break.

FRAC'TION, a part. — FRAC'TIOUS, breaking out into violence.
— FRAC'TURE, a breaking (as, of a bone); a breach. —
FRAG'MENT, a broken part. — FRAG'ILE, frail; easily
broken. — FRAIL'TY, weakness. — INFRINGE', to break in
upon; to transgress. — INFRAC'TION, violation of a contract
or law. — IRREF'RAGABLE, not capable of being broken or
refuted. — INFRINGEMENT, a breach; a violation; a trans-
gression.— REFRAC'TORY, obstinate ; perverse. — Sur'RAGE,33
a vote.

Fra'ter, a brother.

FRATER'NAL, brotherly. — FRATER'NITY, brotherhood. — FRAT'-
RICIDE, the murder or murderer of a brother.

Fraus (frau'dis), deceit.

FRAUD, deceit. — FRAUD'ULENT, deceitful. — DEFRAUD', to
cheat, to impose upon.

83 Lat. suffra'gium. — The name was derived from the custom
of using potsherds in voting.

112 GOOD ENGLISH IN GOOD FORM

Fri'gus (fri'goris), cold.

FRIG'ID, cold; without warmth of affection. — FRIGID'ITY,
coldness; want of liveliness or spirit. — REFRIG'ERATE, to
cool. — REFRIG'ERATOR, a cooler.

Frons (fron'tis), the forehead.

FRONT, the face ; the forepart. — FRONT'ISPIECE, a picture op-
posite the title-page of a book. — FRON'TIERS, the limits of
a territory ; borders. — AFFRONT', to offend. — CONFRONT',
to meet face to face. — EFFRONT'ERY, impudence.

Fru'ere (fru'itus), to enjoy.

FRUI'TION, enjoyment. — FRUC'TIFY (L, jrucftus, fruit), to
render fruitful. — FRUIT, the produce of a tree or plant.

Fu'gere (fu'gitum), to flee.

FU'GITIVE, running away. — CENTRI'FUGAL (G), having a
tendency to fly from the centre. — REF'UGE, a shelter; a
hiding place. — REFUGEE', one who flies for protection. —
SUB'TERFUGE, a trick; an evasion.

Ful'gere, to shine.

FUL'GENCY, brightness. — EFFUL'GENCE, REFUL'GENCE, great
lustre. — FUL'MINATE (L, ful'mino), to thunder; to send
out (as, a denunciation). — FULMINA'TION, denunciation.

Fu'mus, smoke.

FUME, smoke; vapor. — FI/MIGATE, to smoke. — FUMIGA'-
TION, application of medicines in vapor. — FUM'ING, smok-
ing; raging. — PERFUME', v. to scent; to impregnate with
odors.

Fun'dere (fu'sum), to pour out.

FUSE, to melt. — FU'SION, the act of melting. — CONFOUND/
to mingle things; to perplex. — CONFU'SION, irregular
mixture; tumult. — DIF'FUSE, to spread, to scatter. — EF-
FU'SION, a pouring out. — INFUSE', to pour in; to instil. —
PROFU'SION, abundance. — REFUND', to pour back; to re-
store.— SUFFUSE', to spread over. — TRANSFUSE', to pour
from one into another.

Fun'dus, a foundation, or bottom,

FOUND, to establish. — FOUND'ER, one who establishes. —
FUNDAMENTAL, lying at the foundation. — PROFOUND',
deep; thorough. — PROFUND'ITY, depth.

WORDS DERIVED FROM LATIN AND GREEK

Ga'lax (G), milk.
GAL'AXY, the Milky Way; a splendid assemblage.

Ga'mein (G), to marry.

BIG'AMY (L), the crime of having two wives at once. — •
POLYG'AMY, the having of a plurality of wives.

Gas'ter (G), the belly.

GAS'TRIC, belonging to the stomach. — GASTRIL'OQUIST, a
ventriloquist.

Ge (G), the earth.

GEOG'RAPHY, a description of the earth's surface. — GEOL'-
OGY, the science of the structure of the earth. — GEOM'-
ETRY,34 the science of magnitude. — GEOPON'ICS (G, ponos,
labor), agriculture. — AP'OGEE, greatest distance from the
earth. — PER'IGREE, nearest approach to the earth.

Gen'nein (G), to produce. Ge'nea (G), birth; origin.
GENEAL'OGY, lineage; an account of one's descent. — GEN'-
ESIS (G, genesis), origin; creation.

Ge'lu, frost; ice.

GEI/ID, extremely cold. — GEI/ATINE, an animal substance
resembling jelly. — CONGEAL', to turn by cold from a fluid
to a solid; to freeze. — CONGEAL' ABLE, susceptible of con-
gelation.

Get* ere (ges'tum}, to bear; to carry on.
GES'TURE, action intended to convey ideas. — GESTICULATE,
to accompany words with gestures. — CONGESTION, an ac-
cumulation of blood in some part of the body. — DIGEST',
to arrange; to soften or dissolve. — INDIGES'TION, the
state of food undissolved in the stomach. — SUGGEST', to
intimate. — VICEGERENT, one who acts in the place of
another.

Gig' no (G), to generate; to produce.

GE'NIAL, causing production or growth. — GE'NIUS (L), nat-
ural disposition. — GEN'ERAL, comprehending many individ-
uals.— GENER'IC, belonging to a genus. — GEN'DER, sex. —
GE'NUS (L), a kind including many species. — GEN'UINE,
natural; unadulterated. — GEN'TILE (L, gens, a nation),
one of a nation ignorant of God. — GEN'TLE, soft; mild;

84 Primarily, the art of measuring the earth or globe.

114 GOOD ENGLISH IN GOOD FORM

tame. — CONGE'NIAL, of the same kind. — DEGEN'ERATE, to
grow worse. — ENGEN'DER, to produce. — GEN'ERATE, to
produce. — GENERA'TION, the people living at one period.

— INDIG'ENOUS (L, in'de, thence), native in a country. —
INGE'NIOUS, having genius; inventive. — INGENU'ITY,
acuteness; power to invent. — INGEN'UOUS, candid; open;
fair. — PRIMOGENITURE, the state of being a first-born. —
PROGEN'ITOR, a forefather. — PROG'ENY, offspring; race. —
REGENERATE, to renew. — REGENERATION, new spiritual
birth to the Christian life.

Gla'dius, a sword.

GLA'DIATOR, a sword-player. — GLADIATO'RIAL, pertaining to
sword-playing.

Glo'tta or Glossa (G), the tongue; language.
GLOT'TIS and EPIGLOT'TIS, parts of the throat, lying near the
root of the tongue. — POL'YGLOT, in many languages. —
GLOSS' ARY, a limited dictionary.

Glu'phein (G), to carve or engrave.

GLYPH, a kind of ornament in sculpture. — HI'EROGLYPH, a
mystical character or symbol.

Genti're, to swallow.

GLUT, to fill ; to cloy. — GLUT'TON, an excessive eater. —
GLUT/TONIZE, to eat to excess or gormandize.

Gno'me (G), reason; judgment. Gno'sis (G), knowledge.
DIAGNO'SIS, judgment respecting the character of a disease.

— IG'NORANT, destitute of knowledge. — GNOS'TICS, an
ancient sect of philosophers. — PHYSIOG'NOMY, the art of
discerning the character of the mind from the countenance.

— PROGNOSTIC, a sign by which a future event may be
known.

Go'nia (G), an angle or corner.

DIAG'ONAL, passing through the opposite angles. — GONIOM'-
ETER, an instrument for measuring angles. — POL'YGON, a
figure having many angles. — TRIGONOM'ETRY, the measur-
ing of triangles.

Gra'dior (gres'sus), to take steps; to walk.
GRADA'TION, regular advance step by step. — GRAD'UAL (L,
gra'dus, a step), advancing by steps. — GRAD'UATE, to mark
with degrees. — DEGREE', a step; a rank. — DEGRADE', to

WORDS DERIVED FROM LATIN AND GREEK 1 15

put into a lower rank. — AGGRES'SION, an attack. — AG-
GRESS'OR, one who makes an attack. — CON'GRESS, a coming
together ; an assembly of legislators. — DIGRESS', to wan-
der.— E'GRESS, departure out of. — IN'GRESS, entrance. —
PROG'RESS, advancement; motion forward. — TRANSGRESS',
to pass over; to violate.

Gran'dis, great.

GRAND, great ; noble ; chief. — GRAND'EUR, magnificence. —
GRANDEE', a man of high rank. — GRANDIL'OQUENCE, lofti-
ness of language. — AG'GRANDIZE, to make great; to exalt.

Gra'num, a grain of corn.

GRAIN, a seed of corn ; a minute particle. — GRAN'ARY, a
storehouse for grain. — GRAN'ULAR, consisting of grains. —
GRANIV'OROUS, eating grain. — GRAN'ITE,, a stone com-
posed of crystalline grains.

Graph' ein (G), to write: Gramma (G), writing.

AN'AGRAM, a transposition of the letters of a word. — AU-
TOGRAPH, a specimen of one's handwriting. — DI'AGRAM,
a delineation ; a figure. — EP'IGRAM, a short, pointed poem.
— GRAM'MAR, the science which treats of the laws of
language. — GRAPH'IC, well delineated ; giving vivid de-
scription.— GRAPH'ITE, a substance used for pencils. —
PAR'AGRAPH, a distinct part of a composition. —
PARALLEL'OGRAM, a figure whose opposite sides are
parallel. — SxENOc'RAPHY,35 shorthand. — TEL'EGRAPH (G,
tele, afar), a machine for communicating intelligence by
signals.

Grcftus, pleasing; agreeable; thankful.

GRATE'FUL, thankful ; pleasing. — GRAT'ITUDE, desire to re-
turn benefits ; thankfulness. — IN'GRATE, n. an ungrateful
person. — INGRAT'ITUDE, unthankfulness. — GRA'TIS (L,
gra'tia, a favor), for nothing. — GRATUITOUS, given with-
out necessity or reward. — GRATU'ITY, a free gift. — GRAT'-
IFY, to indulge; to delight. — CONGRATULATE, to rejoice
with another. — GRACE, favor ; pardon ; elegance. — DIS-
GRACE', to put out of favor ; to dishonor. — GRA'CIOUS,
merciful; favorable.

Gra'vis, heavy; grievous,
GRAVE, serious; weighty. — GRAV'ITY, weight; seriousness. —

35 The termination graphy, which is found in a large class of
words, denotes a writing or treatise.

Il6 GOOD ENGLISH IN GOOD FORM

GRAVITA'TION, tendency to the centre of the earth. —
GRIEF, sorrow; regret. — GRIEVOUS, mournful; sad. —
GRIEVE, to mourn. — AGGRIEVE', to harass. — AG'GRAVATE, to
make worse.

Grex (gre'gis}, a flock of sheep.

GREGA'RIOUS, going in flocks or herds. — CON'GREGATE, to as-
semble.— CONGREGATION, an assembly. — EcRE'cious,36 emi-
nently bad. — AG'GREGATE, the result of conjunction of
many particulars. — SEG'REGATE, to separate from others.

Guberna'tor, a pilot; a director.

GOV'ERN, to direct ; to control. — GUBERNATORIAL, belonging
to a governor.

Gum'nos (G), naked.

GYMNASIUM," a place for athletic exercises. — GYMNAS'TIC,
belonging to a gymnasium.

Gu'ne (G),38 a woman.

GYN'ARCHY, government by a female. — GYN^E'CIAN, relating
to women. — GYN^EOC'RACY, government over which a
woman may preside.

Gu'ros (G), a circle.
GYRA'TION, a whirling round. — GY'RAL, whirling.

Gusta're (gusto? turn), to taste

GUST, taste; relish.39 — GUST'FUL, well tasted. — DISGUST',
aversion; disrelish. — DISGUST'ING, nauseous; exciting
strong aversion.

Ha'bere (hab'itum), to have.

HAVE, to possess. — HAB'IT, usual state of a thing; custom.
HABITATION, (L, hab'ito, to dwell, a place of abode. —
HABIT'UAL, customary. — Asii/iTY,40 faculty, power. — IN-
HAB'IT, to dwell in.

38 Compounded of e and grex ; signifying, literally, chosen
from the flock; distinguished; in the Roman languages it means
something highly esteemed.

87 In the ancient games the combatants were naked, or nearly
so; hence their exercise was called gumnasia.

88 The word gune enters into several botanical terms.

39 Gust, signifying a blast of wind, is not of Latin derivation.

40 Supposed to be from the Latin word hab'ilis, easily man-
aged; suitable.

WORDS DERIVED FROM LATIN AND GREEK II?

Hoirere (hce'sum), to stick to, to adhere.
ADHERE', to stick to. — COHE'SION, state of union ; connection.
— COHE'RENT, sticking together; consistent. — INCOHE'-
RENT, inconsistent; loose. — INHE'RENT, existing in; innate.

Hoe' res (hcere'dis), an heir or heiress.
HER'ITAGE, property inherited. — INHER'IT, to possess by
descent. — HEIR, one who inherits. — HEIR'SHIP, the state
of an heir. — HERED'ITARY, descending from father to son. —
CO-HEIR', an heir with another. — HEIR'LOOM, any movable
owned by inheritance.

Hai'ma (G), blood.

HEM'ORRHAGE, a flow of blood. — HEM'ORRHOIDS, bleeding tu-
mors.

Hala're, to breathe.

EXHALE', to breathe out. — EXHALA'TION, vapor. — INHALE',
to draw in with the breath.

Hauri're (haus'tum), to draw.

EXHAUST', to draw out until nothing is left. — INEXHAUST'-
IBLE, that cannot be exhausted; unfailing.

Heb'domos (G), the seventh.
HEB'DOMAD (obsolete), a week. — HEBDOM'ADAL, weekly.

Hed'ra (G), a seat.

CATHE'DRAL (G), the see or seat of a bishop; the principal
church in a diocese. — SAN'HEDRIM, the chief council of the
Jews. — TETRAHE'DRON, a solid having four faces or sides.

Hege'sis (G), a leading; an explanation.
EXEGE'SIS (G), exposition. — EXEGET'ICAL, pertaining to
exegesis.

Ho' mo, man.

HU'MAN, belonging to mankind. — HUMANE', having the
feelings proper to man. — INHU'MAN, barbarous; cruel. —
HUMAN'ITY, the nature of man; kindness. — HOM'ICIDE,
manslaughter.

Ho'nor, honor.

HON'OR, dignity; respect. — HON'ORARY, done in honor. —
HON'ORABLE, worthy of honor. — DISHON'OR, reproach ;
disgrace. — HON'EST, without fraud; upright. — DISHON'-
EST, unjust; iniquitous.

Il8 GOOD ENGLISH IN GOOD FORM

Ho/tus, a garden.
HORTICULTURE, cultivation of a garden.

Hek'aton (G), a hundred.

HEC/ ATOMS (G, an ox), an ancient heathen sacrifice of a
hundred oxen or other animals at once.

He'lios (G), the sun.

APHE'LION, greatest distance from the sun. — HELI'ACAL,
emerging from the light of the sun or passing into it. —
HE'LIOTROPE, a plant that turns to the sun. — PERIHE'-
nearest approach of a planet to the sun.

Hel'len (G), a Greek.

HELLEN'IC, pertaining to Greece. — HEL'LENIST, one skilled
in the Greek language.

He'mera (G), a day.

EPHEM'ERAL, lasting but a day. — EPHEM'ERIS, a kind of al-
manac.

He'mi (G), a prefix signifying half.

HEMISPHERE (G, a ball), a half sphere. — HEM'ISTICH, half
a line in poetry.

Hep'ta (G), seven.

HEP'TAGON, a figure having seven angles. — HEP'TARCHY, a
government by seven persons.

Het'eros (G), other; another.

HET'ERODOX, heretical ; holding erroneous sentiments. — HET-
EROGE'NEOUS, of different nature or kind.

Hex (G), six.

HEX'AGON, a figure having six angles. — HEXAM'ETER, hav-
ing six metrical feet.

Hip'pos (G), a horse.

HIPPOPOTAMUS, the river-horse. — HIP'PODROME, anciently, a
circus.

Hi'eros (G), sacred.

HIERARCHY, ecclesiastical government. — HIEROGLYPHIC, a
sacred character or symbol.

41 The word helios enters into various astronomical terms.

WORDS DERIVED FROM LATIN AND GREEK

Hom'ilos (G), an assembly or company.
HOM'ILY, a discourse pronounced to an audience. — HOM-
ILET'IC, pertaining to pulpit discourse.

Horn' os (G), united; like.

HOMOGE'NEOUS, of the same kind or nature. — HOMOLOGOUS,
proportionate to each other.

Ho'ra (G), an hour.

HO'RAL, relating to an hour. — HOROL'OGY, the art of making
time-pieces.

Hori'zein (G), to fix a limit.

HORI'ZON, the limit which bounds the sight. — HORIZON'TAL,
parallel to the horizon.

HoJpes, a host or guest.

HOS'PITABLE, kind to visitors. — HOSPITAL'ITY, readiness to
entertain strangers and friends. — HOS'PITAL, a building
for the sick or infirm. — HOST, the master of a feast ; the
landlord of an inn. — HOTEL' 42 (Fr), an inn. — HOSTELER,
one who takes care of horses at an inn.

Hos^tis, an enemy.
HOST, an army; a multitude. — HOS'TILE, adverse; opposite.

— HOS'TILITY, enmity. — HOSTILITIES, hostile proceedings.

Hu'dor (G), water.

HY'DRA, a water-serpent. — HY'DRANT, a pipe for discharging
water. — HYDRAUL'IC, relating to the conveyance of water
through pipes. — HY'DROGEN, one of the elements of water.

— HYDROPHO'BIA (G, fear), dread of water. — HYDRO-
STAT'IC, relating to the weight and equilibrium of fluids. —

DROP'SY (G), a disease.

Hum'us, the ground. Hu'milis, humble.

INHUME', INHU'MATE, to bury. — EXHUME', to disinter. —
POST'HUMOUS, published after the author's death. — Hu'-
MID, moist; damp. — HUMID'ITY, dampness. — HUM'BLE,
modest; submissive. — HUMIL'ITY, freedom from pride. —
HUMILIATION, abasement of pride. — HU'MOR, moisture;
turn of mind ; wit.

I'd em, the same.

IDEN'TITY, sameness. — IDEN'TICAL, the same. — IDEN'TIFY, to
discover or prove sameness.

42 The word Hotel was once written Hostel.

I2O GOOD ENGLISH IN GOOD FORM

Igfnis, fire.

IGNITE', to set on fire. — IG'NEOUS, of the nature of fire. —
IGNI'TION, the state of red heat.

Ima'go (imag'inis*), an image.

IM'AGE, a representation; statue; picture. — IM'AGERY, figur-
ative representation. — IMAG'INE, to fancy. — IMAGINA'-
TION, fancy ; idea. — IMAG'INARY, fancied ; visionary.

Imperi're, to command.

IMPER'ATIVE, commanding; authoritative; the name of a
mode in grammar. — IMPE'RIOUS, overbearing; domineer-
ing.— IMPE'RIAL, pertaining to an emperor. — EM'PEROR, a
monarch. — EM'PIRE, the dominion of an emperor.

Ina'nis, empty.

INAN'ITY, emptiness; vacancy; vanity. — INANI'TION, empti-
ness; exhaustion.

Ich'thus (G), a fish.

ICHTHYOI/OGY, the science of fishes. — ICH'THYOLITE, fossil
fish.

In'dex (in'dicis), a sign; a pointer.

INDEX, n. a pointer ; a table of contents. — IN'DEX, v. to place
in an index or table. — IN'DEX-HAND, a hand that points to
something. — IN'DICES (plural of in'dex), algebraic signs.

Id'ios (G), belonging to one; peculiar.

ID'IOM, peculiarity of expression or phraseology. — lo'iox/3
a fool. — IDIOSYN'CRASY (G, constitution), peculiar liability
to some form of disease; a personal trait.

I'dos (G), appearance; figure.

CYCLOID,** a geometrical curve. — SPHEROID', a solid resem-
bling a sphere.

In'ferus, nether; subterranean.
INFE'RIOR, lower ; less honorable. — INFER'NAL, hellish.

43 The Greek word idiotes signifies o private individual; it was
used also to signify a very ignorant person.

44 Literally, the likeness or resemblance of a circle. The ter-
mination oid is found in words not here given, and has the same
signification, viz. : resemblance.

WORDS DERIVED FROM LATIN AND GREEK 121

In'sula, an island.

IN'SULAR, belonging to an island. — ISI/AND, ISLE, a body of
land surrounded by water. — I'SOLATED, placed by itself. —
IN'SULATE, to detach from surrounding objects. — PENIN'-
SULA, land nearly surrounded by the sea.

In'teger, whole; entire.

IN'TEGRAL, entire; whole; unbroken. — IN'TEGER, a whole
number. — INTEGRITY, entireness ; honesty ; purity of mind.

In'tus and In'tra, within.

INTE'RIOR, and INTER'NAL, inner, pertaining to the inside. —
IN'TIMATE (L in'tfonus, inmost), familiar; acquainted witfi
the mind of another. — INTIMA'TION (Fr.), a hint; an in-
direct suggestion. — INTRINSIC (L secus, otherwise), be-
longing to the nature of a thing; inherent.

I'ra, anger.
IRE, anger. — IRAS'CIBLE, easily made angry.

Ire (i'tum), to go.

AM'BIENT, surrounding. — AMBI'TION/S a desire of honor. —
EX'IT (L), a going out; a departure. — INI'TIAL, placed at
the entrance or beginning. — INI'TIATE, to give entrance to,
(as to a custom or society) ; to admit to the knowledge of;
to introduce. — TRANS'IT, a passing over. — TRANSITION,
the act or state of passing from one condition to another.

— TRANS'ITIVE, in grammar, passing over upon some ob-
ject.

I'sos (G), equal.

ISOCH'RONOUS, performed in equal times (as the vibration
of a pendulum). — ISOS'CELES (G, the leg), having two legs
or sides which are equal.

I'ter (itin'eris), a journey. I'tero, to repeat.
ITIN'ERANT, wandering; unsettled. — ITIN'ERARY, traveling.

— IT'ERATE, to go or do over again. — ITIN'ERATE, to travel
from place to place.

J a' cere, to lie.
JA'CENT, lying at length. — ADJA'CENT, lying or situated next.

— CIRCUMJA'CENT, lying round. — INTERJA'CENT. lying be-
tween.

45 The Latin word ambi'tus, signifies a going round or about ;
and was used to denote the canvassing for votes, and the solicit-
ing of popular favor employed by those who sought office.

122 GOOD ENGLISH IN GOOD FORM

J of cere (jac'tum), to throw.

EJAC'ULATE, to utter suddenly; (as a prayer). — EJACULA'-
TION, short prayer uttered in the midst of other occupa-
tions.— AB'JECT, thrown away; worthless; mean. — AD'-
JECTIVE, a word added to a noun to qualify it. — CONJEC'-
TURE, to guess. — DEJECT', to cast down ; to grieve. —
EJECT', to cast out ; to expel. — INJECT', to throw in. — IN-
TERJEC'TION, an exclamation thrown in between parts of a
sentence. — OB'JECT, that to which any action or thought is
directed. — OBJECT'IVE, belonging to the object; acted on. —
PROJECT', v. to throw out; to scheme. — PROJ'ECT, n. a de-
sign; contrivance. — PROJEC'TILE, a body thrown forward.
— REJECT', to refuse. — SUBJECT', v. to put under ; to sub-
due.— SUB'JECT, «. that which is acted upon ; one who is
under the dominion of another.

Jo'cus, a joke.

JOKE, a jest; a merry trick. — JOCOSE', JOC'ULAR, merry; wag-
gish.— JOCULAR'ITY, merriment. — JOC'UND, gay; lively.

Judica're (judica'tum),46 to judge.

JU'DICATORY, a tribunal. — JUDI'CIAL, pertaining to courts of
justice. — JUDI'CIARY, the system of courts of justice. —
ADJU'DICATE, to try and determine. — ADJUDGE', to decree
judicially. — EXTRAJUDI'CIAL, out of the ordinary judicial
course. — JUDGE, to decide. — JUDI'CIOUS, guided by judg-
ment.— PREJ'UDICE, opinion formed without due examina-
tion.— PREJUDICIAL, hurtful.

Jun'gere (junc'tum), to join.

JUNCTION, union. — JOIN, to unite. — JOINT (Fr.), a joining;
a connection allowing motion. — JOIN'ER, one who joins
pieces of wood. — ADJOIN'ING, next ; contiguous. — CON'-
JUGAL, relating to marriage. — CONJUNCTION, a connect-
ing word. — DISJOIN', to separate. — DISJUNCTION, separa-
tion ; disunion. — DISJUNCTIVE, separating. — ENJOIN', to
command. — INJUNCTION, precept ; order. — SUB'JUGATE,*T
to conquer ; to subdue. — SUBJUNCT'IVE, conditional.

Jur'are, to swear.

ABJURE', to renounce upon oath. — ADJURE', to put one upon
oath. — CONJURE', to summon or call upon one in a solemn
manner. — CON'JURE, to practise secret or magical arts. —

48 Judico is compounded of jus and dico.
47 Lat. sub, under, and ju'gum, a yoke.

WORDS DERIVED FROM LATIN AND GREEK 123

JU'RY, a set of men sworn to give a true verdict. — JU'ROR,
a member of a jury. — PER'JURE, to swear falsely; to take
a false oath.

Jus (/u'm), right; justice; law.

JUST, equitable; honest. — UN'JUST, iniquitous; dishonest. —
JUST'ICE, right; a magistrate. — INJUSTICE, wrong. —
JUST'IFY, to clear from guilt. — JU'RIST, one versed in the
law. — ADJUST', to set right. — IN'JURE, to treat unjustly;
to wrong; to hurt. — INJU'RIOUS, hurtful. — JURISDICTION,
legal authority; extent of power. — JURISPRUDENCE (L,
pruden'tia, knowledge), the science of law.

Ju'venis, young.

JU'VENILE, youthful; fit for children. — JI/NIOR, (L),
younger than another.

Kafkos (G), bad.

CACHEX'Y (G), condition, a deranged state of the body. —
CACOPH'ONY, harshness of sound.

Kalup'tein (G), to cover; to veil.

APOC/ALYPSE, a revelation. — APOCALYP'TIC, pertaining to a
revelation.

Kan' on (G), a rule.

CAN'ON, a rule or law; a catalogue of saints. — CAN'ONIZE, to
declare one a saint.

Kai'ein (G), to burn.

CAUS'TIC, burning ; corroding. — CAU'TERY, a burning or
searing.

Ka/dia (G), the heart.

CAR'DIAC, pertaining to the heart. — PERICAR'DIUM, a mem-
brane enclosing the heart.

Ken' iron (G), a central point.

CEN'TRE, the middle point. — CONCEN'TRATE, to bring to-
gether ; to bring into a smaller compass. — CENTRIFUGAL,
tending from the centre. — ECCEN'TRIC, deviating from the
centre; irregular; anomalous.

Keph'ale (G), the head.

CEPHAL'IC, pertaining to the head. — HYDROCEPH'ALUS,
dropsy of the head.

124 GOOD ENGLISH IN GOOD FORM

Ke'ras (G), a horn.

MONOC'EROS, an animal having but one horn. — RHINOC'EROS,
an animal having1 a horn on the nose.

Konch'e (G), a shell.

CONCH, a marine shell. — CONCHOID'AL, shaped like a shell. —
CONCHOI/OGY, the science of shells.

Kap'tein (G),48 to cut.

APOC'OPATE, to cut off from the end of a word. — SYN'COPATE,
to remove letters from the middle of a word.

Kos'mos (G), the world.

COSMOG'ONY, an account of the origin or creation of the
world. — COSMOPOLITE, a citizen of the world. — MK/RO-
COSM, a little world. — COSMET'IC, a preparation designed to
beautify the complexion.48

Kra'nion, the skull.

CRA'NIUM, the skull. — PERICRA'NIUM (G, around), the mem-
brane that covers the skull. — CRANIOL'OGY, the science
of skulls. — CRANIOS'COPY, the examination of the skull.

Kra'tos (G), might, power.

The terminations, cracy, erotic, etc., are from this word.
See 21.

Kri'tes (G), a judge.

CRIT'IC, a judge in literature or art. — CRITE'RION, a standard
of judgment. — HYPERCRIT'ICAL, critical beyond reason. —
CRI'SIS, the deciding point.

Krup'tein (G), to conceal.

APOC'RYPHAL, of doubtful origin. — CRYPTOG'AMY, concealed
union.

Kuk'los (G), a circle.

CY'CLE, a period of time. — CY'CLOID, a curve. — CYCLO-
PE'DIA, ENCYCLOPE'DIA, the circle of sciences.

Ku'on (G), a dog.
CYN'ICAL,BO surly; austere. — CYN'OSURE," a constellation.

48 Gamma here has the sound of ng.

49 A primary signification of the word kosmos, is — order;
beautiful arrangement.

50 The Cynics were philosophers who valued themselves on

WORDS DERIVED FROM LATIN AND GREEK 125

Kusftis (G), a bladder; a bag.
CYST, a bag ; a vesicle. — ENCYST'ED, enclosed in a bag.

La'bor, labor.

LA'BOR, work, toil. — LABO'RIOUS, diligent in work; tiresome.
— LABORATORY, a chemist's workroom. — ELAB'ORATE, fin-
ished with care.

La' os (G), the people.

LA'ITY, the people, as distinguished from the clergy. — LAY,
not clerical. — LAY'MAN, one who is not a clergyman.

La' pis (lap'idis), a stone.

LAP'IDARY, a worker in precious stones. — DILAPIDATION,^
ruin; demolition.

Lapsa're (lap'sus}, to slide.

LAPSE, fall ; trifling error or fault. — COLLAPSE', to fall inward
or together. — ELAPSE', to glide away. — RELAPSE', to fall
back again.

La'tus, broad.

LAT'ITUDE, breadth ; extent ; distance from the equator. —
LATITUDINA'RIAN, a person who indulges freedom in think-
ing.

La'tus (lat'eris), a side.

LAT'ERAL, pertaining to the side. — COLLATERAL, placed by
the side ; classed with. — EQUILAT'ERAL, of equal sides. —
TRILAT'ERAL, having three sides.

Laus (lau'dis), praise.

LAUD, to praise; to extol. — LAUD'ABLE, praiseworthy. —
LAUD'ATORY, containing praise. — LAUD'ANUM," tincture of
opium.

Lega're (lega'tum), to send as an ambassador; to appoint.
LEG' ATE, a deputy; an ambassador. — LEGA'TION, a deputa-
tian ; an embassy. — LEG'ACY, something left by will. — LEG-

their contempt of riches and amusements, and laughed at the
errors and follies of mankind.

61 Literally, a dog's tail. That which attracts general notice,
is sometimes called, figuratively, a cynosure.

52 Primary meaning, the falling down of the stones of a wall.

63 This word is supposed to have been derived, in some humor-
ous usage, from laus.

126 GOOD ENGLISH IN GOOD FORM

ATEE', one who receives a legacy. — ALLEGE', to adduce ; to
plead an excuse. — ALLEGA'TION, affirmation ; plea. — COL'-
LEAGUE, a fellow ambassador or officer. — DEL'EGATE, v. to
send on an embassy. — DEL'EGATE, n. a deputy, a commis-
sioner.

Ledger e (lec'tum), to gather; to select; to read.
LEC'TURE, a discourse that communicates formal instruction.
— LEG'IBLE, that can be read. — LE'GEND, a narrative of
fabulous character. — LE'GION, a chosen body of men. —
COLLECT', to gather together. — COLLECTIVE, gathered into
one mass. — ELEC'TION, the act of choosing. — EL'IGIBLE,
fit to be chosen. — IN'TELLECT, understanding. — INTEL'LI-
GENT, able to understand. — NEGLECT' (L nee, not), to
slight; to postpone. — RECOLLECT', to call up in memory. —
SELECT', to choose.

Lefnis, mild; gentle.

LE'NIENT, mild ; fitted to soothe. — LEN'ITY, mildness of tem-
per; tenderness; mercy.

Let the (G), forgetfulness ; oblivion.

LETHE'AN, inducing forgetfulness. — LETH'ARGY, morbid
drowsiness.

Leva're, to raise.

LEV'ITY, lightness; vanity; mirth. — EL'EVATE, to lift up. —
ALLE'VIATE, to lighten. — LEV'Y, to raise ; to collect. — REL'-
EVANT, capable of aiding; applicable. — IRREL'EVANT, not
applicable. — RELIEVE', to aid; to succor.

Lex (le*gis), a law.

LE'GAL, lawful. — ILLE'GAL, unlawful. — LE'GALIZE, to make
lawful. — LEGITIMATE, correctly derived. — LEGISLATURE,
the law-making power. — LEG'ISLATE, to enact laws. —
PRiv'iLEGE,54 a special right or advantage. — LEGITIMACY,
a political term, signifying lawful hereditary succession.

Lex'is (G), a word or expressipn.

LEX'ICON, a dictionary (Anglice, a word-book). — LEXICOG'-
RAPHY, the compilation of a dictionary.

Li'ber, free.

LIB'ERAL, bountiful; generous. — LIB'ERTY, freedom. — LIB'-
ERATE, to set free. — LIB'ERALIZE, to remove narrow views.

64 Primary signification, a law for the advantage of particular
individuals.

WORDS DERIVED FROM LATIN AND GREEK

— LIB'ERTINE, one under no moral restraint. — ILLIB'ERAL,
mean; suspicious.

Li'ber (li'bri), a book.

LI'BRARY, a collection of books. — LI'BEL, (L, libel'lus, a
small writing or document), a defamatory writing. — Li-
BRA'RIAN, one who has the care of books. — LI'BELOUS, de-
famatory.

Libra' re (libra' turn), to weigh in a balance.
DELIBERATE, to weigh mentally. — EQUILIBRIUM, equality of
weights in a balance.

Li'cet, it is lawful, or allowable.
LI'CENSE, permission. — LICEN'TIOUS, wanton; unrestrained.

— ILLIC'IT, unlawful; improper. — LICEN'TIATE, one who
has received a license.

Liga're (liga'tum), to bind.

LIG'AMENT, a band. — LIG'ATURE, anything that binds ; a band-
age.— ALLE'GIANCE, acknowledged obligation to obey. —
OBLIGE', to compel ; to place under bonds of duty. — OBLI-
GA'TION, a binding requirement. — RELIG'ION, our duty to
God and to man.

Li'men, a threshold.

ELIMINATE, to put out of doors; to cast out. — PRELIM'-
INARY, before the threshold; introductory.

Lin'gua, the tongue; a language.

LAN'GUAGE, human speech; style. — LIN'GUIST, one skilled in
languages.

Lin'quere (lic'tum}, to leave.

DELINQUENT, failing in duty. — DERELICTION, a forsaking. —
RELINQUISH, to abandon. — REL'IC, something left. — REL'-
ICT, literally, one left; a widow.

Li'num, flax. Lin'ea, a line.

LIN'EN, cloth made of flax. — LIN'SEED, the seed of flax. —
LIN'SEY-WOOLSEY, cloth made of linen and wool. — LINT,
down scraped from linen. — LINE (lin'ea~), a thread or
cord. LIN'EAR, consisting of lines. — LIN'EAL, in a line. —
LIN'EAGE, descent; family line. — LIN'EAMENT, an outline
of the face or of a portion of it. — CURVILIN'EAR, having
curved lines. — DELIN'EATE, to draw an outline.

128 GOOD ENGLISH IN GOOD FORM

Lis (li'tis), strife.

LITIGA'TION, going to law. — LIT'IGANT, one engaged in a
law-suit.

Lit'era, a letter.

LITERATURE, learning. — LIT'ERARY, relating to learning. —
LIT'ERAL, exact to the letter. — ILLITERATE, unlearned. —
LET'TER, a character representing some sound ; an epistle.

— ALLITERA'TION, the beginning of several words in suc-
cession with the same letter.

Li'thos (G), a stone.

LITHOG'RAPHY, writing or drawing on stone. — CHRYSOLITE,"
a precious stone.

Lo'cus, a place.

LO'CAL, relating to place. — LOCALITY, situation ; place. — Lo'-
CATE, to place. — LOCOMO'TION, power of changing place. —
LOCOMO'TIVE, having the power of motion from one place
to another. — DIS'LOCATE, to put out of joint.

Log' os (G), a speech, account, or description.
ANAL'OGY, correspondence. — APOL'OGY, an excuse; a plea. —
CAT'ALOGUE (G), a list. — DIALOGUE, a conversation. —
LOG'IC, the art of reasoning. — LOGOM'ACHY, a war of
words. — PHILOLOGY," the science of language.

Lon'gus, long.

LONG, a. not short. — LONG, v. to desire earnestly. — LON'-
GITUDE, length ; distance east or west. — LONGEVITY, length
of life. — PROLONG', to lengthen out. — ELON'GATE, to
lengthen.

Lo'quor (locu'tus), to speak.

LOQUAC'ITY, talkativeness. — COL'LOQUY, a conference. — COL-
LO'QUIAL, relating to conversation. — ELOCU'TION, the art
of oratorical delivery. — EL'OQUENT, having oratorical
powers. — EL'OQUENCE, the art of speaking well; oratory.

— OB'LOQUY, censorious speech. — LOQUA'CIOUS, full of
talk ; garrulous. — SOLIL'OQUY, a speech in solitude. — VEN-
TRIL'OQUIST, one who can speak as if from his stomach.

65 The termination lite, from litos, is found in the names of
many minerals.

56 The termination or suffix logy, which is found in a large
number of words, is from logos, and denotes art, science, descrip-
tion, account, etc.

WORDS DERIVED FROM LATIN AND GREEK 129

Lu'crum, gain.
LU'CRE (Fr), gain; profit. — LU'CRATIVE, profitable.

Lucia' ri (lucta'tus') , to struggle.
RELUC'TANCE, unwillingness. — RELUC'TANT, unwilling.

Lu'dere (lu'sum), to play.

LU'DICROUS, exciting laughter. — ALLU'SION, a reference to
something. — COLLU'SION, dishonest agreement or compact.

— ELUDE', to escape by stratagem. — DELU'SION, deceptive
appearance. — INTERLUDE, a play performed between the
principal exhibitions. — PRE'LUDE, an introductory play.

Lu'na, the moon.

LU'NAR, relating to the moon. — LUNE, a figure in the form
of a crescent ; a crescent or half-moon. — LU'NACY, a sort
of madness.67 — LU'NATIC, an insane person. — SUB'LU-
NARY, beneath the moon; earthly.

Lu'ere (lu'tum), to wash away.

ABLU'TION, a washing or cleansing. — ANTEDILU'VIAN (L di-
lu'vium, a deluge), existing before the Deluge. — ALLU'-
VIAL, deposited by inundation. — DILU'VIAN, relating to the
Deluge. — DILUTE', to make thin or weak. — POLLUTE' (L
pol'luo, to defile), to defile; to make unclean.

Lu'sis (G), a loosing or dissolving.

ANAL'YSIS, the separation of a compound into its constituent
parts. — PARAL'YSIS, palsy. — PARALYT'IC, affected with
palsy.

Lux (lu'cis), and Lu'men (luf minis'), light.
LU'CID, LU'CENT, bright; shining; giving light. — LU'CIFER,
the morning star. — LU'MINOUS, emitting light. — LU'MI-
NARY, anything that gives light. — ELU'CIDATE, to explain.

— ILLU'MINATE, to enlighten; to light. — TRANSLU'CENT,
clear; transparent.

Mach'omai (G), to fight.
MONOM'ACHY, single combat. — NAU'MACHY, a sea-fight.

Magisftcr, a master.
MAGISTRATE, one having civil authority. — MAGISTRACY, the

57 The name was derived from a superstitious notion that in-
sanity was connected with the influence of the moon.

I3O GOOD ENGLISH IN GOOD FORM

office or dignity of a magistrate. — MAGISTERIAL, having
the air of authority. — MAS'TER, one having the direction
or control.

Mag'nus, great; Ma'jor, greater.

MAG'NITUDE, greatness. — MAG'NIFY, to make great; to extol.
— MAGNIFICENCE, grandeur. — MAIN, n. the gross; the
chief part. — MAIN, a. chief; principal. — MA'JOR, a.
greater. — MAJOR'ITY, the part of any number greater
the sum of all the other parts. — MAJ'ESTY, grandeur ;
ereignty; royal title. — MAJES'TIC, stately; grand.

than
sov-

Ma'lus, bad.

MALEDIC/TION, a curse. — MALEFACTOR, a criminal. — MAL'-
ICE, a disposition to injure without cause. — MALIG'NITY,
extreme enmity. — MALEV'OLENT, wishing ill to another. —
MALADMINISTRATION, bad use of power. — MALIGN', to
slander ; to defame. — MALPRAC'TICE, evil or illegal practice
or conduct.

Man' dare6* (Amanda' turn), to commit; to give a charge or
command.

MAN'DATE, an order. — COMMAND', to govern; to order. —
RECOMMEND', to commend to another. — COUNTERMAND',
to revoke a former command. — DEMAND', to call for with
authority. — REMAND', to send back.

Mane' re (man' sum), to stay.

MAN'SION, place of abode; house. — REMAIN'DER, the differ-
ence between two quantities. — PER'MANENT, durable, last-
ing.— REMAIN', to stay; to be left. — REM'NANT, that which
is left; residue.

Mantei'a60 (G), soothsaying; divination.

Ma'nus, the hand

MAN'UAL, performed by hand ; a book which may be held in
the hand. — MANUFACTORY, a working place. — MANUFAc7-

68 Manda'mus, signifying we command, is the name of a com-
mand or writ issuing from the King's Bench in England, and in
America from some of the higher courts, directed to any per-
son, corporation, or inferior court, requiring them to do some
act therein specified.

69 The suffix money, as in nec'ro money, is from this word.
Necromancy, (G. nekros, dead), signifies the revealing of future
events by pretended communication with the dead.

WORDS DERIVED FROM LATIN AND GREEK 13!

TURE, anything made by art. — MANUMIS'SION, giving lib-
erty to slaves.60 — MAN'USCRIPT, a writing. — MAN'ACLES,
shackles; handcuffs. — MANIP'ULATE, to handle. — AMAN-
UEN'SIS (L), a person employed to write what another
dictates. — EMANCIPATE, to set at liberty. — MAINTAIN',"
to support. — MAN'AGE, to conduct. — MANOzu'vRE,62 a dex-
terous movement.

Ma're, the sea.

MARINE', belonging to the sea.— MAR'INER, a seaman. —
MAR'ITIME, bordering on the sea; relating to the sea; na-
val.— SUBMARINE', under the sea. — TRANSMARINE^ across
the sea. — ULTRAMARINE', (L, ul'tra, beyond), across the
sea; a blue dye-stuff.

Mar'tur (G), a witness; a martyr.

MAR'TYR, one who is put to death for adherence to any cause.
— MAR'TYRDOM, the death of a martyr. — PRO'TO-MARTYR,
the first martyr.

Ma'ter, a mother.

MATER'NAL, pertaining to a mother. — MAT'RIMONY, mar-
riage.— MA'TRON, a married woman ; an elderly woman.

Mathe'ma (G), knowledge; that which is learned.
MATHEMATICS, the science of quantity. — POLYM'ATHY, vari-
ous knowledge. — CHRESTOM'ATHY (G, easily used), a se-
ries of easy lessons.

Matu'rus, ripe.

MATURE', ripe ; well digested. — MATU'RITY, ripeness ; comple-
tion.— IMMATURE', unripe. — PREMATURE', ripe too soon;
too hasty.

Mechan'ein (G), to contrive or invent.
MECH'ANISM, the construction of a machine, engine, or in-
strument.— MECHAN'ICS, the science which treats of
forces, the laws of motion, etc.

Me'deor, to cure.

MED'ICINE, any substance used in curing disease. — MED'ICAL,
relating to medicine. — REME'DIAL, intended for a remedy.

60 Literally, sending away from under the hand.
81 From the French word maintenir.

62 Derived, through the French, from manus and opera or opus,
and therefore signifying, literally, a work of the hand.

132 GOOD ENGLISH IN GOOD FORM

— REM'EDY, a cure ; reparation. — REME'DIABLE, curable. —
IRREME'DIABLE, incurable.

Me'dius, middle.
ME'DIUM (L), the middle point; that which comes between.

— ME'DIATE, v. to interpose between parties ; to effect a
reconciliation. — ME'DIATE, a. middle; intervening. — IM-
ME'DIATE, instant ; direct ; acting without any intervening
cause. — MEDIOC'RITY, middle state, rate, or degree ; mod-
erate degree.

Mel, honey.
MELLIF'EROUS, producing honey (as, melliferous plants). —

— MELLIFLUOUS, sweetly flowing; smooth.

Me'lior, better.
AMELIORATE, to make better. — MELIORATION, improvement.

Me'los (G), a song.

MEL'ODY, an agreeable succession of sounds. — MELO'DIOUS,
musical; agreeable to the ear.

Mem'ini, to remember.

MEM'ORY, the faculty by which we remember. — MEMORAN'-
DUM (L), a note to help the memory. — MEM'OIR (Fr,
memoire), a short account. — MEMEN'TO, that which re-
minds.— MEMO'RIAL, a monument ; a petition. — MEN'TION,
to speak of. — COMMEM'ORATE, to preserve in memory by
some public act. — IMMEMORIAL, beyond memory. — REM-
INIS'CENCE, recollection. — REMEM'BER, to bear in mind.

Mens (men'tis), the mind.

MENT'AL, pertaining to the mind. — DEMENTA'TION, making
frantic.

Mer'gere (me /sum}, to dip; to sink.

MERGE, to sink, or cause to be swallowed up. — EMERGE', to
rise out of. — EMER'GENCY, pressing necessity.63 — IMMER'-
SION, the act of putting anything below the surface of a
fluid. — SUBMER'SION, the state of being wholly covered by
a fluid.

Merx (me/cis), merchandise.
COM'MERCE, traffic, exchange. — MERCHANDISE, things bought

63 The word is derived from the idea of an event suddenly
coming upon one, as if something had arisen unexpectedly from
the water.

WORDS DERIVED FROM LATIN AND GREEK 133

and sold. — MERCANTILE, pertaining to the business of a
merchant. — MER'CENARY, serving for pay.

Meteo'ros (G), floating in the air.

ME'TEOR, a shooting star. — METEOROL'OGY, that science which
treats of the atmosphere and its phenomena.

Me'tior (men'sus), to measure.

METE, to measure. — MEAS'URE, that by which anything is
reckoned. — MENSURA'TION, the art of measuring. — COM-
MEN'SURATE, of equal measure. — DIMEN'SION, the extent
of a body. — ADMEASUREMENT, the act or result of meas-
uring according to rule. — IMMEASURABLE, that cannot be
measured. — IMMENSE', immeasurably great. — IMMENS'ITY,
unlimited extent; vastness.

Mefron (G), a measure.

ME'TRE, arrangement of poetic feet. — METRICAL, pertain-
ing to metre. — DiAM'ETER,64 measure through anything. —
SYM'METRY, due proportion of parts. — THERMOM'ETER, an
instrument for measuring heat.

Mi'grare (migra'tum), to remove; to depart from a place of
residence.

MIGRA'TION, departure to a distant place of residence. — Mi'-
GRATORY, roving ; unsettled. — EM'IGRATE, to remove from a
place. — EM'IGRANT, one who removes. — IMMIGRATION,
the coming of foreigners into a country. — IM'MIGRANT,
one who comes into a new country to reside. — TRANS-
MIGRA'TION, a passing from one state to another.

Mik'ros (G), small.

MI'CROCOSM, a little world (man is often so called). — Mi'-
CROSCOPE, a glass for viewing minute objects.

Mi'les (mil'itis), a soldier.

MILI'TIA, enrolled soldiers. — MIL'ITARY, pertaining to sol-
diery.— MIL'ITANT, fighting, contending. — MIL'ITATE, to
act against.

Mil'le, a thousand.

MILLENNIUM, a thousand years. — MIL'LEPED, an insect hav-
ing many feet.

84 The suffixes meter and metry, in such words as barometer,
geometry, etc., are derived from metron. Many words having
these suffixes will be found in this book, and a reference to this
paragraph usually accompanies them.

134 GOOD ENGLISH IN GOOD FORM

Min'ere, to hang over.
IM'MINENT, impending; at hand. — PROM'INENT, standing put.

— EM'INENT, high; distinguished. — EM'INENCE, elevation.

Minister, a servant or attendant.

MIN'ISTER, one who is appointed to transact business of state
under the direction of the chief executive; a clergyman.65

— ADMINISTER, to perform duties in an official station. —
ADMINISTRATOR, one who takes charge of the property of
a person dying without a will. — ADMINISTRATION, man-
agement; actual government.

Mi'nor, less.

MI'NOR, a. smaller ; n. one not of age. — MINUTE', a. small. —
MIN'UTE, n. a portion of time. — MIN'IMUM (L), the least
quantity possible in the case. — MIN'ION, a mean, low de-
pendant.— MIN'UEND, the number to be diminished. — Mi'-
NUS (L), a mathematical term signifying subtraction. —
DIMIN'ISH, to make less. — DIMIN'UTIVE, little.

Mi'rus, strange; wonderful.

MIR'ACLE, a supernatural event. — MIRACULOUS, performed
supernaturally. — ADMIRE', to regard with wonder or high
esteem. — AD'MIRABLE, of wonderful excellence.

Mis' cere (mix* turn}, to mix.

Mix, to mingle. — MIX'TURE, a compound formed by min-
gling.— MIS'CELLANY, a collection of various things. — AD-
MIX'TURE, the substance which is mixed with another. —
INTERMIX', to mingle together. — PROMIS'CUOUS, mingled
indiscriminately.

Mi'ser, wretched.

MIS'ERY, wretchedness, distress. — MI'SER, one who makes
himself miserable by his niggardliness. — MI'SERLY, very
covetous. — MIS'ERABLE, unhappy. — COMMIS'ERATE, to pity;
to compassionate.

Mi' sos (G), hatred.

MISAN'THROPY, hatred of mankind. — MISOG'AMIST, a hater
of marriage.

Mi'tis, meek; mild.

MIT'IGATE, to assuage; to render more mild. — UNMIT'IGATED,
unassuaged; not softened in severity.

65 So called from his being appointed to serve the church in
the sacerdotal office.

WORDS DERIVED FROM LATIN AND GREEK 13$

Miftere (mis' sum), to send.

MIS'SION, the state of being sent by authority. — MISSIONARY,
one sent to propagate religion. — MIS'SILE, something
thrown by the hand. — ADMIT', to let in; to allow. — ADMIS'-
SION, ADMITTANCE, permission to enter. — COMMIT', to
intrust; to perpetrate. — COMMIS'SION, a trust; au-
thority given; the act of committing. — COM'MISSARY, a
kind of military commissioner. — COMMIT'TEE, one or more
persons to whom a matter is referred by a legislative body
or a society.— DEMISE', departure from life. — DISMISS', to
send away. — EM'ISSARY, one sent out as a secret agent. —
EMIT', to send forth. — MANUMIS'SION, sending away from
bondage. — OMIT', to leave out. — PERMIS'SION, leave
granted. — REMISS', slack; negligent. — REMIT7, to relax;
to forgive. — SUBMISSIVE, humble; yielding. — SUBMIT', to
yield to authority. — TRANSMIT', to send over; to suffer to
pass through; to deliver to posterity.

Mne'me (G), memory.

MNEMONICS, the art of memory. — AM'NESTY (G), an act
of oblivion; a general pardon.

Mo'dus, a manner.

MODE, manner. — MOOD, temper of mind. — MOD'EL, a copy to
be imitated. — MOD'IFY, to change the form or character of
a thing. — MOD'ULATE, to vary the pitch of sounds. — MOD'-
ERATE, observing proper bounds ; not excessive. — MOD'EST,
restrained by a sense of propriety. — COMMO'DIOUS, con-
venient.— ACCOM'MODATE, to supply with conveniences. —
INCOMMODE', to trouble. — MODERA'TOR (L), a presiding
officer.

Mo'lior (moli'tus}, to rear or build.

DEMOL'ISH, to throw down. — DEMOL'ISHMENT, ruin; destruc-
tion.— DEMOLITION, the act of demolishing.

Mol'lis, soft.

MOL'LIFY, to soften; to assuage. — EMOL'LIENT, fitted to
soften or assuage.

Mon'ere (mon'itum), to put in mind; to warn.
MON'ITOR (L), one who warns of duty. — MON'UMENT, a
memorial. — ADMON'ISH, to remind of a fault. — PREMON'-
ITORY, giving warning beforehand. — SUMMON (L, submo'-
neo), to call by authority.

136 GOOD ENGLISH IN GOOD FORM

Mon'os (G), sole; only.

MON'AD, an indivisible thing. — MONK (G), a religious re-
cluse.— MON'ACHISM, the condition of monks; a monastic
life. — MON'ASTERY, a house of religious retirement. —
MONAS'TIC, pertaining to the life of a monk. — MON'ARCH,
a sole ruler; a king. — MON'OGRAM, a character combining
several letters. — MONOPOLIZE, to become the only dealer
in any commodity; to engross the whole. — MONOSYL'-
LABLE,66 a word of one syllable. — MONOT'ONY, sameness of
sound; want of variety.

Mons (mon'tis), a mountain.

MOUNT, a hill. — MOUN'TAIN, a large hill. — MOUND, a heap
or bank of earth. — AMOUNT', the sum. — DISMOUNT', to
alight from a horse. — PAR'AMOUNT, superior; chief. —
SURMOUNT', to rise above.

Monstrcfre (monstra'tum), to point out; to show.

MON'STER, something deformed or horrible. — MON'STROUS,

unnatural; huge. — DEMONSTRATE, to prove rigorously. —

DEMONSTRATIVE, proving by irresistible argument ; pointing

out. — REMON'STRATE, to show reasons against any measure.

Mo/bus, disease.

MOR'BID, diseased; not sound or healthful. — CHOLERA-
MOR'BUS, the name of a disease.

Mord'ere (mo^sum), to bite.

MOR'SEL, a piece bitten off. — REMORSE', sense of guilt. —
REMORSE'LESS, unpitying ; cruel. — REMORSE'LESSLY, with-
out remorse.

Mo/phe (G), form; shape.

AMORPH'OUS, of irregular shape. — METAMORPH'OSE to trans-
form.

Mors (mo/tis), death.

MOR'TAL, subject to death; deadly. — MORTALITY, death; hu-
man nature. — IMMOR'TAL, exempt from death. — IMMOR'-
TALIZE, to render immortal. — MOR'TIFY, to lose vitality ;
to abase. — MORTIFICA'TION, vexation ; loss of vitality.

Mos (mo'ris), custom; practice.
MOR'AL, relating to the practice or conduct of men; con-

66 The prefix mono or man, which is found in a number of
words, is from monos.

WORDS DERIVED FROM LATIN AND GREEK 137

formed to law and rectitude. — MOR'ALIST, one who
teaches the duties of life. — MORAL'ITY, correctness of life.
— JMMOR'AL, not virtuous. — DEMORALIZE, to render cor-
rupt in morals.

Mo'vere (mo' turn), to move.

MOVE, to put out of one place into another. — MOVE'MENT,
change of place. — MOV'ABLES, goods ; furniture. — MOBII/-
ITY, capacity of being moved. — MOB, a disorderly multi-
tude.— MO'TIVE, moving power ; inducement. — MO'TION,
the act of moving. — COMMO'TION, tumult; disturbance. —
EMO'TION, disturbance of mind. — PROMOTE', to advance;
to exalt. — REMOVE', to put from its place. — REMOTE', at a
distance.

Mul'tus, much.

MUL'TIFORM, having many forms. — MUL'TIPLE, a number
which exactly contains another several times. — MUL'-
TIPLY, to increase in numbers. — MULTIPLICAND', the num-
ber to be multiplied. — MUL'TITUDE, a great number.

Mun'dus, the earth; the world.

MUN'DANE, belonging to the world; earthly. — EXTRAMUN'-
DANE, beyond the material world.

Muni' re, to fortify.

AMMUNITION, MUNI'TION, materials used in war. — Mu'-
NIMENT, a stronghold; a fortress; support; defence.

Mu'nus (mu'neris'), an office; a gift.

MUNIC'IPAL, pertaining to a corporation. — MUNIF'ICENCE,
liberality. — COMMUNE' (L, con}, to converse together. —
COMMU'NICATE, to impart. — COMMU'NICATIVE, liberal in
imparting knowledge. — COMMU'NITY, common possession
or enjoyment; society. — COMMUN'ION, fellowship; inter-
course.— COM'MON, shared by all; general.67 — EXCOM-
MU'NICATE, to cut off from church membership. — IMMU'-
NITY, exemption from duty. — REMUNERATION, recom-
pense.

Mu'rus, a wall.

MU'RAL, pertaining to a wall.68 — IMMURE', to enclose within
walls; to imprison.

67 A common inheritance is one which all the inheritors own
and enjoy alike. A characteristic is said to be common to our
race, which every human being possesses.

68 Among the ancient Romans, a golden crown was bestowed

138 GOOD ENGLISH IN GOOD FORM

Mu'sa, a Muse.

MUSE, n. a heathen deity presiding over poetry, etc. — MUSE,
v. to ponder. — AMUSE', to divert. — MUSE'UM (L), a re-
pository of curiosities. — Mu'sic, melody or harmony. —
MUSIC'IAN, one skilled in music.

Mu'thos (G), a fable.

MYTH'IC, fabulous. — MYTHOL'OGY, the system of fables re-
specting heathen deities.

Muta're (muta'tum), to change.
MU'TABLE, changeable. — MU'TUAL, reciprocal; interchanged.

— COMMUTE', to exchange. — IM MU'TABLE, unchangeable.

— TRANSMUTE', to change to a different nature.

Na/ke (G), numbness; stupor.
NARCO'SIS, stupefaction. — NARCOT'IC, causing stupor.

Mas' cor (na'tus), to be born.

NA'TAL, relating to one's birth. — NA'TIVE, conferred by
birth ; original. — NATIV'ITY, birth. — NA'TION, a distinct
people. — NA'TURE, original quality ; the established course
of things in creation ; the visible creation. — NAT'URALIST,
a student of nature. — NAT'URAL, produced by nature; un-
affected.— INNATE', born with us; constitutional. —
PRETERNAT'URAL, extraordinary, but not miraculous. —
SUPERNAT'URAL, above nature.

Na'tare, to swim.

NATA'TION, the act of swimming. — SUPERNA'TANT, floating
above.

Naus (G), a ship.

NAU'SEA, properly, seasickness; disposition to vomit. —
NAU'SEOUS, sickening ; disgusting ; loathsome. — NAUT'-
ICAL, pertaining to navigation. — NAU'TILUS, a shell-fish
that sails.

Nafvis, a ship or vessel.

NA'VY, a national establishment of war vessels. — NA'VAL, re-
lating to vessels. — NAVIGATION, travelling by ships. —
NAV'IGABLE, passable by ships. — NAU'TICAL (L, nau'ta, a
sailor), pertaining to seamen or navigation. — CIRCUM-
NA/IGATE, to sail around.

on him who first mounted the wall of a besieged place ; this was
called coro'na tnura'lis, a mural crown.

WORDS DERIVED FROM LATIN AND GREEK 139

Nec'tere (nerfuvn), to tie or bind.

CONNECT', to tie or join together. — CONNECTION, a joining;
relation. — DISCONNECT', to sever. — ANNEX', to unite at
the end.

Nega're (negtftum), to deny.

NEGA'TION, denial. — NEG'ATIVE, implying denial. — DENY7
(F, denier; L, de'nego), to contradict; to refuse.

Nego'tium,™ business.

NEGO'TIATE, to transact business. — NEGO'TIABLE, that may be
transferred in business.

Ne'os (G), new.

NEOL'OGY, a new system of doctrines. — NE'OPHYTE (G, a
plant or shoot), a novice.

Ne'sos (G), an island.
PELOPONNE'SUS, the island of Pelops, now called the More'a.

— POLYNE'SIA, a part of the Pacific Ocean containing
many islands.

Neu'ron (G), a cord; a nerve.

NEUROL'OGY, a description of the nerves (a department of
anatomy). — NEURAL'GIA, a diseased state of the nerves.

— ENER'VATE, to weaken.

Neu'ter, neither of the two.

NEU'TER, of neither gender. — NEU'TRAL, not engaged on
either side. — NEUTRALIZE, to render neutral ; to destroy
the peculiar properties.

Ni'hil, nothing.

NIHIL'ITY, nothingness. — ANNIHILATION, reducing to noth-
ingness or non-existence.

No' cere, to hurt; to harm.

Nox'ious, hurtful. — INNOX'IOUS, harmless. — IN'NOCENT, not
chargeable with mischief. — IN'NOCENCE, simplicity, purity.

— NUI'SANCE, that which does injury.

No'mos (G), a law or rule.

ANOM'ALY, a deviation from the general course or law. —
ANTINO'MIAN, against law; undervaluing good works. —
DEUTERON'OMY (G, second), the second book of the law.

88 Compounded of nee, not, and o'tium, leisure, ease.

I4O GOOD ENGLISH IN GOOD FORM

No/ma, rule.

NOR'MAL, according to a rule or precept; elementary. —
ENOR'MOUS, beyond the usual measure; huge; excessive.

— ENOR'MITY, a wrong or irregular act; atrociousness. —
ENOR'MOUSLY, excessively; beyond measure.

N os* cere (no'/ww), to know. No'men, a name.
NOTE, a mark; a hint. — NOTA'TION (L, no'ta, a mark), mode
of marking. — NO'TED, NOTO'RIOUS, well known ; remark-
able.— NO'TION, idea; opinion. — ANNOTA'TION, a com-
ment.— COG'NIZANCE, notice ; perception. — DENOTE', to
point out. — REC'OGNIZE, to remember a thing as one
previously known. — NOM'INAL, in name only. — No'-
MENCLATURE (L, ca'lo, to call), a system of names;
the terms or words of an art or science. — NOM'-
INATE, to name for appointment. — NAME, the term
by which we distinguish things. — NOUN, a part of speech

— PRO'NOUN, a word used instead of a noun. — DENOM-
INA'TION, a class of things or persons called by the same
name. — IG'NOMINY, disgrace, dishonor. — MISNO'MER, a
misnaming.

No' sos (G), disease.

NOSOI/OGY, the description of diseases. — NOSOL'OGIST, one
who classifies and describes diseases.

No'vus, new.

NOV'EL, a. new ; n. a tale. — NOV'ELIST, a writer of novels. —
NOV'ELTY, newness. — NOV'ICE, one new in the business. —
IN'NOVATE, to introduce something new. — REN'OVATE, to
renew.

Nox (noc'tis), night.

NOCTUR'NAL, nightly. — E'QUINOX (see ^QUUS). — EQUI-
NOC'-TIAL, pertaining to the equinox.

Nu'bere (nup'tum), to marry.

CONNU'BIAL, pertaining to marriage. — NUP'TIALS, marriage
ceremonies.

Nu'dus, naked.
NI/DITY, nakedness. — DE'NUDE, to make bare or naked.

Nul'lus, no one.

NUL'LIFY, to render of no force. — NUI/LITY, nothingness. —
ANNUL', to make void.

WORDS DERIVED FROM LATIN AND GREEK 14!

Nu'merus, a number.

NUM'BER, multitude ; more than one thing. — NU'MEROUS,
containing many. — NUMERATION, the art of numbering.

— NUMERICAL, pertaining to numbers. — ENU'MERATE, to
reckon up singly. — INNUMERABLE, too many to be
counted. — SUPERNUMERARY, a person or thing beyond the
usual number.

Nuncia're, to announce.

ANNOUNCE', to proclaim; to give notice. — DENOUNCE', to
declare against. — ENUN'CIATE, to declare ; to proclaim ; to
utter. — NUN'CIO, an ambassador from a pope. — PRONUN-
CIA'TION, mode of utterance. — RENOUNCE', to disown; to
reject.

Oc'culus, the eye.

OC/ULAR, perceived by the eye. — OC'ULIST, one skilled in
diseases of the eye; an eye-doctor. — INOC'ULATE, to trans-
fer an eye or bud of a tree to another stock.

O'de (G), an ode; a song.
ODE, a* short poem or song. — MEL'ODY, sweetness of sound.

— PAL'INODE (G, back again), a recantation. — PAR'ODY,
a humorous imitation of any piece of verse or prose. —
PROS'ODY, the study of versification. — PSAI/MODY,™ the
singing of sacred songs. — RHAP'SODY, an unconnected
effusion.

O'di, to hate.

O'DIOUS, hateful; causing hatred. — O'DIUM, dislike; offen-
siveness.

O'dos (G), a road or way.
Ex'oDus,71 a departure. — MExn'oo,72 arrangement; manner.

— PE'RIOD, a circuit. — SY'NOD, an ecclesiastical conven-
tion.

Od'ous (G), a tooth.

ODONTAL'GIA or ODONTAL'GY, toothache. — ODONTAL'GIC, per-
taining to toothache.

For the suffix oid, see Idas.

70 The Greek word phallein signifies to play on a stringed
instrument.

71 Particularly, the departure of the Israelites from Egypt.

72 Signifying the following of a way or mode.

142 GOOD ENGLISH IN GOOD FORM

Oi'kos (G), a house.

Di'ocESE,73 the jurisdiction of a bishop. — ECON'OMY, a sys-
tem of management ; frugality. — PAR'ISH, an ecclesiastical
district. — PARO'CHIAL, pertaining to a parish.

Ol'igos (G), few; small.

OLIGARCHY, a government in which a few persons hold the
supreme power.

O'lere, to emit odor.

OLFAC'TORY, pertaining to the sense of smelling. — RED'-
OLENT, diffusing a sweet scent.

Qm'nis, every; all.

OMNIPOTENT, having all power. — OMNIPRES'ENT, every-
where present. — OMNIS'CIENT, having infinite knowl-
edge.— OMNI'BUS (L), for all.

On'oma (G), a name.

ANON'YMOUS, without name. — METON'YMY, a change of
names. — PARON'YMOUS, resembling another word. —
SYNON'YMOUS, conveying the same idea. — SYN'ONYM, a
word conveying the same idea as another.

O'nus (on'eris), a burden.
EXON'ERATE, to disburden. — ON'EROUS, burdensome.

Opi'nor, to be of opinion ; to think.

OPINE', to think. — OPIN'ION, belief; judgment. — OPIN'-
IONATED, obstinate in opinion.

Op'tere (opta'tum), to wish.

OP'TION, the power of choosing; choice; preference. —
ADOPT^ to assume; to choose or take to one's self.

Op'tomai (G), to see.

OP'TICS, the science of light and vision. — OP'TICAL, pertain-
ing to sight. — OPHTHAI/MIA (G, the eye), a disease of
the eyes. — SYNOP'SIS, a general view.

Opus (op'eris), a work.

OP'ERATE, to act ; to produce effects. — COOPERATE, to labor
jointly with others. — COOPER A'TION, joint effort; aid. —
INOP'ERATIVE, inefficient. — OP'ERATIVE, active. — OP'ER-

73 From dioikesis, which signifies, primarily, the management
of a household.

WORDS DERIVED FROM LATIN AND GREEK 143

ATOR, one who operates. — OP'ERA (L), a work; a dramatic
composition set to music; a musical drama.

Orafma (G), a sight; a spectacle.

DIORA'MA (G, through), an optical machine. — PANORA'MA,
a complete or entire view.

O/bis, a circle; a circular body.
ORB, a spherical body. — OR'BIT, the circular path of a planet.

— ORBICULAR, circular. — EXORBITANT,™* extravagant ;
excessive.

O/do (o/rfinw), order.
OR'DER, regularity. — OR'DINANCE, a public command or law.

— OR'DINARY, in the usual order or manner. — INOR'-
DINATE, excessive. — EXTRAORDINARY, beyond the usual
course. — SUBORDINATE, in a lower rank. — SUBORDINA'-
TION, subjection.

O'rior, to rise or spring from.

O'RIENT, rising, as the sun; eastern. — OR'IGIN, beginning;
source. — ORIENT' AL, eastern ; belonging to the east. —
ORIG'INATE, to bring into existence. — ORIG'INAL, primi-
tive, first; having new ideas.

O/nis (G), a bird.

ORNITHOL'OGY, the science of bird-study. — ORNITH'OLITE, a
petrified bird.

Orna're (orna'tum), to embellish.

OR'NAMENT, an embellishment. — OR'NATE, decorated; beau-
tiful.— ADORN', to beautify.

Ora're (ora'fMm), to pray; to ask.

ORA'TION, a formal speech. — OR' ATOR, a public speaker. —
OR'ATORY, eloquence. — OR'ISON, a prayer. — OR'ACLE, a
place where heathen deities or priests were consulted. —
O'RAL (L, os (o'rir), the mouth), pertaining to speech. —
PERORA'TiON,74 the conclusion of an oration.

O/thos (G), erect; right.
OR'THODOX, correct in opinion or belief. — OR'THOEPY, cor-

73a Literally, departing from an orbit or a usual track.

excessive.

74 Literally, the going over of an oration; the peroration reca-
pitulates the main points, and presents the argument in a small
compass.

144 GOOD ENGLISH IN GOOD FORM

rect pronunciation. — OR'THOEPIST, one skilled in pronun-
ciation.— ORTHOG'RAPHY, correct spelling.

Os (os'sis), a bone.
OS'SIFY, to change into a bony substance. — OS'SEOUS, bony.

Os'teon (G), a bone.

OSTEOL'OGY, that part of anatomy which treats of the bones.
— PERIOS'TEUM, a vascular membrane investing the bones
of animals.

O'vum, an egg.
O'VAL, egg-shaped. — OVIP'AROUS, producing eggs.

Ox^us (G), sharp; acid.

OXAL'IC (G, sorrel), pertaining to sorrel. — OX'YGEN, the
gas which generates acids. — OX'YD, a substance combined
with oxygen. — PAR'OXYSM, an exacerbation or tem-
porarily increased violence of disease.

CHAPTER IV

WORDS DERIVED FROM THE LATIN AND THE
GREEK (CONCLUDED)

Pa'gus, a village.

PA'CAN,™ a heathen; an idolater. — PA'GANISM, the worship
of false gods.

Paidei'a (G76), education.

PED'AGOGUE, a teacher of children. — PED'ANT, one who makes
vain display of learning. — PEDANT'IC, ostentatious of
learning. — CYCLOPE'DIA, ENCYCLOPEDIA, see 124.

Pan (G), every; all.

PANACE'A, a universal medicine. — PANEGYR'IC, a public
eulogy. — PAN'OPLY, complete armor. — PAN'THEISM, the
doctrine that the universe is God. — PANTHE'ON, a temple
dedicated to all the gods. — PAN'TOMIME, an imitation of
all kinds of action, etc., without speaking. — PAN'TOGRAPH,
a copying instrument.

Pan' do (pan'sum), to lay open.

EXPAND', to open; to spread. — EXPAN'SION, the act of ex-
panding; enlargement. — EXPANSE', a wide extent.

Pan'gere (pac'tum), to drive in; to fix.
COMPACT', close; dense; firmly united. — COM'PACT, an agree-
ment.— COMPACT'LY, closely. — COM'PACTED, closely united;
joined together.

Pal'lium, a cloak.

PALL, a covering for the head. — PAL'LIATE, to cloak ; to
cover with excuse ; to extenuate ; to mitigate. — PALLIA'-

75 When the Roman Emperor Constantine and his successors
forbade the worship of the heathen deities in the cities, their ad-
herents retired to the villages, where they could practise their
rites unmolested. Hence they obtained the appellation paga'ni,
pagans. The word is now applied to all nations that are not
Christian, Jewish, or Mohammedan.

76 From pais, paidos, a child.

145

146 GOOD ENGLISH IN GOOD FORM

TION, mitigation. — PAL'LIATIVE, tending to mitigate or re-
lieve.

Par, equal; like.

PAIR, two things like each other ; a couple. — PAR'ITY, equal-
ity; resemblance. — DISPAR'ITY, inequality. — COMPARE', to
examine things with reference to their likeness or unlike-
ness. — DISPAR'AGE, to cause disgrace. — DISPAR'AGEMENT,
an undervaluing ; detraction. — PEER, an equal, a nobleman.

— PEER'LESS, unequalled ; matchless. — PEER'AGE, the rank
of a peer.

Pare' re (pa/itum), to be present.

APPA'RENT, visible; evident. — APPEAR', to become visible; to
seem. — APPARI'TION, a spectre, a ghost. — DISAPPEAR', to
vanish; to withdraw. — TRANSPARENT, capable of being
seen through.

Pari're (pa/turn}, to bring forth.

PA'RENT, a father or mother ; that which produces. — PAREN'-
TAL, relating to parents; tender. — PA'RENTAGE, birth;
descent. — PAREN'TALLY, in a parental manner; affection-
ately.

Pa'rere (para' turn), to prepare.

APPARA'TUS, furniture or utensils prepared for a particular
business. — PREPARE', to make ready. — REPAIR', to mend.

— REPARATION, making good what was injured or lost. —
IMPAIR", to injure. — SEP'ARATE, to disunite, to part.

Pars (pa/tis), a part.

PART, a share. — PAR'TICLE, a little part. — PARTICULAR, hav-
ing reference to individual things ; attentive to minute mat-
ters.— PARTICIPATE, to have part or share. — PARTITION,
division. — PAR'TY, a set of persons engaged in one design.

— PAR'TISAN, one devoted to the interests of a party. —
POR'TION, a part; a share. — PAR'TIAL, inclined to favor
one party or side. — PART'NER, a sharer. — PAR'CEL, a num-
ber of things taken together ; a small package. — APART"-
MENT, a room or separate enclosure. — COMPART'MENT, a
portion of any surface marked off. — IMPART', to communi-
cate; to give a share. — IMPAR'TIAL, not partial.

Pasfcere (pas'tum), to feed.

PAS'TOR (L, pastor, a shepherd), a minister of the gospel
having the care of a congregation. — REPAST", a meal. —
PAS'TORAL, relating to shepherds; rural; relating to a pas-

WORDS DERIVED FROM LATIN AND GREEK 147

tor. — PAS'TURE, a field or ground where animals may
graze.

Pa'ter (pa'tris), a father.

PATER'NAL, pertaining to a father. — PAT'RIMONY, an in-
herited estate. — PA'TRIOT (L, pa'tria, one's country), a
lover of his country. — PA'TRIARCH (G), the father and
ruler of a family; applied particularly to the heads of
families in the early history of the human race, and es-
pecially to the ancestors of the people of Israel. — PA'-
TRON, a protector; one who affords support. — PA'TRONAGE,
special support. — PATRIC'IAN, a Roman nobleman. — Ex-
PA'TRIATE, to banish from one's country. — JU'PITER, the
father and the king of the heathen gods. — PA'TER-NOS'TER
(L, nos'ter, our), the Lord's Prayer.

Pa'thos (G), suffering; affection; emotion.
ANTIP'ATHY, aversion. — AP'ATHY, want of feeling. —
PATHET'IC, exciting emotion. — PATHOL'OGY, the science of
diseases. — SYM'PATHY, fellow-feeling.

Pa'tior (pas'sus), to suffer; to endure.
PA'TIENCE, endurance. — PA'TIENT, a. enduring without com-
plaint. — PA'TIENT, n. a sick person. — IMPA'TIENT, unable
to bear pain. — PAS'SIVE, suffering; unresisting. — PAS'-
SION, emotion ; the suffering of Jesus on the cross. — PAS'-
SIONATE, influenced by passion. — COMPASSION, pity ; sym-
pathy. — COM PAS'S 10 NATE, to pity ; to have compassion for.
— DISPAS'SIONATE, calm.

Pax (pa'cis), peace.

PEACE, quiet; rest. — PAC'IFIC, peacemaking; gentle. — PAC'-
IFY, APPEASE', to quiet. — PACIFICA'TION, an appeasing.

Pecca're (pecca'tum), to err; to sin.77
PECCANCY, a bad quality; an offence. — PECCADII/LO (Sp), a
slight transgression or offence.

Pecftus (pec'toris}, the breast.

PECTORAL, pertaining to the breast. — EXPECTORATE, to dis-
charge from the trachea or the lungs.

Ptfcus, a herd or flock; cattle.
PECULATE,78 to steal or embezzle public property. — PECUL'-

'vi, is the perfect of the same verb, and signifies — /
have sinned.
78 In early times, herds and flocks constituted the sole wealth ;

148 GOOD ENGLISH IN GOOD FORM

IAR,79 belonging to; appropriate; special. — PECUNIARY,80
relating to money.

Pel'lere (pul'sum), to drive.

PULSE, the throbbing of the arteries. — PULSA'TION, a beating
or throbbing. — COMPEL', to force ; to constrain. — COM-
PUL'SION, act of compelling; force. — DISPEL', to drive
away. — EXPEL', to drive out. — IMPEL', to urge forward ;
to excite to any action. — PROPEL', to drive onward. — RE-
PEL', to drive back.

Pen'dere, to hand; (pen'sum), to weigh; to pay out.
PEN'DENT, hanging. — PEN'DULUM (L), a vibrating body sus-
pended from a fixed point. — PEN'SION, a stated allowance.

— APPEND', to hang to another thing; to annex. — AP-
PEND'IX, something added at the end. — COMPENDIUM, an
abridgment. — DEPEND', to hang from ; to trust to. — DIS-
PENSE', to distribute; to dispense with, to do without. —
EXPEND', to lay out. — EXPENSE', cost; charges. — IMPEND',
to hang over. — PEND'ING, remaining undecided. — PERPEN-
DIC'ULAR, directly downward. — PEN'DENT, hanging, pro-
jecting.— STI'PEND, (L, stips, a piece of money), wages;
stated pay. — SUSPEND', to hang; to delay. — SUSPENSION,
a hanging; an interruption.

Pefne, almost.
PENIN'SULA, a portion of land almost surrounded by water.

— PENIN'SULAR, relating to a peninsula.

Pa/na, punishment.

PE'NAL, enacting punishment. — PEN'ALTY, suffering or loss
in consequence of crime. — PEN'ANCE, suffering volun-
tarily endured for the sake of obtaining pardon. — PEN'-
ITENCE (L, pcentfeo, to repent), repentance. — PENITEN'-
TIARY, a prison. — IMPEN'ITENT, not contrite. — REPENT7, to
feel sorrow or regret for what one has done. — SUB-
pozNA,81 a writ commanding one to appear in court.

and hence words derived from pe'cus, etc., came to represent
property in general.

79 Pecul'ium, in Latin, signifies a treasure or stock of money
laid up by an individual ; every portion of this stock would there-
fore be peculia'ris, peculiar, i. e., his own.

80 Money was first coined at Rome under the reign of Servius
Tullius ; and the figure stamped upon the coin was that of the ox.
Hence, money came to be called pecun'ia in the Latin language.

81 The word signifies under penalty; i. e., penalty to be suffered
if the command is disobeyed.

WORDS DERIVED FROM LATIN AND GREEK 149

Pen'itus, inwardly; deeply.

PEN'ETRATE, to pierce; to enter. — IMPENETRABLE, that can-
not be pierced.

Perina, a feather; a wing.
PEN, a writing instrument. — PEN'NATE, winged.

Pen'te (G), five.

PEN'TAGON, a figure having five angles. — PEN'TATEUCH (a
book), the five books of Moses.

Pep'tere (G), to boil; to concoct.

DYSPEP'SIA, difficulty of digestion. — PEP'TIC, promoting di-
gestion.

Perso'na, the mask worn by players.82

PER'SON, an individual human being. — PER'SONATE, to rep-
resent by action or appearance. — PERSON'IFY, to represent
an inanimate thing as having intelligence. — PERSONALLY,
in person.

Pes (pe'dis), a foot.

PED'AL, a key designed to be moved by the foot. — PED'ESTAL,
the base on which a pillar or statue is placed. — PEDES'-
TRIAN, going on foot. — BI'PED, a two-footed animal. —
QUAD'RUPED, a four-footed animal. — PED'LER, a travelling
foot trader. — PED'DLE, to travel as a pedler. — PED'IGREE,
genealogy. — EXPEDITION, haste; an enterprise on which
one undertakes a journey. — EXPE'DIENT, tending to pro-
mote the object; advisable. — IMPEDE', to hinder; to ob-
struct.— EXPEDITE, to hasten.

Pet'alon (G), a leaf.

PE'TAL, a flower-leaf. — PET'ALED, having petals. — MONO-
PET'ALOUS, having only one petal.

Pe'tere (peti'tum), to seek.

PET'ULANT, peevish; fretful in respect to what is wished for
from others. — AP'PETITE, hunger ; longing. — CENTRIP'ETAL,
tending towards the centre. — COMPETE', to rival. — COM'-
PETENCE, a sufficiency. — IMPET'UOUS, headstrong; forci-
ble.— IM'PETUS (L), force of motion. — REPEAT', to try
again ; to recite. — REPETITION, the act of doing or utter-
ing a second time.

82 Perso'na also signifies character, person.

I5O GOOD ENGLISH IN GOOD FORM

Peira'ein (G), to try.

EMPIR'ICAL, derived from experiment. — EM'PIRIC, one who
makes experiments; a quack.

PStra (G), a rock.
PET'RIFY, to convert into stone. — PETRO'LEUM, rock oil.

Pha'gein (G), to eat.

ESOPH'AGUS, or QEsopH'Acus,83 the gullet. — SARCOPH'-
Acus,84 a stone coffin.

Phai'nein (G), to appear; to show.

DIAPH'ANOUS, transparent. — EM'pHASis,85 special stress
upon some word or sentence. — EpiPH'ANY,86 manifesta-
tion.— PHAN'TASM, PHAN'TOM, a fancied appearance. —
PHASE, or PHA'SIS (pi. PHASES), an appearance, as of
the moon. — PHENOMENON (pi. PHENOM'ENA), an ap-
pearance; a change; an event.

Pha/makon (G), a drug; a medicine.
PHAR'MACY, the art of preparing medicine. — PHARMA-
CEUT'IC, pertaining to the art of pharmacy. — PHARMA-
COPCE'IA (G, to make), a dispensatory; a book describing
the preparation of the several kinds of medicine.

Phe'mi (G), to say or tell.

BLASPHEME', to speak impiously. — PROPH'ESY, to foretell. —
PROPH'ET (G), one who foretells. — PROPHET'IC, contain-
ing prophecy.

Phe'rein (G), to bear or carry.

DIAPHORETIC," causing perspiration. — MEx'APHOR,88 a
short similitude. — PERIPHERY,89 circumference. — PHOS'-
PHORUS,00 a luminous substance.

88 Compounded of ois (oiss), to carry, and phigo, and signify-
ing, literally, that which carries or conducts the food to the
stomach.

84 The word is derived from the name of a calcareous stone
anciently used by the Greeks (lithos sarkophagos) , which rapidly
decomposed bodies deposited in it.

85 Literally, the making anything distinct or manifest.
8aThe manifestation of Christ to the Gentiles.

8T Literally, carrying through; i. e., causing moisture to pass
through the pores of the skin.

88 From metaphero, which signifies to transfer.

89 The words periphery and circumference are formed of cor-
responding words in the Latin and Greek. The former has a
more limited signification than the latter.

90 Compounded of phos, light, and phers, and signifying, liter-
ally, light-bearing.

WORDS DERIVED FROM LATIN AND GREEK

Phi'los (G), a friend or lover.

PHILADELPHIA,91 the name of a city. — PHILAN'THROPY,
love for mankind. — PHILOL'OGIST, a student of language.
— PHILOSOPHY,92 the study of general laws.

Pho'ne (G), a sound.

PHONOL'OGY, the science which treats of the sounds uttered
in human speech. — EUPHON'IC, agreeable in sound. —
SYM'PHONY, properly, a harmony of sounds; an instru-
mental passage in music* designed to relieve the vocalist.

Phos (G), light.

PHOSPHORES'CENCE, faint luminousness. — PHOS'PHATE, a
chemical salt. — PHOTOM'ETER, an instrument for measur-
ing the intensity of light.

Phra'zein (G), to say or relate.

PHRASE, an expression or short sentence. — PER'IPHRASE
(G, around), circumlocution. — PAR'APHRASE, a differently
worded expression of the meaning of an author. — PERI-
PHRAS'TIC, circumlocutory.

Phren (G), the mind.

PHRENOL'OGY, the science of the mind as connected with the
brain. — FREN'SY, madness; delirium. — FRAN'TIC or FRE-
NET'IC, violently delirious.

Phu'sis (G), nature.

PHYs'ics,83 the study or science of nature. — PHYS'ICAL, per-
taining to nature. — PHYSIOL'OGY, the science of the prop-
erties and functions of animals and plants.

Pila're, to pillage; to rob.

COMPILE', to select and put together. — PIL'LAGE, to plunder ;
to rob.

Pin' g ere (pic' turn), to paint.

PICT'URE, a painting; a representation. — PICTURESQUE', like
a picture. — PIG'MENT, paint; color. — DEPICT', to paint;
to describe.

Pia're (pia'tum), to appease by sacrifice.
EX'PIATE, to atone for. — EXPIA'TION, atonement. — EX'PIA-
TORY, having power to atone.

51 Literally, brotherly love.

92 Literally, love of wisdom.

93 Metaphysics signifies, literally, after or next to physics. It
is the science that treats of the relations between abstract ideas.

152 GOOD ENGLISH IN GOOD FORM

Pisfcis, a fish.
PIS'CATORY, relating to fishes. — PIS'CINE, of the fish kind.

Placfere, to please.

PLAC'ID, quiet; mild. — COMPLA'CENCE, satisfaction. — IM-
PLA'CABLE (L, pla'co, to appease), not to be appeased. —
PLEAS'URE (F, plaisir), satisfaction; enjoyment. — COM'-
PLAISANCE, civility. — DISPLEASE', to offend.

Pla'ne (G), a wandering.

PLAN'ET, a wandering or moving star. — PLAN'ETARY, per-
taining to the planets.

Plan'ta, a plant.

PLANT, a vegetable. — PLANTA'TION, a place planted. —
PLAN'TAIN, an herb; a tree. — IMPLANT', to set; to insert.

— SUPPLANT^ to displace by taking the place of the per-
son ejected. — TRANSPLANT', to remove and plant in an-
other place.

Pla'nus, even; level; evident.
PLANE, to make smooth. — PLAIN, a level region; manifest.

— EXPLAIN', to make plain or intelligible.

Plas'sein (G), to mould or shape.
PLAS'TIC, giving shape. — CATAPLASM,"* a poultice.

Plau'dere (plau'sum), to clap; to applaud.
PLAUD'IT, applause. — PLAUS'IBLE, right in appearance. —
APPLAUD', to join in applause. — APPLAUSE', expression of
approbation by clapping the hands, etc. — EXPLODE', to
drive out in disgrace; to burst with a loud report. — Ex-
PLO'SION, violent bursting. — EXPLO'SIVE, liable to cause
explosion.

Plebs (ple'bis), the common people.

PLEBE'IAN, o. pertaining to the common people. — PLEBE'-
IAN, n. one of the common people.

Ple'nus, full.

PLE'NARY, full; complete. — PLENIPOTENTIARY, invested
with full powers. — PLEN'ITUDE, fulness. — PLEN'TEOUS,
abundant. — PLE'ONASM, a redundancy of words. —

9* The word plasso signifies, primarily, to smear with any soft
mixture, as wet clay.

WORDS DERIVED FROM LATIN AND GREEK 153

PLEN"TY, abundance ; exuberance. — COMPLETE', full ; per-
fect.— COMPLEMENT, full quantity. — DEPLE'TION, an emp-
tying.— REPLENISH, to fill again. — REFLETS', filled. —
SUPPLY", to fill up; to furnish. — SUPPLEMENT, an addi-
tion to supply defects.

Pli'cere ( plica' turn") , to fold. Plecfto (plenum), to twine or

weave.

ACCOMPLICE, one united with another in a plot. — APPLY',
to put one thing to another. — COMPLICATED, entangled ;
interwoven with other things. — COMPLY", to yield. — DIS-
PLAY", to unfold; to show; to exhibit. — DUPLIC"ITY,
doubleness of heart or speech. — DU'PLICATE, a second
thing of the sort. — EXPLICIT, plain; clear. — INEX'PLIC-
ABLE, that cannot be explained or interpreted. — IM'PLI-
CATE, to involve; to show a connection. — MULTIPLICA"-
TION, increase; repeated addition of a quantity to itself. —
PERPLEX", to entangle; to involve.

Plora're (plora'tum}, to cry; to bewail.
DEPLORE', to regret ; to bewail. — DEPLOR'ABLE, lamentable. —
EXPLORE", to search; to examine. — IMPLORE", to call upon;
to beseech.

Plum' bum, lead.

PLUMB, PLUM"MET, a leaden weight at the end of a line. —
PLUMB, o. perpendicularly. — PLUMB'ER, one who works
with lead. — PLUMBA"GO, black lead; graphite.

Plus (plu'ris), more.

PLU'RAL, more than one. — PLURALITY,95 greater number. —
SUR'PLUS, what remains beyond the necessary quantity. —
NoN'pLUS,96 to bring to a stand.

Pne'ein (G), to blow; to breathe: Pneu'tna (G), a breath;

a blast.

DYSPNOE'A, difficulty of breathing. — PNEUMAT'IC, pertain-
ing to air. — PNEUMAT'ICS, the science which treats of the
air. — PNEUMON'IC, pertaining to the lungs.

Pol'emos (G), war.
POLEM'IC, a. controversial. — POLEM"IC, n. a disputant.

95 A candidate is said to have a plurality of votes, when he has
more than any other single candidate.

96 Literally, no more.

154 GO°D ENGLISH IN GOOD FORM

Po'lein (G), to sell.
BIBLIOP'OLIST, a book-seller. — MONOP'OLY, exclusive sale.

Po'lis (G), a city.

METROPOLIS (G, a mother), the chief city. — POLICE', the
government of a city or town. — Poi/iTY,97 civil constitu-
tion.— POL'ITIC, prudent; sagacious. — Poi/mcs, the sci-
ence of government.

Po'lus (G), much; many.

PoLYANTH'os,98 a plant which produces many flowers. —
POL'YPUS, an insect having many feet. — POI/YGON, a figure
having many angles. — POL'YTHEISM, the doctrine of a
plurality of gods.

Poli're (poli'tum), to polish.

POL'ISH, to smooth; to brighten. — POLITE', elegant in man-
ners; well-bred.

Po'tnum, an apple.

POM'ACE, the substance of apples or of similar fruit crushed
by grinding. — POM'MEL, a knob or ball.

Pon'dus (pon'deris), a weight.

POUND, a weight. — PON'DEROUS, heavy. — PON'DER, to weigh
mentally. — PREPONDERATE, to outweigh. — I M PON'DER ABLE,
not having perceptible weight.

Po'nere (pos'itum), to put or place.

POSI'TION, place ; situation. — POS'ITIVE, distinctly laid down.
— POST, station. — POS'TURE, situation ; attitude. — POST-
PONE', to put off ; to delay. — AP'POSITE, proper ; fit. — COM-
PO'NENT, forming part of a composition. — COMPOSE', to
put together. — COMPOS'ITOR, a setter of types. — DECOM-
POSE', to separate into the constituent parts. — DEPOSI'-
TION, that which is laid or thrown down; written testi-
mony.— DEPOSE', to put down. — DISCOMPOSE', to disorder ;
to disturb. — DISPOSE', to place in order. — EXPOSE', to lay
open. — EXPOS'ITOR, an explainer. — IMPOSE', to put upon;
to cheat. — IM'POST, a tax laid on imported merchandise. —

97 Pol'icy is sometimes used to denote a certain course of
political measures.

98 The signification of the prefix poly will be seen from the
foregoing examples, and it is therefore unnecessary to adduce
more.

WORDS DERIVED FROM LATIN AND GREEK 155

INTERPOSE', to put between. — OPPOSE', to resist. — OP'PO-
SITE, situated in front or over against. — PREPOSI'TION, a
part of speech ; a word placed before another. — PROPOSE', •
to offer for consideration. — PUR'POSE, intention; design. —
REPOSE', to rest ; to rely. — SUPPOSE', to imagine or state
something possible. — TRANSPOSE', to put each of two
things into the place of the other.

Pop'ulus, the people; Pub'lico, to publish.
PEO'PLE, persons; a nation. — POPULA'TION, the whole num-
ber of people in a country or district. — POP'ULACE, the
common people. — POP'ULAR, suitable to people in general.
— POP'ULOUS, full of people. — DEPOP'ULATE, to deprive
of inhabitants. — PUB'LIC, general; national. — PUBLICITY,
general notoriety. — PUB'LISH, to make known ; to send
out to the public. — PUBLICATION, a publishing; a book.

Po/ta, a gate.

POR'TAL, a gate ; an entrance. — POR'TICO, a covered walk ;
an entrance. — POR'TER, a doorkeeper. — PORT'-HOLE, a
gun-hole in a ship's side. — PORT, a harbor; a place where
vessels may enter.

Porta're, to carry.

POR'TER, a carrier. — PORT'ABLE, easily carried. — COMPORT',
to agree ; to suit. — DEPORT'MENT, conduct. — EXPORT', to
send abroad. — IMPORT', to bring into a country. — IM-
PORT'ANT, weighty ; momentous. — PORTFO'LIO, a case for
carrying loose papers. — PORT'LY, corpulent. — REPORT',
rumor; an account. — SUPPORT', to bear up; to prop. —
TRANSPORT', to carry from place to place.

Possum (pot'ui), to be able.

POS'SIBLE, that can be done. — PO'TENT, powerful. — IM'PO-
TENT, powerless. — PO'TENTATE, one having kingly power.
— POTEN'TIAL, relating to power.

Posfterus, following; coming after.

POSTE'RIOR, later; coming after. — POSTERITY, succeeding
generations. — POS'TERN, primarily, a back door or gate;
hence, any small door or gate. — PREPOS'TEROUS," absurd.

Posftulare (postulaftum), to demand.
EXPOSTULATE, to reason earnestly with a view to dissuade.

88 Literally, having that first which ought to be last ; inverted in
order.

156 GOOD ENGLISH IN GOOD FORM

— EXPOSTULATION, a discussion without anger; remon-
strance.

Pot'armos (G), a river.
Po'tere (potaftum or po'tum), to drink.
PO'TION, a draught; a dose. — POTA'TION, a drinking; a
draught.

Pous (G), a foot.

AN'TIPODE, one who lives on the opposite side of the globe,
and whose feet are directly opposite to ours.

Pras'so (G), to do; Prak'tos (G), done; Pragma (G), a

deed.
PRAC'TICE, frequent performance. — PRAC'TICABLE, that may

be done. — PRAGMAT'ICAL, officious; meddling. — PRAX'IS,

a form to teach practice.

Preca'ri (preca'tus), to entreat.

DEP'RECATE, to pray for deliverance from any evil; to dread
or regret. — IM'PRECATE, to invoke calamity to rest upon
any one. — PRECA'RIOUS,IO° uncertain; not sure to be re-
tained.

Prrfda, prey; booty.

PREY, plunder. — PRED'ATORY, plundering. — DEPREDA'TION, a
robbing; a spoiling. — DEP'REDATOR, a robber.

Prehen'dere (prehen'sum), to seize.

APPREHEND', to lay hold on; to suspect with fear. — AP-
PRISE', to inform, to give notice. — COMPREHEND', to in-
clude.— EN'TERPRISE, that which is undertaken. — INCOM-
PREHEN'SIBLE, not to be understood. — PRIS'ON (F), a
place of confinement. — PRIZE, that which is taken in con-
test.— REPRI'SAL, seizure of property in war. — REPRE-
HEND', to blame ; to chide. — SURPRISE', astonishment at
something unexpected.

Pre'mere (presfsuvn), to press.
PRESS, to squeeze; to urge. — IMPRESS', to imprint; to stamp.

— IMPRES'SION, a print ; a mark made by pressure. — COM-
PRESS', to force together. — DEPRESS', to bear down. — EX-
PRESS', to squeeze out ; to declare. — OPPRESSION, cruelty ;
severity. — PRINT (Fr, imprimer}, to stamp with letters or

100 Original signification, asked for, and therefore dependent on
the will of another.

WORDS DERIVED FROM LATIN AND GREEK 157

figures. — REPRESS', to force back. — SUPPRESS', to subdue;
to conceal.

Pre'tium, price, reward.

PRICE, value; rate; reward. — PRE'CIOUS, valuable; costly. —
APPRE'CIATE, to estimate justly. — DEPRE'CIATE, to under-
value.

Pri'mus, first.

PRIME, to put on the first coat in painting. — PRIM'ER, a
child's first reading-book. — PRIME'VAL, original ; ancient.
PRINCE (L, prin'ceps}, a sovereign or his- kinsman. — PRI'-
MARY, first; original. — PREM'IER (F), the first minister
of state. — PRIM, nice; formal. — PRIM'ROSE (L, rosa, a
rose), a rose that opens very early in the spring. — PRIN'-
CIPLE, element; original cause; ground of action. — PRIN'-
CIPAL, chief; capital. — PRI'OR (L), former; antecedent. —
PRIOR'ITY, precedence. — PRIMOGENITURE, state of being
first-born.

Pri'vus, single; one's own.

PRI'VATE, secret; particular. — PRI'VACY, secrecy; retire-
ment.— PRIVILEGE, peculiar advantage. — PRIVA'TION, a
taking away; absence of what is necessary for comfort. —
PRIV'Y, secret ; sharing in a secret. — PRIV'ILY, in a secret
manner. — PRIVATEER', a vessel fitted out by private owners,
to plunder the vessels of a hostile nation. — DEPRIVE', to
take away from.

Proba're (proba'tum), to approve; to try. Pro'bus, honest.

PROB'ITY, honesty ; integrity. — PROBE, to search into. — PROB'-
ABLE, likely. — PROBA'TION, trial. — PROVE, to try ; to test. —
APPROVE', to like; to be pleased with. — APPROBATION, the
act of approving. — DISPROVE', to confute. — IMPROVED, to
make better. — REPROVE', to blame ; to censure. — REP'RO-
BATE, lost to virtue.

Pro'pe, near. ProSimus, nearest; next.
PROPIN'QUITY (L, pro pin' quit as), nearness. — PROX'IMATE,
nearest; next. — PROXIM'ITY, immediate nearness. — AP-
PROX'IMATE, APPROACH' (F, approcher*), to come near. —
REPROACH' (F, reprocher), to censure.

Pro'prins, belonging to; peculiar.

APPROPRIATE, v. to take for one's own use. — APPROPRIATE,
a. suitable, fit. — PROP'ER, fit; suitable: also, belonging to;
peculiar. — PROP'ERTY, that which belongs to a person or

158 GOOD ENGLISH IN GOOD FORM

thing. — PROPRIETOR, an owner of property. — PROPRIETY,
suitableness : also, ownership.

Pro'tos (G), first.

PROTOCOL,* a record or registry. — PRpxHON'oxARY,2 a reg-
ister or clerk. — PRO'XOXYPE, an original or model. — PRO-
XOX'YD, the first oxyd.

Psu'che (G), the soul.

MEXEMPSYCHO'SIS, the transmigration of souls. — PSYCHOL'-
OGY, a discourse on the human soul.

Pu'er, a boy.
PU'ERILE, boyish. — PUERIL'IXY, boyishness.

Pug'nus, the fist.

PUGNA'CIOUS (L, pug'na, a battle), quarrelsome; disposed to
fight. — PU'GILISX, a fighter with the fists. — IMPUGN', to
attack; to reproach. — REPUG'NANX, adverse; antagonistic.

Pul'vis (pul'veris), dust.

PUL'VERIZE, to reduce to powder. — PULVERIZATION, the act
of pulverizing.

Pun'gere (punc'tutn), to sting.

PUN'GENX, stinging; acute. — PUNCX'URE, a hole pierced. —
PUNCXUA'XION (L, puncftwn, a point or dot), the art of
pointing written language. — PUNCXII/IOUS, exact in be-i
havior. — PUNCXUAI/IXY, scrupulous exactness in regard to
time. — COMPUNC/XION, the sting of conscience.

Puny re (puni'tutn) , to punish.

PUN'ISH, to inflict pain for evil conduct. — PU'NIXIVE,
awarding or inflicting punishment. — IMPU'NIXY, freedom
from punishment; freedom or exemption from evil conse-
quences.

Pur (G), fire.
EMPYR'EAL, formed of pure fire or light. — PYROLIG'NEOUS,*

1 Compounded of protos and kolla, glue. The word was origi-
nally used to denote the upper part of a leaf or writing, and was
probably derived from the practice of gluing or pasting pieces of
paper or parchment together, as in forming a long sheet for an
extended document; the protocol was, therefore, the first of the
pasted sheets.

2 Literally, the chief register or clerk.

3 Lat. lig'num, wood ; pyroligneous, produced by wood and fire.

WORDS DERIVED FROM LATIN AND GREEK 159

produced from smoke. — PYRE, a funeral pile. — PYRO-
TECH'NICS, the art of making fire-works.

Puta're (puta'tum), to think.

ACCOUNT' (F, comptc), a reckoning; a narrative. — AM'PU-
TATE, to cut off.4 — COMPUTE', to count or reckon. — COUNT,
to enumerate. — DEPUTE', to send as a substitute. — DEP'-
UTY, one appointed to act for another. — DISPUTE', to con-
tend in argument. — IMPUTE', to set to the account of; to
ascribe. — REPUTA'TION, character; public estimation.

Qua'lis, such as; of what kind.

QUAL'ITY, character; nature; degree of excellence. — QUAL'-
IFY, to render fit. — QUALIFICATION, fitness, modification.
— DISQUALIFY, to render unfit.

Quan'tus, how great; as great as.

QUAN'TITY, that property of anything which may be in-
creased or diminished. — QUAN'TUM SUFFI'CIT (L), a suf-
ficient quantity or amount.

Qua'tere (quas'sum), to shake.

QUASH, to crush; to annul. — CONCUS'SION,B a violent agita-
tion; a shock. — Discuss',6 to examine; to debate. — PER-
CUS'SION, a striking; a stroke.

Quat'uor, four; Quad'ra, a square.

QUAD'RANT, a quarter of a circle; an instrument. — QUAD-
RAT'IC, pertaining to the square or second power of a quan-
tity.— QUADRAN'GULAR, having four angles. — QUAD'RATE,
to suit; to correspond (followed by with}. — QUADRILAT'-
ERAL, four-sided. — QUAD'RUPED, a four-footed animal. —
QUAD'RUPLE, fourfold. — QUAR'ANTINE,T the term during
which a vessel suspected of infection is kept at a distance
from the port or city. — QUART, the fourth part of a gal-
lon.— QUART'AN, coming every fourth day (as, a quartan
fever). — QUART'ER, to divide into four equal parts or
quarters. — QUAR'TO (L), a book in which every sheet
makes four leaves. — QUAR'TERLY, occurring every quarter.

*The primary signification of the Latin word puto is to lop off
or prune; it also signifies secondarily, to adjust accounts; to
reckon.

6 From concu'tio, which is compounded of con and qua'tio.
8 From discu'tio, signifying to shake apart or in pieces.

7 Literally, the space of forty days.

l6o GOOD ENGLISH IN GOOD FORM

— SQUAD'RON,S a division of a fleet ; a detachment of ships
of war. — SQUARE (F, quarre), having four equal sides
and four right angles.

Que'ror (queStus), to complain.

QUAR'REL (F, quereller), to contend angrily; to find fault;
to cavil. — QUER'ULOUS, disposed to murmur or complain.

Quafre (quasi' turn), to seek; to ask.

QUEST, search; inquiry. — QUE'RY, QUES'TION, an asking; a
doubt. — ACQUIRE', to obtain. — ACQUISITION, the thing ac-
quired; the act of acquiring. — CON'QUER (F, conquerir),
to subdue; to gain by force. — CON'QUEST, the act of con-
quering.— DISQUISI'TION, a systematic examination of a
subject. — Ex'QUisiTE,9 nice; excellent. — INQUIRE', to ask
a question. — INQUIS'ITIVE, apt to ask questions; curious.

— INQUISI'TION, an investigation or trial. — PER'QUISITE,
a fee ; an allowance beyond the stated wages. — REQUEST',
to solicit; to entreat. — REQUIRE', to demand. — REQ'UISITE,
required; necessary.

Qui'es (quie'tis), rest.

QUIET, tranquil ; at rest. — QUIES'CENCE, a state of repose ;
quietude. — ACQUIESCE', to assent ; to rest satisfied. — Dis-
QUI'ET, to disturb. — RE'QUIEM 10 (in the Roman Catholic
church), a hymn or mass sung for the dead, for the repose
of the soul.

Quin'que, five.
QUINTES'SENCE, the fifth essence; the essence highly refined.

— QUINTUPLE, five-fold. — QUINTIL'LION, a million four
times multiplied by a million.

Quot, how many; as many.

QUOTA (L), a just part or share. — QUOTID'IAN, daily (as,
a quotidian fever). — QUO'TIENT, the number which shows
how often the divisor is contained in the dividend.

Ra'bies, madness.
RAB'ID, mad (as, a dog). — RAVE, to be delirious or furious.

Ra'dius, a rod ; a spoke.
RA'DIUS, the semi-diameter of a circle. — RAY, a line of light.

— RA'DIATE, to emit rays. — RA'DIANCE, effulgence.

8 Primary signification, a square or square form.

9 Literally, sought out from among others ; whence, choice ;
select.

10 So called from the first word of the form used.

WORDS DERIVED FROM LATIN AND GREEK l6l

Rafdix (rad'icis), a root.

RAD'ICAL, pertaining to the root;11 deep-seated. — ERAD'I-
CATE, to root out.

Ra'dere (ra'sum), to shave.

ABRADE', to rub or wear off. — ABRA'SION, the act of rubbing
off. — ERASE', to rub out ; to obliterate. — ERA'SURE, the act
of erasing. — RAZE, to demolish ; to destroy utterly. — RA'-
ZOR, an instrument for shaving. — RAZEE', to cut down or
reduce to a lower class (as, a ship).

Ra'mus, a bough or branch.

RAM'IFY, to branch put; to be divided and subdivided. —
RAMIFICA'TION, division into branches.

Ra'pere (rap' turn), to snatch.

RAP'INE, plunder. — RAPA'CIOUS, plundering; greedy. — RAPT,
carried away by feeling or enthusiasm. — RAPT'URE, ec-
stasy; transport. — RAPT'UROUS, ecstatic. — ENRAPT'URE, to
put into ecstasy; to delight. — RAP'ID, swift. — RAV'AGE, to
lay waste. — RAV'ISH, to bear away with joy or transport.
— SURREPTI'TIOUS, done by stealth.

Re'gere (reef turn), to direct; to rule. Recftus, straight.
RE'GAL (L, rex (re'gis), a king), kingly. — CORRECT', to make
right. — DIRECT', v. to guide; to order. — DIRECT', a.
straight ; not winding. — DIRECT'LY, immediately. — ERECT',
upright; perpendicular. — INCOR'RIGIBLE, bad beyond cor-
rection.— INTERREG'NUM (L, recfnum, a reign), the time
in which a throne is vacant between two reigns. — REC'-
TIFY, to set right. — RE'GENT, a governor. — REC'TOR, a di-
rector; a pastor. — RECTILIN'EAR, consisting of right lines.
REC'TITUDE, virtue; uprightness. — REG'ICIDE, the murderer
of a king. — REG'IMEN, a system of regulations ; a course
of diet. — REG'ULAR, agreeable to rule. — REG'ULATE, to ad-
just methodically. — REIGN, to exercise royal authority. —
RIGHT, fit; just; true.

Re' or (raftus), to think; to judge.

RATE, v. to determine value according to a standard. — RATE,
n. mode of estimating. — RAT'IFY, to sanction; to confirm.

- " The word radical, when used in a political sense, denotes a
disposition to go to the root in respect to the constitution of
society, and to set out anew with first principles, rejecting artificial
arrangements.

1 62 GOOD ENGLISH IN GOOD FORM

— RATION A'LE (L), a series of reasons assigned. — RA'-
TIONAL, agreeable to reason. — IRRA'TIONAL, not rational. —
REAS'ON (F, raison), the faculty of judging, which man
possesses. — RA'TION, a fixed allowance.

Re' 'per -e (rep' turn), to creep.

REP'TILE, a creeping animal. — RE'PENT, creeping (as, a rep-
tile or a plant).

Res, a thing.

RE'AL, actually existing. — REAL'ITY, actual existence. — RE'-
ALISE, to bring into actual existence; to consider as real.

Rhein (G), to flow.

CATARRH', a defluxion of mucus. — HEM'ORRHAGE, a flow of
blood. — DIARRHE'A, purging or flux. — RHEU'MATISM,IZ a
painful disease of the limbs caused by uric acid in the
joints.

Ride're (ri'sum), to laugh.

RID'ICULE, n. a laughable representation. — RID'ICULE, v. to
make sport of. — RIDIC'ULOUS, worthy of ridicule. — DE-
RIDE', to laugh at in a contemptuous manner. — DERIS'ION,
contempt. — RIS'IBLE, pertaining to laughter; exciting
laughter.

Ri'gere, to be stiff, as with cold.
RIG'ID, stiff; strict; exact. — RIGID'ITY, stiffness; harshness.

— RIG'OR, austerity ; severity. — RIG'OROUS, severe ; exact.

Riga' re (rigaftum), to water.

IR'RIGATE, to water, as a garden. — IRRIG'UOUS, watered;
watery.

Ri'vus, a stream.

RIV'ULET, a little stream. — RIV'ER, a large stream. — AR-
RIVE'," to come to or reach. — DERIVE'/* to deduce or
draw from some source. — Ri'vAL,15 a competitor.

12 So called because the ancients supposed it to arise from a
defluxion of humors.

13 Literally, to come to the shore or bank.

14 This word signifies, primarily, to draw a rivulet from the main
stream or reservoir.

18 Among the Romans, those whose lands were separated by a
brook were called riva'les; the word rival seems to have originated
in the idea of contention as occurring between such proprietors.

WORDS DERIVED FROM LATIN AND GREEK 163

Ro'bur (rob'oris), an oak; strength.

CORROB'ORATE, to confirm; to make more certain. — CORROB'-
ORATIVE, tending to confirm. — ROBUST', strong; vigorous.

Roga're (roga'tum), to ask.

ABROGATE/" to repeal; to annul. — AR'ROGATE, to claim. —
AR'ROGANCE, claiming much for one's self; pride; con-
ceitedness. — AR'ROGANT, haughty ; conceited. — DER'OGATE,
to detract; to disparage. — DEROG'ATORY, tending to de-
tract from the estimation in which anything is held. — IN-
TERROGATION, the act of questioning; a question. — PRE-
ROG'ATIVE," an exclusive privilege. — PROROGUE7,18 to put
off; to appoint at a future time. — SUR'ROGATE, a deputy.

Ro'ta, a wheel.

RO'TARY, turning, as a wheel on its axis. — ROTA'TION, rotary
motion. — ROTE, a round of words; repetition of mere
words. — RO'TUND, round; spherical. — ROTUND'ITY, round-
ness; sphericity. — ROTUND'O (L), a round building. —
ROUTINE (F), a round of business.

Ru'dis, unpolished; uncultivated.

RUDE, rough; coarse; unfinished. — ER^UDITE," learned. —
RU'DIMENT, an elementary truth or principle. — RUDI-
MENT'AL, initial; primary.

Ru'ga, a wrinkle.

COR'RUGATE, to wrinkle. — RU'GOSE, wrinkled.
Rum'pere (rup'tum), to break.

RUP'TURE, a breaking. — ABRUPT', broken off short; having
a sudden termination ; unconnected. — BANK'RUPT (I,
bancfo, a bench), a trader who cannot pay his debts. —
CORRUPT', decomposed; debased; impure. — CORRUPTIBLE,
capable of becoming corrupt. — DISRUPTION, the act of
breaking asunder. — ERUP'TION, a bursting out. — INTER-
RUPT', to break in upon the progress of anything.

Rus (ru'ra), the country.

RU'RAL, belonging to the country. — RUS'TIC, plain; unpol-
ished.— RUS'TICATE, to reside for a time in the country.

18 Literally, to propose or seek freedom from.

17 A privilege sought or asked which places the person before
others, or gives superiority.
11 To ask or propose with respect to future time.

19 Compounded of e, from, and rudis, and signifying, literally,
brought out from ignorance or rudeness.

164 GOOD ENGLISH IN GOOD FORM

Scfcer, consecrated.

SA'CRED, holy ; inviolable. — CON'SECRATE, to devote to sacred
purposes. — DES'ECRATE, to abuse or pervert a sacred
thing. — EX'ECRATE (L, etfsecror, to utter imprecations),
to detest. — SACERDO'TAL (L, sacer'dos, a priest), belong-
ing to the priesthood. — SAC/RAMENT, a religious cere-
mony.— SAC'RILEGE, a violation of what is sacred. — SAC-
RIFICE, a religious offering; a surrender of some good for
the sake of an ulterior object.

Sa'gus, wise; discerning.

SAGE, wise ; prudent. — SAGAC'ITY, discernment ; acuteness.
— SAGA'CIOUS, discerning. — PRE'SAGE, to forebode ; to
foreshow.

Sal (sa'lis), salt.

SAL'AD (F, salade), raw herbs dressed with salt, etc. —
SAi/ARY,20 a fixed annual compensation for services. —
SALINE', partaking of the qualities of salt. — SALT, a sub-
stance used for seasoning; the chloride of sodium.

Sali're (sal'tutn), to leap; to spring.

ASSAIL', to attack. — DES'ULTORY, leaping; passing immeth-
odically from one subject to another. — EXULT', to rejoice
greatly. — INSULT^ to treat with contempt or abuse. — RE-
SULT', to fly back or rebound; to follow as an effect. —
SAL'LY, to rush out suddenly. — SA'LIENT, leaping; shoot-
ing out. — SALM'ON, a leaping fish. — SAL'TATORY, adapted
to leaping; skipping; dancing.

Sa'lus (salu'tis), health; safety.

SAL'UTARY, healthful ; advantageous. — SAFE, free from
danger. — SALU'BRITY, tendency to promote health. —
SALUTE', to greet; to wish health or success. — SALVA'-
TION, preservation from destruction. — SALU'TATORY, con-
taining salutations; greeting (applied to an oration which
introduces the exercises of commencement in colleges). —
SALVE, an ointment. — SAVE, to preserve ; to rescue. —
SAV'IOUR, one who rescues.

Sacri're (sanc'tum), to consecrate; to ordain or establish.
SAINT, a person sanctified. — SANCTIFY, to make holy. —
SANCTIMO'NIOUS, having the appearance of sanctity;
saintly ; seeming holy. — SANC'TION, confirmation ; ap-

20 The Latin word sala'rium, signifies, properly, money for salt;
hence, allowance for expenses.

WORDS DERIVED FROM LATIN AND GREEK 165

proval. SANCTITY (sanc'tus, holy), sacredness; holi-
ness.— SANC'TUARY, a sacred place.

San'guis (san'guinis), blood.

SAN'GUINARY, bloody. — SAN'GUINE, ardent in feeling; con-
fident.— CONSANGUINITY, relationship by blood.

Sa'nus, sound; healthy.

SANE, sound ; having reason. — SAN'ITY, soundness ; reason.
— INSANE', disordered in mind. — INSAN'ITY, derangement;
madness. — SAN'ATIVE, tending to heal.

SJpere, to have flavor or taste ; to be wise.
SA'PIENT, wise ; discerning. — SA'PIENCE, wisdom. — SAPO-
RIF'IC, producing taste. — INSIP'ID, tasteless. — SA'VOR, taste
or odor. — SA'VORY, pleasing to the organs of taste or smell.

Sapo (sapo'nis), soap.
SAPONACEOUS, soapy. — SAPON'IFY, to convert into soap.

Sarx (G), flesh.

SAR'cASM,21 a satirical remark; a taunt. — HYPERSARCO'SIS,
the growth of fungous or proud flesh.

Sa'tis, enough.

SA'TIATE, to feed to the full; to fill beyond natural desire. —
SATI'ETY, an excess of gratification ; fullness producing dis-
gust.— SAT'URATE, to add an ingredient until no more can
be absorbed. — SAT'ISFY, to gratify wants or demands to the
full extent. — INSA'TIABLE, not to be satisfied.

Sca'la, a ladder.

SCALE, to climb (as, by a ladder). — SCAL'ABLE, that may be
scaled.

Scan'dere (scan' sum}, to climb; to mount.
ASCEND', to climb or go up. — ASCENT', the way by which one
ascends. — DESCEND', to go down. — CONDESCEND', to stoop;
to descend from the dignity of rank or character. — TRAN-
SCEND', to rise beyond ; to surmount. — SCAN, to examine
with critical care ; to examine a verse by counting the feet.

Schis'ma (G), a splitting; a division.

SCHISM, division or separation in a church. — SCHISMAT'IC,
promoting schism.

21 Literally, a cutting or tearing of the flesh.

1 66 GOOD ENGLISH IN GOOD FORM

Scho'le (G), leisure.

SCHOOL, a place of instruction. — SCHOL'AR, one who learns ;
a person of learning. — SCHOLAS'TIC, pertaining to a school,
or to the schools. — SCHO'LIAST, a commentator.

Scin'dere (sets' sum) , to cut; to divide.
SCIS'SORS, small shears. — EXSCIND', to cut off. — RESCIND', to
abrogate; to revoke.

Sci'ere, to know; Scien'tia, knowledge.
SCI'ENCE, knowledge. — SCIENTIFIC, pertaining to science. —
SCI'OLIST, a smatterer; one who knows many things su-
perficially.— CONSCIENCE, the knowledge of right and
wrong. — CONSCIOUSNESS, the knowledge of what passes
in one's own mind. — CONSCIENTIOUS, obedient to the dic-
tates of conscience. — PRE'SCIENCE, foreknowledge.

Scri'bere (scrip' turn), to write.

SCRIBE, a writer ; a secretary. — SCRIPT'URE, a writing.22 —
SCRIV'ENER, one who draws contracts or other writings. —
SCRIP, a small writing or certificate. — SUBSCRIBE', to write
underneath; to sign with one's own hand. — DESCRIBE',23
to give an account of. — ASCRIBE', to attribute to. — PRE-
SCRIBE', to give a written direction; to give a rule of con-
duct.— PROSCRIBE',24 to censure and condemn as unworthy
of reception. — TRANSCRIBE', to write a copy of anything.
— CIRCUMSCRIBE', to limit; to enclose by a boundary. —
INSCRIBE', to write upon; to dedicate in a short written
address. — CONSCRIP'TION, a compulsory enrolment of men
for military or naval service. — SUPERSCRIPTION, that
which is written on the outside. — POST'SCRIPT, something
written after a letter has been concluded and signed.

Scru'tor (scruta'tus), to examine.

SCRU'TINY, close examination. — SCRU'TINIZE, to examine
closely. — INSCRU'TABL-E, unsearchable; not to be under-
stood.

Seca're (sec' turn), to cut.

SECTION, a part ; a distinct portion. — SECT, a party holding
peculiar sentiments in philosophy or religion. — SEG'MENT,

22 Used only in reference to the Sacred Writings contained in
the Bible.

23 Literally to write concerning.

24 Primitive signification, to write the name of a person on the
list of those who are placed out of the protection of the law.

WORDS DERIVED FROM LATIN AND GREEK 1*67

a part cut off. — BISECT', to separate into two equal parts.

— DISSECT', to cut in pieces in such a manner as to show
the several constituent parts. — IN'SECT, a small animal. —
INSEC'TION, a cutting in. — INTERSECTION, the point where
lines .cut each other. — VENESECTION (L, ve'na, a vein),
the act of opening a vein.

Sec'ulum, an age.

SEC'ULAR, pertaining to the present world. — SECULARIZE, to
make worldly.

Se'dere (sesfsum), to sit.

SED'ENTARY, accustomed to sitting. — SESSION, a sitting. —
SEDATE', settled; calm; sober. — SED'IMENT, that which
settles. — ASSID'UOUS, diligent in application.25 — INSID'-
lous [properly, lying in wait], deceitful; treacherous. —
ASSESS , to fix the value of property for the purpose of
taxation. — ASSESS'OR, one who assesses. — POSSESS', to
hold ; to own. — PRESIDE', to be set over ; to direct.

— RESIDE', to dwell. — SUBSIDE', to sink away. — SUB-
SID'IARY, aiding ; furnishing supplies. — SUB'SIDIZE, to pur-
chase the assistance of another. — SUPERSEDE',26 to take
the place of; to set aside by having superior influence.

Se'men (sem'inis}, seed.

SEM'INARY, a place of education.27 — DISSEM'INATE, to scat-
ter abroad (as, seed).

Sem'i (an inseparable particle), half.
SEM'I-AN'NUAL, half yearly. — SEM'I-CIRCLE, half of a circle.

— SEM'I-DIAM'ETER (G), half the diameter. — SEM'I-TONE
(G), half a tone.

SSnex, aged; Senior, older.

SE'NIOR, one more advanced in years or in the course of
appointment or station. — SE'NILE, pertaining to old age.

— SEN'ATOR, a member of a senate.28 — SEIGN'IOR, a
nobleman; a title of honor.

Senti're (sen'sum), to perceive; to think.
SEN'TIMENT, thought; opinion; notion. — SEN'TIENT, having
the faculty of perception. — SEN'TENCE, a judgment pro-

25 Literally, sitting close to work.

26 Literally, to sit above.

27 Because the seeds of knowledge are there planted.

28 The Romans called their highest legislative body the Senate,
from its having been composed at first of the older men.

1 68 GOOD ENGLISH IN GOOD FORM

nounced upon a criminal; a complete expression in words.

— SENSE, the faculty of perceiving by the senses or by the
intellect ; meaning. — SENS'UAL, pertaining to the senses.

— SENSITIVE, easily affected. — SENSIBLE, able to per-
ceive; intelligent; perceptible by the senses. — ASSENT', to
agree to. — CONSENT', to yield. — DISSENT', to differ in
opinion; to refuse assent. — PRESENTIMENT, apprehension
of something future. — RESENT7, to manifest anger in con-
sequence of a supposed injury.

Sepeli're (sepul'tum} , to bury.

SEP'ULCHRE, a tomb or place of burial. — SEP'ULTURE, burial ;
the act of interring.

Sep'tem, seven.

SEPTEMBER, the seventh month.29 — SEPTEN'NIAL, of seven
years. — SEP'TUAGINT 30 (L, septuagin'ta, seventy), a
Greek version of the Old Testament.

Sefquor (secu'tus), to follow.

SE'QUEL, the succeeding part. — SE'QUENCE, a following ; suc-
cession.— CONSEQUENCE, that which follows from any
act or event. — CONSEC'UTIVE, following in regular order.

— EXE'CUTE (L, ex'sequor), to carry into effect. — OBSE'-
QUIOUS, complying in a servile manner. — PER'SECUTE, to
pursue with injuries and vexation. — PROS'ECUTE, to fol-
low with a view to accomplish ; to bring to trial. — OB'-
SEQUIES, funeral solemnities. — ENSUED to follow as a
consequence. — PURSUE', to follow ; to chase. — SUB'SE-
QUENT, occurring at a later period.

Se'rere (se/tum), to knit together; to connect.
SE'RIES (L), a succession of things. — SER'MON (L, se/mo,
speech), a discourse. — ASSERT', to declare; to affirm. —
AssER'T'oR, a vindicator. — DESERT', to forsake. — Dis-
SERTA'TION, a treatise. — EXERT', to put forth; to put into
action. — INSERT', to set in or among.

Se^pere, to creep.
SER'PENT, a creeping animal. — SER'PENTINE, winding; spiral.

29 Reckoning from March, which was once accounted the first
month in the year.

30 So called because it was made by seventy (or more exactly
seventy-two) interpreters. The date of its execution was about
280 B. C.

WORDS DERIVED FROM LATIN AND GREEK? 169

Sev'ra, a saw.

SER'RATED, notched like a saw; having the margin cut into
teeth pointing forward (as, a leaf).

Serva're (serva'tum), to watch; to preserve. Sei'vus, a
slave or servant.

SERVE, to attend at command ; to wait on. — SERVANT, one
who serves. — SERF, a kind of slave. — SERVICE, labor
performed for another. — SER'VILE, slavish. — SER'VITUDE,
slavery. — CONSERVATORY, a place where anything is pre-
served.— DESERVE', to merit. — OBSERVE', to watch; to
have regard to. — PRESERVE', to save. — RESERVE', to keep
back ; to keep in store. — SUBSER'VIENT, useful as an in-
strument.— RES'ERVOIR (F), a place for containing what
is kept in store; particularly a cavity for holding a fluid.

Seve'rus, severe.

SEVERE', sharp; strict; exact. — SEVER'ITY, sharpness; strict-
ness.— PERSEVE'RANCE, constancy in a pursuit. — PERSE-
VERE', to persist in an attempt. — ASSEVERA'TION, a solemn
affirmation.

Sex, six.

SEXAGENA'RIAN (L, sexagin'ta, sixty), one at the age of
sixty years. — SEX'TANT, the sixth part of a circle; an in-
strument for measuring angles.

Si'dus (sid'eris), a star.
SIDE'REAL, pertaining to stars.

Sig'num, a sign; a seal.

SIGN, n. a token ; a mark. — SIGN, v. to write one's name
under any form or document. — SIG'NAL, that which gives
notice. — SIG'NIFY, to express; to mean. — INSIGNIFICANT,
wanting meaning; unimportant. — ASSIGN', to allot; to ap-
point.— CONSIGN', to deliver over; to commit. — DESIGN',
to purpose; to plan. — DES'IGNATE, to point out. — EN'-
SIGN, a standard ; a badge. — RESIGN', to yield ; to give up.
— SIG'NET, a seal.

Sim'ilis, like.

SIM'ILAR, like; resembling. — SIM'ILE, an illustrative com-
parison.— SIMILARITY, SIMIL'ITUDE, SEM'BLANCE, RE-
SEM'BLANCE, likeness; comparison. — DISSEM'BLE, to hide
under a false appearance. — DISSIMULATION, hypocrisy.—
DISSIM'ILAR, unlike. — RESEM'BLE (Fr, ressembler), to be

I7O GOOD ENGLISH IN GOOD FORM

like. — SIMULTANEOUS (L, si'mul, together), at the same
time.

Sinister, left.

SIN'ISTER, left-handed; dishonest. — SIN'ISTROUSLY, wrongly ;

perversely.

Si'nus, a fold; a bosom.
SINUOS'ITY, a bending or curving in and out. — INSIN'UATE,

to introduce by slow, gentle, or artful means. — INSINUA'-

TION, a hint.

Sisftere, or stare (staftum), to stand; to place; to set up.
STATE, condition. — STA'TION, a standing place. — STA'TION-
ARY, fixed ; settled. — STAT'URE, the height of a person. —
STAT*UE, an image set up. — STA'BLE, a house for beasts to
stand in. — STABIL'ITY, steadiness. — ASSIST*, to stand by ;
to help. — CiR'cuMSTANCE,31 something attending a fact
or case. — CONSIST*, to stand together; to be composed of.

— CONSISTENT, compatible ; congruous. — CON'STANT, un-
changed; continual. — CONSTITUTE, to form or compose.

— CONSTITUTION, established system. — CON'STABLE," an
officer of the peace. — DESIST*, to stand off ; to stop. — DES'-
TITUTE, not possessing; needy. — DIS'TANT, remote; far
off. — ESTAB'LISH, to settle firmly. — EXIST*, to be. — Ex'-
TANT, now in being. — INSIST*, to stand upon; to urge. —
IN*STANT, pressing; present; a point of time. — IN'TER-
STICE, a narrow space between things. — PERSIST', to per-
severe.— PROS'TITUTE, to devote to a base purpose. — RE-
SIST', to withstand.

Si'tos (G), food.

PAR'AsiTE,33 a flatterer; a hanger on. — PARASIT'ICAL, fawn-
ing for bread or favors.

Skep'tomai (G), to examine or consider.
SKEP'TIC, one who doubts. — SKEP'TICAL, doubting. — SKEP'-
TICISM, a state or habit of doubting.

Sko'pein (G), to observe; to watch.
EPIS'COPAL, governed by bishops.34 — EPIS'COPATE, a bishop-

31 Literally, that which stands around or near.

32 Lat. co'mes stab'uli, overseer of the stable ; an office which
existed under the Roman emperors.

33 Literally, one who feeds beside, or at the table of another.
A parasitic plant is one which grows on the stem or branch of
another plant, as the mistletoe.

34 The Greek word, corresponding to our word bishop, is epis-
kopos, which signifies, in general, an overseer.

WORDS DERIVED FROM LATIN AND GREEK 17!

ric. — SCOPE,35 design; view; sufficient space. — STETH'-
OSCOPE (G, stethos, the breast), a surgical instrument.36

— TEI/ESCOPE 3T (G, tele, afar), a glass for viewing dis-
tant objects.— RESTITUTION, giving back.— SOL'STICE, the
tropical point.— STAT'ICS, that branch of mechanics which
treats of bodies at rest— STA'MEN (L), the fixed, firm
part of a body which gives it strength. — STAND, to be
erect; to remain fixed. — SUBSTITUTE, that which is put
in the place of something else. — SUBSIST^ to be ; to con-
tinue.— SUB'STANCE, being; body. — SUBSTANTIAL, not im-
aginary ; solid. — SUPERSTITION, false religion ; belief in
omens and prognostics.

So'cius, a companion.

SO'CIABLE, agreeable as a companion ; familiar. — SOCI'ETY,
a union of persons for any particular purpose. — SO'CIAL,
pertaining to society. — ASSO'CIATE, CONSO'CIATE, to unite.

— DISSO'CIATE, to disjoin.

Sol (so'lis), the sun.

SO'LAR, pertaining to the sun. — IN'SOLATE, to expose to the
heat of the sun.

Sol'idus, solid.

SOI/ID, not fluid ; strong ; compact. — SOLID'ITY, firmness ;
hardness. — SOLID'IFY, to make solid. — CoNsoi/iDATE,38 to
form into a compact mass. — SOL'DER, to unite by a metallic
cement. — Sou/iER,39 a man engaged in military service.

So'lor (sola'tus), to comfort; to soothe.
CONSOLE', to comfort ; to cheer. — DISCONSOLATE, destitute
of consolation; dejected; not expecting comfort. — INCON-
SOL'ABLE, not to be consoled. — SOL'ACE, alleviation ; com-
fort.

35 Literally, the object looked at or aimed at; also, space in
which to look about.

36 The instrument is pressed against the chest or stomach, and
the ear of the surgeon is then applied to it, for the purpose of
distinguishing the internal disease by the sounds communicated.

3T The suffixes scope, scopy, scopic, are found in many terms of
science and art.

38 Con' sols, in England, are stocks formed by the consolidation
of different annuities.

39 The Romans had a gold coin called the Sol'idus or Sol'dus ;
it is supposed that the word soldier was derived from the mode
of military payment.

172 GOOD ENGLISH IN GOOD FORM

So'lus, alone; only.

SOLE, single ; only. — SOL'ITARY, living alone. — SOL'ITUDE, a
state of being alone; a lonely place. — DES'OLATE, laid
waste; cheerless. — DESOLA'TION, destitution; ruin. —
SOLIL'OQUY, a speech to one's self alone. — SO'LO (I), a
passage of music for a single instrument or voice.

Sol'vere (solu'tum), to loose.

SOLVE, to explain. — SOLU'TION, the process of dissolving ;
explanation. — SOL'UBLE, capable of being dissolved. —
SOLVENCY, ability to pay. — SOL'VENT, a fluid which dis-
solves a substance. — ABSOLVE', to clear; to acquit of a
crime. — AB'SOLUTE, complete ; unconditional. — ABSOLU'-
TION, acquittal ; remission. — DIS'SOLUTE, loose in morals.

— DISSOLVE', to melt; to break up. — RESOLVE', to deter-
mine.

Som'nus, sleep.

SOMNAM'BULIST, one who walks in sleep. — SOMNIF'IC, caus-
ing sleep. — SOM'NOLENCY, drowsiness.

So'nus, a sound.

SOUND, a noise. — SONO'ROUS, giving sound. — CON'SONANT,
n. a letter that can be sounded only in connection with a
vowel. — CON'SONANT, a. consistent. — RESOUND', to send
back sound. — RES'ONANT, resounding. — U'NISON, agree-
ment of sound.

So'phia (G), wisdom.

PHILOS'OPHY, literally, the love of wisdom. — SOPH'ISM, a
specious but fallacious argument. — SOPH'ISTRY, fallacious
reasoning. — UNSOPHISTICATED, not instructed in evil;
pure.

So'por, drowsiness; lethargy.
SOPORIF'IC, causing sleep. — SOPORIF'EROUS, inducing sleep.

Sors (sor'tis), a lot; chance; a share.
ASSORT', to separate into classes. — CON'SORT, n. a com-
panion; a wife or husband. — CONSORT', v. to associate.

— RESORT', to betake ; to repair. — SORT, a kind ; a species.

Spa'ein (G), to draw.

EPISPAS'TIC, drawing, as a blister. — SPASMOD'IC, consisting
in spasm. — SPASM, an involuntary contraction of the mus-
cles; a convulsion.

WORDS DERIVED FROM LATIN AND GREEK

Spa/gere (spar'sum), to strew; to scatter.
SPARSE, thinly scattered. — ASPERSE', to bespatter with cal-
umny.— ASPER'SION, calumny. — DISPERSE', to scatter ; to
dissipate. — INTERSPERSE', to scatter between.

Spa'tium, space.

SPACE, room ; extension. — SPA'CIOUS, roomy ; extensive. —
EXPA'TIATE, to move at large; to enlarge in discourse.

Spefcere (spec' turn), to see.

AS'PECT, appearance; view. — CIR'CUMSPECT, watchful; cau-
tious.— CONSPIC'UOUS, easily seen; prominent. — EXPECT',
to look or wait for. — INSPECT', to look on or into; to ex-
amine.— PERSPECTIVE,40 appearance represented on a
plane surface. — PROS'PECT, view of objects within the
reach of the eye. — PROSPECTIVE, regarding the future. —
RESPECT', regard. — RESPECT'ABLE, worthy of regard. —
RESPECTIVE, particular. — RE'TROSPECT, a looking back on
things past. — SPE'CIE, coin. — SPECIF'IC, designating the
peculiar properties. — SPEC'IFY, to mention particulars. —
SPEC'IMEN, a sample. — SPE'CIOUS, apparently right; hav-
ing a fair or plausible appearance. — SPEC'TACLE, a sight ;
a show. — SPECTACLES, glasses to assist the sight. — SPEC-
TA'TOR, one who looks on. — SPEC'TRE, an apparition. —
SPECULATE, to contemplate ; to theorize. — SUSPECT', to
mistrust.

Spera're, to hope.

DESPAIR', hopelessness. — DES'PERATE, without hope ; reck-
less.— DESPERA'DO, a desperate fellow.-1- PROS'PER, to be
successful. — PROSPERITY, successful progress. — PROS'-
PEROUS, thriving; successful.

Spira're, to breathe.

SPIR'IT, an immaterial, intelligent being; courage. — SPIR'-
ITUAL, immaterial ; mental. — SPIR'ACLE, a breathing hole.

— ASPIRE', to aim at something elevated. — ASPIRA'IION, a
breathing after. — ASPI'RANT, one who aspires or aims at
something elevated. — CONSPIRE', to agree together. —
CONSPIR'ACY, a plot ; treason. — EXPIRE', to breathe out ; to
die. — INSPIRE', to breathe into; to infuse into the mind.

— INSPIRATION, a drawing in of the breath; a supernat-
ural infusion of ideas into the mind. — INSPIR'IT, to ani-
mate ; to enliven. — PERSPIRE', to send out moisture from

40 Primary signification, a glass through which objects are
viewed.

174 G000 ENGLISH IN GOOD FORM

the skin. — RESPIRE', to breathe ; to catch breath. — TRANS-
PIRE', to pass out in vapor; to escape from secrecy. —
SUSPIRA'TION, a sigh; a deep breath.

Splen'dere, to shine.

SPLEN'DID, shining ; magnificent ; showy. — SPLEN'DOR, bril-
liancy ; elegance. — RESPLEN'DENT, very bright.

Spon'dere (spon'sum), to promise.

SPON'SOR, one who promises for another. — SPON'SAL, relat-
ing to marriage. — SPOUSE, a husband or wife. — ESPOUSE',
to marry; to take one's self. — CORRESPOND', to answer; to
be congruous; to communicate by letters. — DESPOND', to
be cast down; to lose courage. — RESPOND', to answer. —
RESPONSE', a reply. — RESPONSIBLE, accountable; answer-
able.

Sta'sis (G), a standing or position; a placing.
APOS'TACY, a departure from original profession. — Ecy-
STASY,41 excessive joy or delight. — HYDROSTAT'IC, pertain-
ing to the pressure of fluids. — SYs'TEM,42 regular
method.

Stel'la, a star.

CONSTELLA'TION, a cluster of fixed stars. — STEL'LAR, starry ;
pertaining to stars.

Stel'lein (G), to send.

APOS'TLE (G, from), one sent or commissioned. — EPIS'TLE,
a writing or letter sent.

S ten' os (G), narrow.

STENOG'RAPHY, the art of writing in shorthand, or in a nar-
row compass. — STENOG'RAPHER, a shorthand writer. —
STENOGRAPHIC, written in shorthand.

Stereos (G), standing firm.

STEREOM'ETRY, the art of measuring solid bodies. — STER'EO-
TYPE, to make fixed metallic types, or plates of fixed types.

Ste/nere (stra'tum), to spread; to strew.
STRA'TUM (L), (pi. stra'ta), a layer, as of earth. — STRAT'-
IFIED, placed in strata. — SUBSTRA'TUM (L), a lower layer.

41 Literally, a sudden removal from the ordinary condition ; a
distraction in consequence of joy.

42 A standing together; consistency.

WORDS DERIVED FROM LATIN AND GREEK 175

— CONSTERNATION, great surprise and terror. — PROS'-
TRATE, lying flat. — PROSTRA'TION, loss of vigor.

Sti'chos (G), a line; a row.

ACROS'TIC, a kind of poem in which the first letters of the
lines form a name, when read in consecutive order. —
DIS'TICH, a couplet of poetic lines.

Stil'la, a drop.

INSTIL', to pour in gradually; to teach slowly. — DISTIL', to
fall by drops ; to extract by heat and evaporation. — Dis-
TILLA'TION, the act of distilling. — DISTILL'ERY, a place
where distilling is carried on. — STILL, a vessel for dis-
tillation.

Sti'pare (stipa'tum), to fill up; to stuff.
CON'STIPATE, to stop, by filling a passage.

Stirps (sti/pus), a root or stock.

EXTIR'PATE, to root out; to destroy totally. — EXTIRPA'TION,
eradication; total destruction.

Strin'gere (stric'tuwi), to bind.

STRICT, rigorously nice ; exact ; severe. — STRICT'URE, a con-
traction; critical censure. — ASTRIN'GENT, binding; con-
tracting.— CONSTRAIN', to compel. — CONSTRAINT', con-
finement.— DIS'TRICT, circuit of authority. — RESTRAIN', to
withhold; to repress. — RESTRICT', to limit; to confine. —
RESTRICTION, limitation. — STRAIGHT, not crooked. —
STRAIT, narrow; compressed. — STRAIN, to extend with
force.

Stro'phe (G), a turning round.

APOS'TROPHE, a turning aside from the course of a speech,
to address some absent person, as if present. — CATAS'-
TROPHE, a turn or issue of a course of events; generally
used to denote a disastrous issue.

Stru'ere (struck turn), to build; to construct.
STRUC'TURE, an edifice ; a building. — CONSTRUCT', to form ;
to build. — CONSTRUCTION, structure ; conformation. —
CON'STRUE, to interpret; to explain. — INSTRUCT7, to teach,
to inform by precept. — OBSTRUCT', to hinder; to block up.
DESTRUCTIVE, that destroys ; ruinous ; mischievous. — DE-
STRUC'TION, waste; ruin. — SUPERSTRUCTURE, an erection
upon something else.

176 GOOD ENGLISH IN GOOD FORM

Sua'dere (sua'sum), to advise.

PERSUADE', to bring over to an opinion. — DISSUADE', to ex-
hort or advise against any proposed course. — DISSUA'SIVE,
tending to dissuade. — SUA'SION, the act of persuading.

Sua'vis, sweet; pleasant.

SUAV'ITY, softness; agreeableness. — INSUA/ITY, unpleasant-
ness.

Suda're (suda'tum), to sweat.

EXUDE', to flow out in the manner of sweat. — SUDORIF'IC, ex-
citing perspiration.

Su'i, of one's self.
SU'ICIDE, self-murder. — SUICI'DAL, destructive to one's self.

Sum, I am; Esfse** to be; Ens (en'tis), being; Futu'rus,
about to be.

NONENTITY, anything not existing; nothing. — ES'SENCE, the
peculiar nature or quality of anything. — ESSEN'TIAL,
necessary to the existence of a thing; pertaining to ele-
mentary or constituent principles. — FU'TURE, to be here-
after.— FUTU'RITY, time to come. — AB'SENT, not present.
— PRES'ENT, at hand ; near ; before the face. — REPRESENT',
to exhibit; to describe.

Su'mere (sump'tum), to take.

ASSUME, to take; to claim. — ASSUMP'TION, a taking; a sup-
position.— CONSUME', to waste; to destroy. — CONSUMP'-
TION, waste ; a disease. — PRESUME', to suppose ; to ven-
ture.— PRESUMP'TION, confidence; arrogance; strong prob-
ability.— RESUME', to take back; to begin again. — SUMP'-
TUOUS, expensive. — SUMP'TUOUSLY, expensively; splen-
didly.

Su'per, above ; over.

SUPE'RIOR, higher in place or excellence. — SUPER'LATIVE,
highest in degree; most eminent. — SUPERB' (L, super* -
bus), grand; splendid. — SUPERABUNDANCE (L, dbun'do,
to abound), more than enough; excessive quantity. — IN-
SU'PERABLE, not to be overcome or surmounted. — SUPER-
CIL'IOUS (L, supercil'ium, the brow), haughty ; overbearing.
— SUPREME', highest in authority ; greatest. — SUPREM'-
ACY, highest power.

43 Es'se, is the present infinitive of the verb Sum, Ens the pres-
ent participle, and Futu'rus the future participle.

WORDS DERIVED FROM LATIN AND GREEK 177

Su/gere (surrec'tum), to rise.

INSUR'GENT, rising in opposition to the government. — IN-
SURRECTION, a rising in rebellion. — RESURREC'TION, a ris-
ing again. — SURGE, a billow ; a rolling swell of water.

Tabe/na, a shed; a shop.

TAB'ERNACLE, a temporary habitation. — TAV'ERN (F, tav-
erne), an inn; a drinking-place.

T a' cere (tacfitum), to be silent.

TAC/IT, silent; implied but not expressed. — TAC'ITURN,
habitually silent; not free to converse.

Tan'gere (tac'tum), to touch.

TAN'GENT, a line touching a curve. — TAN'GIBLE, that can be
touched or taken hold of. — TACT, peculiar skill, faculty or
aptness. — INTACTA (L, intac'tus, untouched), uninjured.
— CONTA'GION, communication of disease from body to
body. — CON'TACT, touch ; close union. — CONTINGENT, ac-
cidental; depending on an uncertainty.

Ta'phos (G), a tomb.

CEN'OTAPH (G, kenos, empty), a tomb or monument erected
to one who is buried elsewhere. — EP'ITAPH (G, upon), an
inscription on a tomb; a record in honor of the dead.

Tax'is (G), arrangement; Tak'tos (G), arranged.
SYN'TAX, the construction of sentences according to estab-
lished usage. — TAC'TICS, the art of directing military and
naval movements.

Tech'ne (G), art; skill.

TECH'NICAL, pertaining to an art or profession. — TECHNOL'-
OGY, a treatise on the arts.

Te'gere (tec' turn}, to cover.

INTEG'UMENT, that which naturally invests or covers another
thing. — PROTECT', to cover ; to defend. — DETECT', to dis-
cover in spite of concealment. — DETEC'TION, discovery.

Tern' pus (tem'poris}, time.

TIME, measure of duration. — TEM'PORAL, relating to time;
not eternal. — TEM'PORARY, lasting only a time. — CONTEM-
PORARY, living at the same time. — TENSE (Fr, temps}, an
inflection of verbs by which time is denoted. — EXTEM-
PORA'NEOUS, produced at the time; not premeditated.

178 GOOD ENGLISH IN GOOD FORM

— TEM'PER, v. to moderate.4* — TEM'PER, n. disposition. —
TEM'PEST, storm; commotion. — TEM'PORIZE, to comply
with the time or occasion; to delay; to procrastinate. —
TEM'PERANCE, moderation. — INTEM'PERANCE, excess. —
TEM'PERAMENT, native constitution.

Ten'dere (ten' sum or ten' turn), to stretch; to go towards; to

aim at.

TEND, to move towards; to watch. — TEND'ENCY, direction
towards any result; inclination. — ATTEND', to listen; to
have regard to. — ATTEN'TION, regard. — CONTEND', to
strive; to contest. — DISTEND', to fill out; to expand. — EX-
TEND', to spread; to enlarge. — EXTENT', compass; size. —
INTEND', to purpose. — INTEN'TION, n. design. — INTENT^ a.
fixed on; eager in pursuing. — INTENSE', strained; vehe-
ment; ardent. — OSTENSIBLE (L, osten'do, to show), seem-
ing.— OSTENTA'TION, ambitious display. — PORTEND', to
forebode ; to foretoken. — PORTENT'OUS, ominous. — PRE-
TEND', to hold out, as a false appearance. — PRETENCE', a
feigning or pretending. — SUPERINTEND', to have the di-
rection of. — TEN'DON, a cord. — TENSE, stretched to stiff-
ness.— TEN'SION, tightness. — TENT, a covering stretched
on poles.

Te'nere (ten'tutn), to hold; to keep.

TEN'URE, a holding. — TEN'ABLE, that can be held or main-
tained.— TENA'CIOUS, holding fast. — TEN'ET, an opinion
held. — ABSTAIN', to refrain from. — AB'STINENCE, the act
of refraining. — CONTAIN', to hold; to comprehend. — CON'-
TENTS, n. that which is contained within any limits or
boundaries. — CONTENT',45 a. satisfied. — CONTIN'UE, to re-
main.— CONTIN'UAL, uninterrupted. — CouN'TENANCE,46 the
visage or look. — DETAIN', to keep back. — DETEN'TION, re-
straint; confinement. — ENTERTAIN', to receive with hospi-
tality; to cherish. — LIEUTEN'ANT (F, lieu, place), an offi-
cer who supplies the place of a superior in his absence. —
OBTAIN', to gain ; to get. — PERTAIN', to belong to. — PER'-
TINENT, applicable. — IMPER'TINENT, inapplicable; ill-man-
nered.— PERTINA'CIOUS, adhering resolutely; obstinate. —
PERTINAC'ITY, inflexibility; obstinacy. — RETAIN', to hold;
to keep. — RETEN'TIVE, having the power to retain. — Sus-

**The primary signification seems to be, to appoint a time or
limit.

45 Literally, held, restrained.
49 Primary sig., the contents of a body.

WORDS DERIVED FROM LATIN AND GREEK

TAIN', to hold up ; to support. — SUS'TENANCE, support. —
TEN'ANT, one who holds or occupies a house and lands. —
TEN'EMENT, a dwelling or habitation. — -TEN'OR (L), con-
tinued course.

Tenta're (tenta'tunt), to try.

ATTEMPT', v. to endeavor. — ATTEMPT', ». an endeavor. —
TEMPT, to solicit or incite. — TEMPT'ING, attractive.

Ten'uis, slender.

ATTEN'UATE, to make slender. — EXTEN'UATE, to lessen; to
palliate.

Ter'gere (te/sum), to scour; to make clean.
TERSE, elegant in style without prolixity. — TERSE'NESS, neat-
ness of style ; elegance and conciseness.

Te/minus, a bound or limit.

TERM, a limit ; a limited time ; a word or expression. — TERM'-
INATE, to bring to an end. — DETERMINE, to fix ; to decide.
— DETERMINATE, limited ; definite. — EXTERMINATE, to
drive away; to destroy utterly. — INDETER'MINATE, not
definite. — INTERMINABLE, boundless.

Te'rere (tri'tum'), to wear by rubbing.

TRITE, worn out. — CON'TRITE, broken-hearted as a result of
sin. — DET'RIMENT, damage; injury. — DETRIMENT' AL, caus-
ing detriment; injurious; hurtful.

7V/ro, the earth.

INTER', to bury in the earth. — MEDITERRANEAN, the sea be-
tween Europe and Africa. — SUBTERRA'NEAN, beneath the
surface of the earth. — TER'RACE, a raised bank of earth ; a
fiat roof. — TERRA'QUEOUS, consisting of land and water. —
TERRES'TRIAL, pertaining to the earth. — TER'RIER, a dog
that hunts along or under the ground. — TER'RITORY, a dis-
trict; a tract of land.

Terr e' re (ter'ritunt), to affright.

DETER', to stop by fear. — TER'ROR, fear ; dread. — TER'RIBLE,
frightful; dreadful. — TER'RIFY, to frighten. — TERRIF'IC,
causing terror.

Tes'sares (G), four.

TET'RACHORD, a series of four sounds. — TES'SELATED, formed
in little squares.

l8o GOOD ENGLISH IN GOOD FORM

Tes'tis, a witness.

ATTEST', to bear witness; to certify. — ATTESTATION, solemn
declaration. — CONTEST', to strive ; to litigate. — DETEST', to
abhor. — INTESTATE,47 not having made a will. — PROTEST7,
to make a formal declaration. — PROT'ESTANT,48 one who
joins in a protest. — TEST'AMENT, a will. — TESTA'TOR, one
who makes a will. — TEST'IFY, to bear witness. — TESTIMO'-
NIAL, a certificate. — TEST'IMONY, that which is affirmed
by a witness.

Te^ere (tex^tum), to weave.

CONTEXT7, knit or woven together. — CON'TEXT, the connected
passages. — PRE'TEXT, a pretence; an ostensible reason, as-
sumed to conceal the true one. — TEXT, a composition on
which a commentary is written ; a passage of Scripture. —
TEXT-BOOK, a book used in teaching. — TEXT'URE, a web ;
that which is woven, or the manner of weaving.

Thea'omai (G), to behold.

THE'ATRE, a place of exhibition; a conspicuous place of ac-
tion.— THEAT'RICAL, resembling the manner of dramatic
performers.

The' os (G), God.

A'THEISM, the disbelief of the existence of a God. — THE'-
ISM, the belief of the existence of a God. — MON'OTHEISM,
the doctrine of one God. — THEOC'RACY, government by the
immediate direction of God. — THEOLOGY, the science of
God and divine things.

The'sis (G), a putting or placing; The' ma (G), something

placed.

ANATH'EMA, excommunication with curses. — Ep'iTHET,49 an
adjective. — ANTITH'ESIS, an opposition of words or senti-
ments.— HYPOTH'ESis,50 a supposition. — PAREN'THESIS, a
clause or sentence within another. — SYN'THESIS, a putting
together; a combining. — SYNTHET'ICAL, proceeding by syn-

47 A will was called by the Latins testamen'tum.

48 Martin Luther protested against a decree of Charles V and
the diet of Spires ; his followers are therefore called Protestants.

49 Literally, something placed upon ; a descriptive word applied
to anything in representing it.

60 A placing under; which is the literal signification of the
word supposition. A position assumed as the basis of an argu-
ment

WORDS DERIVED FROM LATIN AND GREEK l8l

thesis. — THEME, a topic. — THE'SIS, a position; a proposi-
tion advanced.

Tim' ere, to fear.

TIM'ID, fearful. — TIM'OROUS, cowardly; full of fear. — IN-
TIM'IDATE, to render fearful; to deter.

Tin'gere (tine' turn), to dip; to dye.

TINGE, to infuse or impregnate slightly. — TAINT, stain; in-
fection.— TINT, a slight coloring. — TINCTURE, a liquid
containing the principal qualities of some substance; a
slight quality added to anything.

Tol'lere, to lift up; to bear away.
EXTOL, to praise highly. — TOL'ERATE (L, tol'ero), to endure.

To' me (G), the act of cutting.

ANAT'OMY," the art of dissecting. — Ar'oM,52 an indivisible
particle. — EriT'oME,53 a compendium or summary. —
TOME," a volume.

To'nos (G), tension; tone.

AT'ONY, relaxation; want of vigor. — DET'ONATE, to explode.
— INTONA'TION, manner of sounding. — TONE, tension;
vigor ; sound ; a musical interval. — TON'IC, increasing ten-
sion or vigor; giving tone to the system.

To'pos (G), a place.

TOP'IC, a subject of discourse. — TOP'ICAL, local. — TOPOG'-
RAPHY, the description of a particular place.

To/pere, to be numb or stupid.

TOR'PID, inactive; stupid. — TOR'POR, sluggishness; want of
activity or feeling. — TORPE'DO (L), a machine invented
for blowing up ships by submarine explosion.

To/quere (to/ium), to twist.

CONTORTION, a twisting or writhing. — DISTORT', to twist out
of shape. — EXTORT*, to wrest or force from one. — Ex-
TOR'TION, illegal exaction; unreasonable demand. — RE-
TORT', to throw back a censure or objection. — TOR'MENT,

61 Literally, a cutting up.

52 The A in this word is the A privative or negative. Atom
therefore signifies a thing which cannot be cut or divided.
83 The Greek word epitome signifies a lopping or curtailing.
54 Literally, a section, or part cut off ; a portion of a work.

l82 GOOD ENGLISH IN GOOD FORM

extreme pain. — TORT'URE, pain inflicted by another ; agony.

— TORT'UOUS, crooked; winding.

To'tus, whole; all.

TO'TAL, the whole. — FACTO'TUM, one who can perform all
kinds of service. — TO'TALLY, wholly; entirely.

Trofdere (trad'itum), to deliver.

TRADITION, that which is handed down from age to age by
oral communication. — TRAI'TOR (F, traitre), one who de-
livers his country to its enemy.

Tra'here (trac'tum), to draw.

AB'STRACT, a. separate; existing in the mind only. — AB-
STRACT', v, to draw from; to separate. — ATTRACT', to draw
to ; to allure. — ATTRACT'IVE, engaging. — CONTRACT', to
draw together. — DETRACT', to take from the reputation or
value of anything. — DISTRACT', to draw apart ; to separate ;
to throw into confusion. — DISTRAC'TION, confusion; de-
rangement of reason. — EXTRACT', to draw out. — PRO-
TRACT', to prolong. — RETRACT', to draw or take back. —
SUBTRACT^ to deduct. — SUB'TRAHEND, the number to be
deducted. — TRACE, a mark left by anything passing. —
TRACK, a foot-print; a path. — TRACT, a region; a small
treatise. — TRACT'ABLE, that may be easily led, managed, or
taught.

Tre'mere, to shake.

TREM'BLE, to quake; to totter. — TREMEN'DOUS, fitted to ex-
cite trembling; terrible. — TRE'MOR, a trembling. — TREM'-
ULOUS, shaking; quivering.

Tres (tri'a), three.

TRIP'LE, threefold. — TRI'AD, the union of three. — TRI'ANGLE,
a figure having three angles. — TRI'DENT, an instrument
having three prongs. — TRIN'ITY, a union of three in one.

— TRI'O, a passage in music for three performers. — TRI'-
POD, a three-legged stool. — TRIV'IAL, unimportant.

Tribue're (tribu'tum), to render or give.
TRIB'UTE, a tax paid to a conqueror. — ATTRIB'UTE, to as-
cribe.— CONTRIB'UTE, to give in common with others. —
DISTRIB'UTE, to divide ; to dispense. — RETRIBU'TION, re-
ward or punishment.

Trop'os (G), a turning.
TROPE, a figurative turning of a word from its ordinary sig-

WORDS DERIVED FROM LATIN AND GREEK 183

nification. — TROP'IC, the point at which the sun appears to
turn again toward the equator.

Tru'dere (tru'sum), to thrust; to push.
ABSTRUSE', difficult to be comprehended or understood. — IN-
TRUDE', to thrust one's self in; to encroach. — INTRU'SIVE,
entering without right. — OBTRUDE', to thrust in or on. —
OBTRU'SIVE, bold ; coming uninvited. — PROTRUDED to thrust
forward.

Tu'ber, a swelling; an excrescence.

PROTU'BERANCE, a prominence; a swelling. — TU'BERCLE, a
small tumor.

Tu'eor (tui'tus), to view; to guard.

INTUI'TION, immediate perception of truth. — TUI'TION, in-
struction ; guardianship. — TU'TELAR, protecting. — TU'TOR,
an instructor or guardian.

Tu'mere, to swell.

TU'MID, swollen; pompous. — TU'MOR, a swelling. — CON'-
TUMACY, stubbornness; contempt of authority. — CON'-
TUMELY, insolence; contemptuous language. — CONTUMA'-
cious, obstinate; perverse. — TOMB (L tu'mulus, a mound),
a grave; a place of burial. — ENTOMB', to put into a tomb;
to bury. — TU'MULT, a commotion.

Tun'dere (tu'sum), to beat; to bruise.
CONTU'SION, a bruise. — OBTUSE', blunted; dull.

Tu'pos (G), a shape, figure, or model.

TYPE, an emblem; a model or form of a letter, used in print-
ing.— TYP'ICAL, symbolical. — TYP'IFY, to represent by fig-
ure or symbol. — TYPOG'RAPHY, the art or operation of
printing.

Tu/ba, a crowd ; a bustle.

DISTURB', to disquiet. — DISTURBANCE, confusion. — PERTUR-
BA'TION, disquiet or agitation of mind. — I M PERTURB' ABLE,
not to be disquieted. — TROUB'LE, perplexity. — TUR'BID,
muddy; not clean. — TUR'BULENCE, insubordination; vio-
lence.

Tur'gere, to be inflated.

TUR'GID, bloated; tumid; pompous. — TURGID'ITY, bombast,
inflated style.

Tu/ris, a tower.
TUR'RET, a little tower. — TUR'RETED, furnished with turrets.

184 GOOD ENGLISH IN GOOD FORM

Ul'timus, last.

UI/TIMATE, furthest; final; last. — UI/TIMATELY, finally; in
the end. — ULTIMA'TUM, a final proposition. — ULTE'RIOR
(L, comparative), further.

Um'bra, a shade.

UMBRA'GEOUS, shady. — UM'BRAGE, suspicion of injury; of-
fence.— UMBREL'LA, a shade or screen carried in the hand.

Un'da, wave.

UN'DULATE, to have a motion like that of waves. — ABOUND'
(L, abun'do), to be in great plenty. — ABUND'ANCE, plenty.

— INUN'DATE, to flow upon; to overflow. — REDUND'ANT,
literally, flowing back; superfluous.

Un'guere (unc'tum), to anoint.

UN'GUENT, ointment. — UNC'TION, an anointing. — UNC'TU-
ous, oily; having an oily consistency.

U'nus, one.

U'NIT, a single thing. — UNITE', to make one; to join. —
U'NITY, oneness. — UNANIM'ITY, agreement in opinion. —
UNIFORM'ITY, sameness; regularity. — U'NION, conjunc-
tion; agreement. — UNIQUE' (F), sole; without another
of the kind. — U'NISON, concord of sounds; perfect har-
mony.— U'NiVERSE,55 the whole system of created things.

— UNIVERS'AL, all; whole; comprehending the whole.

U'tor (u'sus}, to use.

UTIL'ITY, profitableness; advantage. — USE, to employ. —
ABUSE', to use improperly. — DISUSE', cessation of use or
practice. — MISUSE', to treat ill. — PERUSE', to read. —
U'SAGE, custom; treatment. — USE'FUL, beneficial; profit-
able.— U'SUAL, customary; ordinary. — U'SURY, illegal or
exorbitant interest. — USURP' (L, usu/po), to seize with-
out right. — UTEN'SIL, that which is used; an instrument.

Va'dere (vafsum), to go.
EVADE', to escape; to elude. — EVA'SION, an artifice to elude.

— INVADE', to enter as an enemy. — PERVADE', to pass
through; to permeate.

Va'gus, wandering.
EXTRAVAGANT, going beyond proper limits. — EXTRA VA-

65 The Latin word univer'sus signifies literally — turned into
one, collected into one whole.

WORDS DERIVED FROM LATIN AND GREEK 185

GANCE, excess. — VAG'ABOND (L, vagabun'dus), a wan-
derer ; an outcast. — VAGA'RY, a wandering of the thoughts.
— VA'GRANT, wandering; having no home. — VAGUE, un-
settled; indefinite.

Va'lere, to be strong; to have force or value.
AVAIL', to be of use; to have effect. — AVAIL'ABLE, that may
be used with success or advantage. — CONVALESCENT, re-
covering health and strength. — EQUIVALENT, of equal
force or value. — INVAL'ID, a. of no force. — IN'VALID, n.
an infirm person. — INVALIDATE, to lessen the force of. —
PREVAIL', to overcome; to gain influence. — VALEDIC-
TORY," a farewell address. — VALETUDINA'RIAN, a person
seeking health. — VAL'IANT, brave; strong. — VAL'ID, ef-
fectual ; having force. — VAL'OR, bravery ; prowess. —
VAL'UE, worth; importance. — INVAL'UABLE, precious
above estimation.

Ve'here (vecftum), to carry.

VE'HICLE, a carriage. — CON'VEX, swelling; spherical. — CON-
VEY^ to carry. — INVEIGH', to rail against; to reproach. —
INVEC'TIVE, censure; reproach.

Vel'lere, (vul'sum), to pluck; to tear.

AVUL'SION, a rending ; separation of parts from each other. —
CONVUL'SION, violent muscular contraction.

Vel'lere, to cover; to conceal.

VEIL, a curtain; a covering. — DEVEL'OP, to unfold; to dis-
close.— ENVEL'OP, to wrap up. — REVEAL', to disclose ; to
make known. — REVELA'TION, a disclosing what was hid-
den.

Ven'dere, to sell.

VEND, to sell. — VEND'ER, a seller. — VENDUE', an auction. —
VE'NAL (L, ve'neo, to be sold), mercenary; that may be
obtained for money.

Veni're (ven'tum), to come.

AD'VENT, a coming, appropriately, the coming of the Mes-
siah.— ADVENT'URE, an enterprise of hazard. — AVENUE, a
passage. — CIRCUMVENT', to come round ; to deceive by
stratagem. — CONVENE', to assemble. — CONVENTION, a
coming together. — CON'VENT, a household of monks or
nuns. — CONVENIENT, fit; suitable; commodious. — CON-

M From va'le, farewell, and di'co, to speak.

1 86 GOOD ENGLISH IN GOOD FORM

VEN'TIONAL, agreed upon. — COVENANT, a mutual agree-
ment or stipulation. — EVENT', that which happens or takes
place. — EVENTUALLY, in the event or issue. — INTERVENE',
to come between. — INVENT', literally, to come upon; to
devise. — PREVENT'," to hinder ; to obstruct. — SUPERVENE',
to come in addition. — VEN'TURE, to run a hazard ; to dare.

Ven'ter (ven'tris), the belly.

VENTRIL'OQUIST, literally, one who speaks from the stomach
or belly. — VENTRIL'OQUISM, a management of the voice so
that it seems to come from different directions.

Ven'tus, the wind.

VENT, n. an air-hole. — VENT, v. to let out; to pour out. —
VEN'TILATE, to afford free circulation of air.

Ver'bum, a word.

VERB'AL, spoken; expressed in words. — VERB, a part of
speech. — VERBOSE', full of words. — VERB'IAGE, supera-
bundance of words. — AD'vERB,58 a part of speech. — PROV'-
ERB, a maxim; a brief saying. — VERBA'TIM (L), word for
word.

Ve'reor, to fear.

REVERE', to regard with fear and respect. — REFERENT, im-
pressed with reverence. — REV'EREND, worthy of rever-
ence; a clerical title.

Ve/gere, to turn or tend towards.
VERGE, to tend ; to incline. — CONVERGE', to tend to one point.

— DIVERGE', to separate or recede more and more.

Ver'mis, a worm.

VER'MIFORM, having the shape or form of a worm. — VER'-
MIFUGE, a medicine that destroys worms in animal bodies.

— VERM'IN, noxious animals, insects, etc.

Ver'tere (yer'sum), to turn.

ADVERT', to turn the attention to. — INADVERT'ENCE, heedless-
ness. — AD'VERSE, opposed; hostile. — ADVERS'ITY, calamity;
affliction. — AD'VERSARY, an enemy. — ADVERTISE', to pub-
lish a notice. — ANIMADVER'SION, a criticism; a censure. —
AVERT', to turn away. — AVER'SION, disinclination; dislike.

67 Literally, to come before ; it is used in this sense in the New
Testament, I Thess. 4: 15.

68 Literally, a word joined to another word.

WORDS DERIVED FROM LATIN AND GREEK l8/

— CON'TROVERT, to oppose in argument. — CONVERT', to
change from one state to another. — CONVERSE', to dis-
course or associate with. — CON'VERSE, familiar inter-
course ; an opposite proposition. — DIVERT', to turn off ; to
amuse. — DI'VERSE, different ; various. — DIVERS'IFY, to
vary. — DIVORCE', a legal dissolution of the bonds of matri-
mony.— IRREVERSIBLE, that cannot be revoked or changed.

— INVERT', to turn into the contrary position. — PERVERT^
to turn to a wrong use. — PERVERSE', obstinately wrong. —
REVERT', to turn back. — REVERSE', to change to an opposite
direction. — SUBVERT', to overthrow from the foundation.

— TRANSVERSE', lying across. — TRAV'ERSE, to cross; to
pass over. — VERS'ATILE, easily turned from one employ-
ment to another. — VERSE,59 a line of poetry; a short divi-
sion of any composition. — VER'siON,60 a translation. —
VERT'EBRA (L, plural vert'ebra), a joint of the spine. —
VER'TEX," (L), the top.

Ve'rus, true.

VER'ITY, truth. — VERAC'ITY, habitual observance of truth. —
VER'DICT, the report of a jury. — VER'IFY, to prove to be
true. — VER'ITABLE, true; genuine.

Vestig'ium, a foot-step.
VES'TIGE, a track ; a trace. — INVESTIGATE, to search into.

Ves'tis, a garment.

INVEST', to clothe. — VEST, to put in possession of; to furnish
with. — VEST'URE, a robe. — VEST'RY, a room in which the
sacerdotal vestments are kept.

Ve'tus (veferis), old; ancient.

VET'ERAN, an old soldier. — INVET'ERATE, fixed by long con-
tinuance.

Vi'a, a way.

DE'VIATE, to turn aside from the path. — DE'VIOUS, wander-
ing.— Ofi'viATE,62 to remove. — Ofi'vious,83 evident. — PER'-
vious,64 penetrable. — IMPER'VIOUS, not to be penetrated or

59 A furrow was anciently called ver'sus, because at the end of
it the plough was turned round ; hence, a line in writing, from its
resemblance to a furrow, received the same name.

60 Literally, a turning from one language into another.

61 The turning-point.

62 Properly, to meet in the way and oppose or conquer; hence
to put an obstacle out of the way.

63 Meeting one in the way.

64 Admitting a way or passage through.

1 88 GOOD ENGLISH IN GOOD FORM

passed through. — PRE'VIOUS, antecedent. — TRiv'iAL,65 un-
important.— VI'ADUCT, a structure supporting a carriage-
way or railway.

Vi'cis, change; succession.

VIC/AR, a substitute. — VICA'RIOUS, acting for another. —
VICEGE'RENT, a deputy. — VICE-PRES'IDENT, one who takes
the place of a president.

Vide' re (vi'sum), to see.

VIS'ION, sight. — VIS'IBLE, that can be seen. — VIS'IONARY,
imaginary. — VIS'IT, to go to see. — VIS'UAL, pertaining to
sight. — VIS'AGE, the countenance. — VIS'TA (L), a view or
prospect. — VI'DE (L), see. — EV'IDENT, apparent; clear. —
INVISIBLE, not to be seen. — PROVIDE', to prepare. — PROV/-
IDENCE, forethought; prudence. — PROVI'SO (L), an excep-
tion provided for. — REVISE', to examine again. — SUPEK-
VIS'ION, oversight.

Vi'gere, to flourish ; to thrive.
VIG'OR, strength; energy. — INVIG'ORATE, to strengthen.

V in' cere (vicftim), to conquer.

CONVINCE', to persuade. — CONVIC'TION, the state of being
convinced ; belief. — CONVICT', to prove one to be guilty. —
CON'VICT, a person found guilty. — INVIN'CIBLE, unconquer-
able.— VAN'QUISH, to conquer. — VIC'TOR, a conqueror. —
VIC'TORY, success over an enemy. — VIC/TIM, a living be-
ing sacrificed.

Vin'dex (vin'dicis), a defender or avenger.
VIN'DICATE, to defend; to sustain. — VINDICATIVE, revenge-
ful.— REVENGED to return an injury. — VEN'GEANCE (F),
recompense of evil.

Vi'num, wine.

VINE, the plant that produces grapes. — VIN'EGAR, vege-
table acid. — VINE'YARD, a plantation of grapevines. — Vi'-
NOUS, having the qualities of wine. — VINT'AGE, the gather-
ing of the crop of grapes.

Vir, a man.

VI'RILE, masculine. — VIRA'GO (L), a woman of masculine
type. — VIR'TUE (L, vir'tus'), efficiency; excellence.

65 The Romans worshiped some of their minor deities at places
where three roads met; which deities were thence called Di'i
Trii/ii. Thus the word trivial derived the signification secondary;
unimportant.

WORDS DERIVED FROM LATIN AND GREEK 189

Vi'rus, poison; venom.
VIR'ULENCE, malignancy. — VIR'ULENT, malignant ; venomous.

Vita' re, to shun; to avoid.
INEVITABLE, unavoidable. — INEVITABLY, certainly.

Vi'trum, glass.

VIT'REOUS, resembling glass. — VIT'RIFY, to convert into
glass.

Vi'vere (vie' turn), to live.
CONVIVIAL, festal ; social. — REVIVE', to live again ; to arouse.

— SURVIVE', to outlive. — VICT'UALS, food ; provisions. —
VI'TAL (L vi'ta, life), pertaining to life. — VIVAC'ITY, live-
liness.— VIV'ID, lively; bright. — ViViFY, to endure with
life.

V oca' re (voca'tum), to call.
AD'VOCATE, a pleader. — AVOCA'TION, a calling or employment.

— CONVOCATION, an essembly. — INVOKE', to pray to. — IN-
VOCA'TION, a solemn address or prayer. — PROVOCATION, a
calling out; an incitement. — REVOKE', to call back; to re-
peal.— IRREVOCABLE, that cannot be repealed. — VO'CAL (L,
vox (vo'cis}, the voice), pertaining to the voice; uttered
by the voice. — VOCA'TION, a business or profession. —
VOCIF'ERATE, to cry out loudly. — VOICE (F, voix), sound
uttered by the mouth.

Vola' re (vola' turn), to fly.

VOL'ATILE, easily evaporated ; gay ; fickle. — VOL'LEY, a flight
of shot; a burst or an emission of many things at once.

Vo'lere, to will ; to wish.

BENEVOLENCE, good will. — MALEVOLENCE, ill will. — VOL'-
UNTARY, acting from choice. — VOLUNTEER', n. a voluntary
soldier.

Volup'tas, pleasure.

VOLUP'TUOUS, given to luxury and pleasure. — VOLUP'TU-
ARY, a person devoted to pleasure.

Vol'vere (volu'tum), to roll.

DEVOLVE', literally, to roll down; to deliver over; to pass
from one to another. — EVOLVE', to unroll; to unfold. — IN-
VOLVE', to envelop; to infold. — REVOLT', to renounce alle-
giance.— REVOLVE', to roll in a circle. — REVOLUTION, rota-
tion; an entire change. — VOL'UBLE, rolling; fluent. — VOL'-
UME, primarily, a roll ; a book.

GOOD ENGLISH IN GOOD FORM

Vora're, to devour.

DEVOUR', to eat up greedily. — VOEAC'ITY, greediness of ap-
petite.— VORA'CIOUS, ravenous. — CARNIV'OROUS, feeding
on flesh.

Vo'vere (vo'tum), to vow.

Avow', to declare openly. — DEVOTE', to dedicate ; to set apart.
— DEVOUT', earnest in worship. — VO'TARY, one devoted or
addicted. — VOTE, suffrage; a ballot.

Vul'gus, the common people.

VUL'GAR, common; unrefined. — VULGAR'ITY, grossness or
clownishness. — VUL'GARISM, a vulgar phrase or expres-
sion.— DIVULGE', to make public.

Vul'nus (vul'neris), a wound.

VULNERABLE, that may be wounded. — INVUL'NERABLE, that
cannot be wounded.

Xu'lon (G), wood.
XYLOG'RAPHY, the art of engraving on wood.

Zo'on (G), an animal.

ZOOL'OGY, the science or description of animals. — ZOON'OMY,
the science of naming (i.e. classifying) animal life. — Zo'-
OPHYTE (G, a plant), a body partaking of the properties
both of an animal and a vegetable.

THIRD PART
. CHAPTER I
THE ART OF PUNCTUATION

The Uses of Punctuation. — Punctuation has two uses :
it enables us more easily to seize the meaning of a writer
and it prevents ambiguity.

A writer's thoughts are expressed by a number of words
arranged in groups, the words in one group being more
closely connected with one another than they are with
those in the next group. An example will show this
grouping in its simplest form :

He never convinces the reason, or fills the imagination, or
touches the heart.

To understand what is written, the reader must group
the words together in the way intended by the writer;
and in doing this he can receive assistance in various
ways: partly by the inflection of the words, partly by
their arrangement, partly by punctuation. Scrupulous
care is needed in the arrangement of words in order to
bring together in position such as are connected in mean-
ing.

Ambiguity. — Words may convey different meanings
according as they are differently grouped ; and it is pos-
sible to show by the use of points which of two or more
modes of grouping is the one intended.

We might add a third use of punctuation: to mark
the pauses that would be made in speaking. But this is
hardly a distinct use. The pause is one of the means
whereby our spoken words are understood with greater

191

192 GOOD ENGLISH IN GOOD FORM

ease and are freed from ambiguity ; and that, as we have
already seen, is the aim of punctuation.

General Rules. — Let us set aside the third use, as be-
ing what we may call the luxury of punctuation, and keep
to the first two uses. We can form two rules to guide us
when we are in doubt which point we should insert, or
whether we should insert a point at all.

(1) The point that will keep the passage most free
from ambiguity, or make it easiest to read, is the right point
to use.

(2) // the passage be perfectly free from ambiguity, and
be not less easy to understand without any point, let no
point be used.

The Relativity of Points. — In order to decide in any
given case what point ought to be used, we begin by
considering the nature of the pause in itself. But we
must do more. We must consider how we have pointed
the rest of the passage. The pause that should be marked
by a comma in one case may require a semicolon in an-
other case; the colon may take the place that the semi-
colon would usually fill. This will be best understood
by means of the examples that will afterward be given.

Usage. — Except within narrow limits, usage is not of
much help. Different writers have different methods,
and few punctuate consistently. To some extent there is
a fair degree of uniformity; for instance, in the placing
of colons before quotations, and in the use of inverted
commas. But in many cases any fixed usage can hardly
be mentioned.

In giving rules of punctuation we cannot hope to deal
with all the cases that may arise in writing. We can
therefore set forth only some typical cases, forming a
body of examples to which a little reflection will suggest
a variety both of applications and of exceptions.

It will be noticed that this work does not take the points
exactly in their order of strength. It deals with the
period before passing to the punctuation of the parts of a

THE ART OF PUNCTUATION 193

sentence. Strictly speaking, italics do not form part of
the subject of punctuation; but they are so intimately
connected with it that to pass them over would be to leave
an important point untouched.

THE PERIOD

i. A period is placed at the end of every sentence that
is neither exclamatory nor interrogative :

A penal statute is virtually annulled if the penalties which it
imposes are regularly remitted as often as they are in-
curred. The sovereign was undoubtedly competent to remit
penalties without limit. He was, therefore, competent to
annul virtually a penal statute. It might seem that there
could be no serious objection to his doing formally what he
might do virtually.

The steps of reasoning in this example are stated with
that distinct pause between each of them which the reader
would make if he thought them out for himself. They
might be welded together thus :

Seeing that a penal statute is virtually annulled if the pen-
alties which it imposes are regularly remitted as often as
they are incurred, and seeing that the sovereign was un-
doubtedly competent to remit penalties without limit, it fol-
lows that he was competent to annul virtually a penal statute ;
and it might seem that there could be no serious objection
to his doing formally what he might do virtually.

Both forms are correct in point of punctuation. Which
is the better form is a question of style. Take another
example :

The sides of the mountain were covered with trees; the
banks of the brooks were diversified with flowers ; every blast
shook spices from the rocks ; and every month dropped fruits
upon the ground.

There is here an advantage in putting these four state-
ments together, instead of making four separate sen-
tences. We can more easily combine the details, and so
form a single picture — a picture of fertility.

194 GOOD ENGLISH IN GOOD FORM

2. As a rule, the period is not to be inserted till the
sentence be grammatically complete. But some parts of
the sentence necessary to make it grammatically complete
may be left for the reader to supply.

It is well said, in every sense, that a man's religion is
the chief fact with regard to him. A man's, or a nation
of men's. By religion I do not mean here the church-creed
which he professes, the articles of faith which he will sign
and, in words or otherwise, assert; not this wholly, in many
cases not this at all.

3. When a sentence is purposely left unfinished, the
dash takes the place of the period.

" Excuse me," said I, " but I am a sort of collector — "
"Not Income-tax?" cried His Majesty, hastily removing
his pipe from his lips.

4. A period is placed after most abbreviations and after
initial letters as :

Gen. i. 20; two Ibs. ; A. D. 1883; 3 P. M.; 71 B. c., 1066 A. D. ;
&c., and etc.; M.D.; MS., LL.D. (not M.S. and L.L.D.). A
period should be used after " per cent.," but not after titles
of royalty: William II, Louis XIV, etc., nor after numbers
of chapters.

THE COMMA

5. The comma indicates a short pause in a sentence,
It is used when we wish to separate words that stand to-
gether, and at the same time to stop as little as possible
the flow of the sentence.

When the earl reached his own province, he found that
preparations had been made to repel him.

Though it is difficult, or almost impossible, to reclaim a
savage, bred from his youth to war and the chase, to the
restraints and the duties of civilized life, nothing is more
easy or more common than to find men who have been edu-
cated in all the habits and comforts of improved society
willing to exchange them for the wild labours of the hunter
and the fisher.

THE ART OF PUNCTUATION 195

6. Where there is no danger of obscurity, the subject
must not be separated from the predicate by any point.

The eminence of your station gave you a commanding pros-
pect of your duty.

7. When the subject is long, a comma may be placed
after it.

To say that he endured without a murmur the misfortune
that now came upon him, is to say only what his previous
life would have led us to expect.

In every sentence the subject, whether expressed in one
word or in several words, must be grasped as a whole;
and, when the subject is long, one is often assisted in
doing this by having a point to mark its termination.

8. When the subject consists of several parts, that is,
of several nouns, a comma is placed after the last part.

A few daring jests, a brawl, and a fatal stab, make up
the life of Marlowe.

Time, money, and friends, were needed to carry on the
work.

This rule will appear reasonable if we consider an ap-
parent exception to it. When the last noun sums up all
the others, or marks the highest point of a climax, no
comma is placed after it.

Freedom, honour, religion was at stake.

If " religion " be regarded as marking the highest point
of a climax, the predicate is read with " religion," and
with it alone, and therefore is in the singular number.
When so great a thing as religion is said to be at stake,
everything else is dropped out of sight, or is held to be
included. But if one writes the three names as if they
were of equal importance the comma should be in-
serted :

Freedom, honour, and religion, were at stake.

196 GOOD ENGLISH IN GOOD FORM

But it is not necessary to use a point in such a sentence
as this : " Time and tide wait for no man." For we see
without the aid of a point that the predicate is to be read
with the two nouns equally.

9. Dependent clauses are usually separated from the
rest of the sentence in which they occur. The usual point
is the comma.

Be his motives what they may, he must soon disperse his
followers.

This relation of your army to the crown will, if I am not
greatly mistaken, become a serious dilemma in your politics.

Of course, this rule must be qualified by the rules for
the stronger point, especially by those for the semicolon
and the colon. It is often necessary to separate the
clause from the rest of the sentence by a strong point.

EXCEPTIONS. — (i) No point is needed if either the
dependent clause or the principal clause be short.

He would be shocked if he were to know the truth.

But if the dependent clause be inserted parenthetically,
however short it may be, it is marked off by commas or
the other marks of parenthesis.

If the sentence last quoted were inverted, a comma
would be placed after the dependent clause.

If he were to know the truth, he would be shocked.

In the first form of this example, " he would be
shocked " is a definite, finished statement, the necessary
qualification to which should follow with as little pause
as possible. But in the inverted form, the first part of
the sentence — " if he were to know the truth " — is not a
finished statement, and the mind may pause for a moment
before going on to the consequence, knowing that the
consequence must follow.

(2) No point is needed if a very close grammatical
connection exists between the dependent clause and some
word or words preceding it.

THE ART OF PUNCTUATION 197

They had so long brooded over their own distresses that
they knew nothing of how the world was changing around
them.

Note that by the word "so" the clause "that they
knew nothing" is joined very closely to the previous
part of the sentence ; and that the two clauses " that they
knew nothing " and " how the world was changing around
them," are even more closely joined to one another by the
preposition "of." For the same reason, where the ob-
ject is a clause, no point occurs before it.

He confessed to us that he had not thought over the
matter.

10. Words thrown in so as to interrupt slightly the
flow of a sentence are marked off by commas.

He resolved, therefore, to visit the prisoner early in the
morning.

This, I think, is the right view of the case.

The first ideas of beauty formed by the mind are, in all
probability, derived from colours.

Where the words thrown in make a very distinct break
in the sentence, they should be pointed off by means of
the dash, but this rule should be applied very sparingly.

11. Where two parts of a sentence have some words in
common that are not expressed for each of them, but
are given only when the words in which they differ have
been separately stated, the second part is marked off by
commas.

His classification is different from, and more comprehen-
sive than, any other that we have met

This foundation is a nursing-mother of lay, as distinguished
from religious, oratorios.

These examples come within the principle of Rule 10.

12. When words are common to two or more parts of a
sentence, and are expressed only in one part, a comma is
often used to show that they are omitted in the other
parts.

198 GOOD ENGLISH IN GOOD FORM

London is the capital of England; Paris, of France; Ber-
lin, of Germany.

In the worst volume of elder date, the historian may find
something to assist or direct his enquiries ; the antiquarian,
something to elucidate what requires illustration ; the phi-
lologist, something to insert in the margin of his dictionary.

Though many writers punctuate contracted sentences in
this way, it is well not to insert the comma when the
meaning is equally clear without it. It is unnecessary in
the following sentence:

Saul hath slain his thousands, and David his ten thou-
sands.

13. Words placed, for the sake of emphasis or of clear-
ness, out of their natural position in the sentence, are often
followed by a comma.

(1) The object is usually placed after the verb; when
placed at the beginning of the sentence, it should be sepa-
rated from the subject by a comma, unless the meaning
would otherwise be perfectly clear and be readily seized.

The proportions of belief and of unbelief in the human
mind in such cases, no human judgment can determine.

There is the same reason for inserting the comma in
such cases as there is for inserting it after a long subject.
Moreover, there is often need of some device to remove
the ambiguities that are caused by inversion. In Eng-
lish, the meaning of words is so greatly determined by
their position that, in altering the usual arrangement of a
sentence, there is risk of being misunderstood.

Of course no point should be placed after the object
in such a sentence as the following : — " One I love, and
the other I hate."

(2) An adverbial phrase, that is, a phrase used as an
adverb, is usually placed after the verb; when it begins
the sentence a comma follows it, unless it is very short.

In order to gain his point, he did not hesitate to use decep-
tion.

THE ART OF PUNCTUATION 199

In ordinary circumstances I should have acted differently.

No point would be used in these sentences if the ad-
verbial phrases occurred in their usual position.

He did not hesitate to use deception in order to gain
his point.

Nor is any point used when, as often happens in such
sentences, the verb precedes the subject.

Not very far from the foot of the mountain lies the
village we hope to reach.

(3) An adjective phrase, that is, a phrase used as an
adjective, is usually placed immediately after the word
that it qualifies; when it appears in any other place a
comma is often usefully placed before it.

A question was next put to the assembly, of supreme im-
portance at such a moment.

The phrase "of supreme importance at such a mo-
ment " is to be taken along with " question ; " the comma
shows that it is not to be taken along with " assembly."
There is here a further reason for the point, inasmuch as
the phrase acquires from its position almost the impor-
tance of an independent statement. But, where the con-
nection between the adjective phrase and the substantive is
very close, and where there is no risk of ambiguity, no
point is to be used.

14. Adjective clauses and contracted adjective clauses
are marked off by commas, if they are used parentheti-
cally or coordinately ; no point is used if they are used re-
strictively.

The " Religio Laici," which borrows its title from the
"Religio Medici" of Browne, is almost the only work of
Dryden that can be considered as a voluntary effusion.

That sentiment of homely benevolence was worth all the
splendid sayings that are recorded of kings.

The advocates for this revolution, not satisfied with ex-
aggerating the vices of their ancient government, strike at
the fame of their country itself.

2OO GOOD ENGLISH IN GOOD FORM

Chapter VII, where we stopped reading, is full of interest.
The chapter where we stopped reading is full of interest.

Examine the first sentence quoted. It contains both a
coordinate clause, " Which borrows its title," etc., and a
restrictive clause, " Which can be considered as a volun-
tary effusion." In distinguishing them we may begin by
applying tests of almost a mechanical nature.

(a) The first clause may be thrown into the form of an
independent statement ; the second cannot. Thus : " The
' Religio Laici ' borrows its title from the ' Religio Medici '
of Browne. It is almost the only work," etc. ; or, " The
'Religio Laici' (it borrows its title from the 'Religio
Medici ' of Browne) is almost the only work," etc. We
cannot in the same way destroy the close connection of
the second clause with " the only work of Dryden."

(6) The first clause may be omitted and still leave a
complete and intelligible sentence; if we were to omit
the second clause, the sentence would cease to have any
meaning.

The name " Religio Laici " of itself tells us what thing
is spoken about. It is the name of one thing, and only
of one thing. The clause that follows informs us, indeed,
of a fact concerning the poem; but the information is
given purely as information, not in order to keep us from
confounding this " Religio Laici " with some other " Re-
ligio Laici " that did not borrow its title. " Work of
Dryden," however, is the name of a class, for Dryden
wrote many works. Now, the whole class is not here in
question; it must be limited, narrowed, or restricted, to
one part of it, namely, to Dryden's voluntary effusions;
and it is thus limited, narrowed, or restricted, by the rela-
tive clause " which can be considered as a voluntary ef-
fusion."

Take another example, where the name in both cases is
that of a class, and note the difference of meaning which
results from different pointing : — " The houses in London
which are badly built, should be pulled down." " The

THE ART OF PUNCTUATION 2OI

houses in London " expresses a class of objects; the rela-
tive clause limits the name to a smaller class, the badly
built houses; and the meaning is, that houses of this
smaller class should be pulled down. Now insert the
comma : — " The houses in London, which are badly built,
should be pulled down." The class is not narrowed ; and
the meaning is, that all houses in London, seeing they are
badly built, should be pulled down.

A single adjective may be used coordinately :

" What ! " replied the Emperor, " you do not see it ? It is
my star, brilliant."

In this case a dash would be more expressive.

Note that the rule applies only where the adjunct
immediately follows the substantive. If the adjunct is
placed elsewhere, different considerations apply. See
Rule 13. (3).

Neither can any man marvel at the play of puppets, that
goeth behind the curtain and adviseth well of the motion.

15. Words in apposition are usually marked off by
commas.

James Watt, the great improver of the steam-engine, died
on August 25, 1819.

But where the words in apposition are used in a limit-
ing or distinguishing sense, the principle of Rule 14
applies, and no point is used. Thus we should write
" Burns, the poet," " Dickens, the novelist ; " but, if we
wished to distinguish them from another Burns and an-
other Dickens, we should omit the comma.

It is of Pliny the naturalist, not of Pliny the letter-writer,
that we are now speaking.

Again, where the general name precedes, we should
in most cases use no point, for the special name will be
restrictive : " the poet Burns," " the novelist Dickens."

1 6. A conjunction marks a transition to something

2O2 GOOD ENGLISH IN GOOD FORM

new — enforcing, qualifying, or explaining, what has gone
before, and is therefore usually preceded by some point.
The proper point before a conjunction is determined by
many circumstances : among others, by the degree of con-
nection between the things joined, by the number of
words, and by the use of points for other purposes in
the same sentence. To deal with the different conjunc-
tions, one by one, would involve a repetition of much
that is said in other rules. For instance, */, unless,
though, for, because, since, and the like, will be pointed in
accordance with stated rules. It will be well, however, to
lay down separate rules for the pointing of the common
conjunctions, and and or.

AND. — (a) Where "and" joins two single words,
as a rule no point is used.

No work has been so much studied and discussed.

Compare this with the following sentence, where groups
of words are joined.

The work has been much studied, and has been much
discussed.

In the following sentence the insertion of a comma
would change the meaning.

On this shelf you will put books and pamphlets published
in the present year.

As the sentence stands, " published in the present year "
applies both to books and to pamphlets : books published in
the present year, and pamphlets published in the present
year. If there were a comma before " and," the meaning
would be : " On this shelf you will put books of any date,
and pamphlets of the present year."

(&) When " and" joins the separate words of a series
of three or more words, no comma is placed before it.

Trees and bridges and houses were swept down by the
flooded stream.

THE ART OF PUNCTUATION 203

0) Two of the words of the series may be more
closely connected with one another than with the other
words of the series, and are, therefore, not to be sepa-
rated by any point.

In the following sentence, " all " qualifies both " tracts "
and " pamphlets," and thus joins them closely.

My unbound books, and all my tracts and pamphlets, are
to be tied up with pink tape.

(d) When "and" occurs only between the two last
words of the series, the comma is inserted before it.

Trumpets, drums, and kettle-drums, contended in noise
with the shouts of a numerous rabble.

Some writers omit this comma. But it is very useful,
in order to make the previous rule (d) effective.

2. When "and" joins two phrases, a comma usually
precedes it.

The ceremony was performed in the accustomed man-
ner, and with due solemnity.

If, as in the following sentence, a preposition is com-
mon to two phrases, and is not repeated in the second, no
comma is used.

With proper care and good instruments, the work may be
successfully carried out.

3. When " and " joins two clauses, the preceding point
may be the comma, the semicolon, or even the full stop.
Which point is right in any particular case will depend
upon considerations set out in other rules.

The following example illustrates different cases:

Within that charmed rock, so Torridge boatmen tell, sleeps
now the old Norse Viking in his leaden coffin, with all his
fairy treasure and his crown of gold; and, as the boy looks
at the spot, he fancies, and almost hopes, that the day may
come when he shall have to do his duty against the invader
as boldly as the men of Devon did then. And past him, far

2O4 GOOD ENGLISH IN GOOD FORM

below, upon the soft southeastern breeze, the stately ships go
sliding out to sea.

OR. — The rules for the conjunction "and" apply
with little change to the conjunction " or; " but there are
one or two special points to note.

(a) When "or" is preceded at no great distance by
" either " or " whether," the two words should not be
separated by a point.

They must either yield this point or resign.
It does not matter whether we go or stay.

But a point is inserted if the words stand farther apart,
or if each is followed by a complete clause.

Either this road leads to the town, or we have misunder-
stood the directions.

(&) " Or," joining two alternatives, takes no point be-
fore it ; but when it joins two words that are used not as
real alternatives but as synonyms a comma is inserted.

England or France might be asked to join the alliance.

Here " or " is used as a real alternative conjecture,
and therefore without any point. In the following ex-
amples, the " or " joins equivalent expressions :

England, or the nation of shopkeepers, would never be
asked to join such an alliance.

We perceive, or are conscious of, nothing but changes, or
events.

As a reason for the insertion of the comma in these
two examples, it may be said that the repetition of an
idea already expressed does for a moment stop the flow
of the sentence. A real alternative, on the other hand,
forms an essential part of it and is within its current.

17. In cases where no point would be used before a
conjunction, a comma is inserted if the conjunction be
omitted.

I pay this tribute to the memory of that noble, reverend,
learned, excellent person.

THE ART OF PUNCTUATION 2O5

In the following examples no point occurs ; for it can-
not be said that a conjunction is omitted. To insert the
conjunction would be to express a slightly different shade
of meaning :

A grand old man.
Three tall young soldiers.

" Old man " is virtually a single word, and in fact many
languages use only a single word to express the idea.

18. Where a comma would be used if the conjunction
were expressed, some stronger point may be used if the
conjunction be omitted.

Let us get an American revenue as we have got an Ameri-
can empire. English privileges have made it all that it is;
English privileges alone will make it all that it can be.

19. A comma is placed after a noun or a pronoun in
the vocative case, if a mark of exclamation be not used,
or be reserved till the first distinct pause in the sentence.

Yet I own, my lord, that yours is not an uncommon
character.

I am, sir, yours truly, John Smith.

O Italy, gather thy blood into thy heart!

O Thou, who in the heavens dost dwell!

Whether a comma or a mark of exclamation should be
used after the vocative case depends entirely on the de-
gree of emphasis with which the words would be spoken.
If, in speaking, a slight pause would be made, the comma,
not the mark of exclamation, is the proper point.

20. If a word be repeated in order to give it intensive
force, a comma follows it each time that it occurs ; but, in
the case of an adjective repeated before a noun, not after
the last expression of it.

It was work, work, work, from morning till night.
He traveled a long, long way.

THE SEMICOLON

21. The semicolon is the point usually employed to
separate parts of a sentence between which there is a

2O6 GOOD ENGLISH IN GOOD FORM

very distinct break, but which are too intimately con-
nected to be made separate sentences.

The patient dates his pleasure from the day when he feels
that his cure has begun ; and, perhaps, the day of his perfect
reestablishment does not yield him pleasure so great.

Not one word is said, nor one suggestion made, of a gen-
eral right to choose our own governors; to cashier them for
misconduct; and to form a government for ourselves.

The semicolon is used in enumerations, as in the last ex-
ample, in order to keep the parts more distinctly separate.

22. When a sentence consists of two or more inde-
pendent clauses not joined by conjunctions, the clauses
are separated by semicolons.

To command a crime is to commit one ; he who com-
mands an assassination is by everyone regarded as an assas-
sin.

His knowledge was too multifarious to be always exact; his
pursuits were too eager to be always cautious.

If the conjunction " and " were inserted in the last
sentence, the comma would be used instead of the semi-
colon. A conjunction forms a bridge over the gap be-
tween two statements, and, where they are neither long
nor complicated, we pass from one to the other without
noticing any distinct break. But there is such a break
when the conjunction is omitted, and therefore we use a
stronger point.

23. A pause usually indicated by a comma may be in-
dicated by a semicolon, when commas are used in the
sentence for other purposes.

I got several things of less value, but not all less useful
to me, which I omitted setting down before: as, in par-
ticular, pens, ink, and paper; several parcels in the captain's,
mate's, gunner's, and carpenter's keeping; three or four
compasses, some mathematical instruments, dials, perspec-
tives, charts, and books of navigation.

In this sentence the semicolon enables us to group the
objects enumerated. Had commas been used throughout,

THE ART OF PUNCTUATION 2O/

the reader would have been left to find out the arrange-
ment for himself.

THE COLON

24. The colon is used to indicate pauses more abrupt
than those indicated by the semicolon.

God has willed it: submit in thankfulness.

The wind raged, and the rain beat against the window:
it was a miserable day.

Nevertheless, you will say that there must be a difference
between true poetry and true speech not poetical : what is the
difference?

The first example contains two clauses that are con-
nected in such a way as to justify us in putting them into
one sentence; that it is God's will, is a reason for sub-
mitting. The proper point therefore should be something
less than the period. But there is a striking difference
between the clauses ; for we pass from an affirmation to a
command. Therefore something more than the semicolon
is needed. Had the clauses been similar in construction,
the pause would have been sufficiently indicated by the
semicolon : " God has willed it ; man has resisted."

In the second example there is not the same change
of grammatical construction, but the change in thought
is equally great; we pass from a statement of details to
a statement of the general result. The colon is frequently
used in sentences of this kind, where the phrase " in
short " is implied but is not expressed.

Many writers indicate such abrupt changes by means
of the dash.

25. A pause usually indicated by a semicolon may be
indicated by a colon, when the semicolon is used in the
sentence for pauses of a different nature.

The "Essay" plainly appears the fabric of a poet: what
Bolingbroke supplied could be only the first principles; the
order, illustration, and embellishments, must all be Pope's.

Not that we are to think that Homer wanted judgment,

2O8 GOOD ENGLISH IN GOOD FORM

because Virgil had it in a more eminent degree ; or that
Virgil wanted invention, because Homer possessed a larger
share of it: each of these great authors had more of both
than, perhaps, any man besides, and are said to have less only
in comparison with each other.

Homer hurries and transports us with a commanding im-
petuosity; Virgil leads us with an attractive majesty: Homer
scatters with a generous profusion; Virgil bestows with a
careful magnificence.

26. The colon is used before enumerations, especially
where " namely," or " viz.," is implied but is not ex-
pressed.

Three nations adopted this law : England, France, and
Germany.

One thing thou lackest: go thy way, sell whatsoever thou
hast, and give to the poor.

27. The colon is usually placed before a quotation when
notice of the quotation is given by some introductory
words.

In this passage exception may fairly be taken to one short
sentence, that in which he says : " The law ought to forbid
it, because conscience does not permit it."

Sometimes the connection between the introductory
words and the quotation may be so close, or the quotation
itself may be so short, as to make the comma sufficient.

He kept repeating to us, "The world has sadly changed."

Short phrases quoted in the course of the sentence need
not have any point before them.

It was a usual saying of his own that he had " no genius for
friendship."

28. The colon may be placed after such words and
phrases as the following, when used in marking a new
stage in an argument : — Again, further, to proceed, to
sum up, to resume.

To sum up : If you will conform to the conditions I have
mentioned, I will sign the agreement.

THE ART OF PUNCTUATION 2OQ

But to bring this sermon to its proper conclusion: If
Astrea, or Justice, never finally took her leave of the world
till the day that, etc.

After these words, we have a choice of the comma, the
colon, and the period. The comma should be used if the
argument be contained in a single sentence; the period,
if the argument be of considerable length.

THE INTERROGATION POINT

29. The point of interrogation is placed after a direct
question.

Where are you going, my pretty maid?
The question may end in the middle of a sentence :
Is he happy? you ask.

We have sometimes the choice of putting the point of
interrogation in the middle or at the end of the sentence.

You would not consent to that, by whomsoever proposed ?
You would not consent to that? — by whomsoever proposed.

There is a slight shade of difference in meaning; in
the second form, " by whomsoever proposed " is added as
an afterthought.

30. Indirect questions are not strictly questions at all,
and therefore should not be followed by a point of in-
terrogation.

He asked me whether I had seen his friend ; whether I had
spoken to him, and how I liked him.

If we restore these questions to the direct form, the
point of interrogation is inserted.

He asked me: "Have you seen my friend? Have you
spoken to him? How do you like him?"

31. When a sentence contains more than one question,
sometimes the point of interrogation is placed after each
of them, sometimes it is placed only at the end of the

2IO GOOD ENGLISH IN GOOD FORM

sentence. It is placed after each, if each is in reality a
distinct question; it is placed only at the end if the
separate questions so unite as to need but a single an-
swer.

In many cases it will be a matter of individual taste to
say whether they do so unite.

Is it better that estates should be held by those who have no
duty than by those who have one? by those whose character
and destination point to virtues than by those who have no
rule and direction in the expenditure of their estates but their
own will and appetite?

Do you imagine that it is the Land Tax Act which raises
your revenue, that it is the annual vote in the Committee
of Supply which gives you your army, or that it is the
Mutiny Bill which inspires it with bravery and discipline?
No ! surely no !

32. Exclamations in an interrogative form take a mark
of exclamation after them, not a point of interrogation.

33. A point of interrogation enclosed within brackets
is sometimes used to indicate that there is a doubt whether
the statement preceding it is true, or whether the expres-
sion preceding it is well applied, or that some statement
or expression is made or used ironically.

While you are revelling in the delights (?) of the London
season, I am leading a hermit life, with no companions save
my books.

THE EXCLAMATION-MARK

34. The mark of exclamation is placed after inter-
jections and words used inter jectionally; that is to say,
after expressions of an exclamatory nature. The excla-
mation may be one of surprise or of fear, or the utterance
of a wish, a command, or a prayer.

Quick ! Begone ! Out of my sight !
Heaven preserve us !

Would that better feelings moved them !
O Lord, be merciful unto me, a sinner !

Interjections are not always followed immediately by a

THE ART OF PUNCTUATION 211

mark of exclamation, and sometimes have none at all.
No rule can be given more precise than this : ( i ) That
we should not insert a mark of exclamation immediately
after an interjection, unless we should make a distinct
pause after it in speaking; and (2) that no mark of ex-
clamation is to be used at all unless the exclamatory na-
ture of the sentence is strongly marked. It is useful to
notice the difference between "O" and "Oh." The
former is used only before the vocative case, and never
has a mark of exclamation, nor indeed any point, placed
immediately after it.

Alas ! all our hopes are blasted.
Lo, he cotneth !

O Dido, Dido, most unhappy Dido!

Unhappy wife, still more unhappy widow !
Oh, do not reckon that old debt to my account to-day!

35. The mark of exclamation is placed after sentences
which, though interrogatory in form, are really exclama-
tory.

How could he have been so foolish!
And shall he never see an end to this state of things ! Shall
he never have the due reward of labour!

The sentences quoted would lose much of their force if
marks of interrogation were used. In each case we must
decide whether the sentence strikes us most as a question
or as an expression of emotion.

36. The mark of exclamation is sometimes placed after
an ironical statement.

They did not fight, tens against thousands ; they did not fight
for wives and children, but for lands and plunder : then
they are heroes!

The mark of exclamation keeps up the semblance of
seriousness which is of the essence of irony.

37. The mark of exclamation is placed after the state
ment of some absurdity.

He has been labouring to prove that Shakespeare's plays
were written by Bacon !

212 GOOD ENGLISH IN GOOD FORM

The same reason applies to its use after such sentences
as after ironical statements.

38. The mark of exclamation may be placed after any
impressive or striking thought.

The Angel of Death has been abroad throughout the land :
you may almost hear the very beating of his wings !

It may be doubted whether the mark of exclamation
is in such cases of any great service ; for the impressive-
ness of a sentence ought to appear in the sentence itself,
or to be given to it by the context. There is a real
danger, as the style of many people shows, in thinking
that punctuation is intended to save the trouble of careful
composition.

39. When a sentence contains more than one exclama-
tion, sometimes the mark of exclamation is placed only
after the last, sometimes it is placed after each of them,
the test being whether or not they are in reality, as well
as in form, several exclamations.

Though all are thus satisfied with the dispensations of
Nature, how few listen to her voice! how few follow her
as a guide!

THE DASH

40. The chief purpose of the dash is to indicate that
something is left unfinished. Accordingly, it marks a
sudden or abrupt change in the grammatical structure of
a sentence.

When I remember how we have worked together, and to-
gether borne misfortune ; when I remember — but what avails
it to remember?

And all this long story was about — what do you think?

" We cannot hope to succeed, unless " " But we must

succeed."

Note that it is the long dash that is used at the end of a
sentence.
The period is not added where the dash marks an un-

THE ART OF PUNCTUATION 2 13

finished sentence. But it is common to add the point of
interrogation or the mark of exclamation.

41. The dash is used to mark a faltering or hesitating
speech.

Well — I don't know — that is — no, I cannot accept it.

42. When the subject of a sentence is of such length, or
of such complexity, that its connection with the verb
might easily be lost sight of, it is sometimes left hanging
in the sentence, and its place is supplied by some short
expression that sums it up. A dash follows the subject
when thus abandoned.

Physical science, including chemistry, geology, geography,
astronomy; metaphysics, philology, theology; economics, in-
cluding taxation and finance; politics and general literature
— all occupied by turn, and almost simultaneously, his in-
cessantly active mind.

The colon is sometimes used in such cases; but the
dash seems preferable, as it is the point that marks a
change in the structure of a sentence.

43. An unexpected turn of the thought may be marked
by the dash.

He entereth smiling and — embarrassed. He holdeth out
his hand to you to shake, and — draweth it back again. He
casually looketh in about dinner-time — .when the table is full.
He offereth to go away, seeing you have company — but is
induced to stay.

44. The dash is sometimes used instead of parentheses
before and after a parenthetic phrase.

This was amongst the strongest pledges for thy truth, that
never once — no, not for a moment of weakness — didst
thou revel in the vision of coronets and honour from man.

45. The dash is sometimes used instead of the colon,
where the word " namely " is implied, but is not ex-
pressed.

The most extreme example of such theories is perhaps to be
found in the attempt to distribute all law under the two great
commandments — love to God, and love to one's neighbour.

214 GOOD ENGLISH IN GOOD FORM

In this sentence, however, the colon is preferable. The
dash should be used for this purpose only when it is nec-
essary to use the colon in the same sentence for other
purposes.

46. The dash is used in rhetorical repetition; for in-
stance, where one part of the sentence, such as the sub-
ject, is repeated at intervals throughout the sentence, and
the rest of the sentence is kept suspended.

Cannot you, in England — cannot you, at this time of day —
cannot you, a House of Commons, trust to the principle which
has raised so mighty a revenue?

47. A dash following a period occurs between the side-
heading of a paragraph and the paragraph itself.

Extent and Boundaries. — England (including Wales) is
bounded on the north by Scotland ; on the west by the Irish
Sea, St. George's Channel, and the Atlantic Ocean; on the
south by the English Channel ; and on the east by the German
Ocean.

48. When we place after a quotation the name of the
author from whom it is taken, the period and the dash are
used in the same way.

" One touch of nature makes the whole world kin." —
Shakespeare.

49. The dash is sometimes used in place of, or in addi-
tion to, other points, in order to indicate a pause greater
than usual.

Now where is the revenue which is to do all these mighty
things ? Five sixths repealed — abandoned — sunk — gone —
lost forever.

±HE PARENTHESIS

50. When a clause not strictly belonging to a sentence
is thrown in, so to speak, in passing, the clause is enclosed
within parentheses.

It is said, because the priests are paid by the people (the
pay is four shillings per family yearly), therefore they object
to their leaving.

THE ART OF PUNCTUATION 215

In full confidence of this unalterable truth, I now (quod
felix fattstumque sit) lay the first stone of the Temple of
Peace.

Over and above the enclosing marks, a parenthesis
causes no change in the punctuation of the sentence that
contains it ; in other words, if we were to omit the paren-
thesis, no change should be necessary in the punctuation
of the rest of the sentence. The comma is inserted after
the parenthesis in the first example, because the comma
would be needed even if there were no parenthesis.
Never place a comma immediately before a parenthesis.
Observe that the comma in the first example is placed
after, not before, the parenthesis. The reason for this is
that the parenthesis belongs to the first part of the sen-
tence, not to the second.

In the second example, there would be no comma be-
fore " lay " if there were no parenthesis ; accordingly the
comma is not to be inserted merely because there is a
parenthesis.

51. A complete sentence occurring parenthetically in a
paragraph is sometimes placed within parentheses.

Godfrey knew all this, and felt it with the greater force
because he had constantly suffered annoyance from witnessing
his father's sudden fits of unrelentingness, for which his own
habitual irresolution deprived him of all sympathy. (He was
not critical on the faulty indulgence which preceded these fits ;
that seemed to him natural enough.) Still there was just the
chance, Godfrey thought, that his father's pride might see
this marriage in a light that would induce him to hush it up,
rather than turn his son out and make the family the talk of
the country for ten miles round.

Note that in this case the period should be placed in-
side, not outside, the parentheses, because the sentence is
complete in itself.

52. Where, in quoting a passage, we throw in parer
thetically something of our own, we may use square
brackets.

Compare the following account of Lord Palmerston : " I

2l6 GOOD ENGLISH IN GOOD FORM

have heard him [Lord Palmerston] say that he occasionally
found that they [foreign ministers] had been deceived by the
open manner in which he told them the truth."

To use the square brackets in this way is often more
convenient than to break the inverted commas and to
begin them again. But in the case of the word sic —
where it is inserted in a quotation to point out that the
word preceding it is rightly quoted and has not been in-
serted by mistake — the ordinary parentheses are used.

"The number of inhabitants were (sic) not more than four
millions."

QUOTATION MARKS

53. When we quote without any change the words of
another person, they are enclosed within inverted commas,
or quotation marks. If they are quoted in the indirect
form, or if we quote merely the substance, and neglect
the exact words, inverted commas are not used.

Thereupon the mob bursts in and inquires, " What are you
doing for the people ? "

Thereupon the mob bursts in and inquires what you are
doing for the people.

He says : " There is no property of any description, if it be
rightfully held, which had not its foundation in labor."

He frequently calls them " absurd," and applies to them
such epithets as " jargon," " fustian," and the like.

The last sentence might be written without inverted
commas. By using them we call special attention to the
fact that these were the words actually employed, and are
not simply words like them.

So, in a passage quoted in the indirect form, if part be
quoted exactly, it is placed within inverted commas.

The Duke of Portland warmly approved of the work, but
justly remarked that the king was not " so absolute a thing
of straw " as he was represented in it.

Words referred to simply as words are either placed
within inverted commas or put in italics.

THE ART OF PUNCTUATION

2I7

The word " friendship," in the sense we commonly mean
by it, is not so much as named in the New Testament

54. When a quotation is interrupted, as in the report of
a conversation, each continuous part of the quotation is
enclosed within inverted commas.

" Pardon me, madam," answered Henry, " it was of one
Silas Morton I spoke."

55. When a quotation occurs in another quotation,
single inverted commas are used for the second quotation.

"What have you done?" said one of Balfour's brother
officers. " My duty," said Balfour firmly. " Is it not written,
' Thou shalt be zealous even to slaying ' ? "

56. A word that is not classical English, or is used in a
sense in which it is not classical English, is either en-
closed within inverted commas or italicized.

Those that have " located " (located) previous to this period
are left in undisputed possession, provided they have im-
proved the land.

Before long, Becky received not only " the best " foreigners
(as the phrase is in our noble and admirable society slang),
but some of "the best" English people too.

57. The titles of books, of essays, and of other compo-
sitions ; the names of periodicals ; and the names of ships,
are either enclosed within inverted commas or italicized,
according to individual preference.

In these "Miscellanies" was first published the "Art of
Sinking in Poetry," which, by such a train of consequences as
usually passes in literary quarrels, gave in a short time, ac-
cording to Pope's account, occasion to the " Dunciad."

The names of periodicals and of ships are more often
written in italics than enclosed within inverted commas.

58. If a quotation contains a question, the point of in-
terrogation stands within the inverted commas.

In a voice which was fascination itself, the being addressed
me, saying, " Wilt thou come with me? Wilt thou be mine? '

59. If an interrogative sentence ends with a quotation,

2l8 GOOD ENGLISH IN GOOD FORM

the point of interrogation stands outside the inverted
commas.

What does this honourable person mean by " a tempest
that outrides the wind " ?

Observe how in the example given under Rule 55 the
point of interrogation stands within the double inverted
commas, but outside the single inverted commas.

60. If an interrogative sentence ends with a quotation
which is itself interrogatory, the point of interrogation is
placed outside the inverted commas.

Hast thou never cried, " What must I do to be saved " ?

The reason is, that the question to be answered is not
the quoted question, but " hast thou never cried ? "

61. The last three rules apply also to exclamatory sen-
tences.

(1) But I boldly cried out, " Woe unto this city ! "

(2) Alas, how few of them say, " I have striven to the
very utmost " !

(3) How fearful was the cry : " Help, or we perish " !

62. Where an interrogative sentence ends with a quo-
tation of an exclamatory nature, or an exclamatory sen-
tence ends with a quotation of an interrogative nature, it
seems better to place at the end both the point of in-
terrogation and the mark of exclamation, the one inside,
the other outside, the inverted commas.

Do you remember who it was that wrote
" Whatever England's fields display,
The fairest scenes are thine, Torbay ! "?

How much better to cease asking the question, " What
would he have done in different circumstances ? " !

Where inverted commas are not used, it seems suffi-
cient to have only one point, which must be the one re-
quired by the whole sentence, not by the quotation.

Do you remember the passage where Burke alludes to the
old warning of the Church — Sursum corda?

THE ART OF PUNCTUATION
ITALICS

63. Words to be specially emphasized may be put in
italics. In writing, the substitute for italics is under-
lining.

What, it may well be asked, can the interests of the com-
munity be those of — I do not say an individual, but — the
individual ?

The voice can unmistakably indicate what are the em-
phatic words ; but italics, only a feeble substitute, should
not be used unless every other means of emphasizing fail.

64. Words from a foreign language which have not
become classical English words, are written in italics.

The slightest double entente made him blush to the eyes.
Knowledge of French is a sine qua non.

When foreign words become English, they are no longer
italicised. Among such words are: rationale, aide-de-
camp, quartette, naive, libretto. It is often a matter of
discretion to say whether a word is so far Anglicised that
it should be written in the ordinary way. Use the proper
marks of accent in foreign languages, whether they are
italicised or not. Omit accents over capital letters.

65. Names of newspapers and magazines, and names of
ships, are usually written in italics; as the Times, the
Sun, the Olympic, the Imperator.

THE HYPHEN

66. The hyphen is used between the component parts
of some compound words.

Paper-knife; book-keeping; coal-pit; water-carrier; print-
ing-press; sea-water; man-of-war; high-art decoration; good-
looking.

There is no rule to distinguish the compound words
that take a hyphen from those that do not. If one be in
doubt about the use of hyphens, the best thing to do is to
choose one of the modern dictionaries, and make that the
standard in hyphenating.

22O GOOD ENGLISH IN GOOD FORM

67. As a rule, a hyphen should not be placed after a
simple prefix : " contravene," " preternatural," "hyper-
critical," " bilateral."

To this there are some exceptions :

(a) " Re-creation," " re-mark." The hyphen distin-
guishes the etymological meaning of these words as distin-
guished from their derived and ordinary meaning.

(6) " Pre-Norman," " anti-Darwinian," " philo-Turk."
If the capital letter be retained where a prefix is put to
a proper name, the hyphen is obviously necessary.

68. When a number is written in words and not in
figures, the words making up the number, if there be more
words than one, are in certain cases separated from each
other by the hyphen.

The numbers to which this rule applies are the cardinal
and the ordinal numbers from twenty-one and twenty-first
to ninety-nine and ninety-ninth, inclusive. The hyphen
is used also when the words are inverted ; as " four-and-
thirty," " six-and-fortieth."

69. Fractional parts written in words are not separated,
since there is no reason why we should write " two-
thirds " any more than we should write " two-hats." Un-
less the numerator and the denominator are used as a com-
pound adjective, write them without a hyphen.

70. Several words may be joined by hyphens, in order
to indicate that they are to be read together.

The I-believe-of-Eastern-derivation monosyllable " Bosh."
Additional restrictions were advocated in the cases of
mothers-of-young-children employed in factories.

As this last sentence stands, the hyphen is really the
only means of making it perfectly clear that those who
are referred to as employed in factories are the mothers,
not the children. Hyphens are sometimes used in cases
like the following : " A never-to-be-forgotten event,"
" peace-at-any-price principles." They are almost invari-
ably used in " well-to-do," " alack-a-day."

THE ART OF PUNCTUATION 221

71. The prefix " a " before the present particple of the
verb is followed by a hyphen.

They went a-hunting.
I lay a-thinking.

Note that " agoing " is not divided.

72. When a word is divided at the end of a line, part
of the word being in the next line, a hyphen is placed
after the part at the end of the line.

So far as rules can be given for the division of words,
it may be said :

(a) The division must be at the end of a syllable. The
syllable according to etymological derivation, and the
syllable according to pronounciation, are not always the
same. In case of conflict the pronunciation is to be the
guide.

(&) The part in the next line should, if possible, begin
with a consonant. An examination of a number of words
will show that this is only another way of saying that we
should be guided by pronunciation.

(c) Double letters are divided; as " at-tract," " profes-
sion." The safest guide to follow is a good dictionary.

THE APOSTROPHE

73. The apostrophe is used to indicate that some letter
or letters of a word are left out.

"E'er" for "ever," "can't" for "cannot," "don't" for
" do not"

The apostrophe is not used when the word, though
contracted in the middle, retains its original pronuncia-
tion ; as " Dr." or " Mr." But it is used where the con-
traction is at the end of the word : " tho'," " Peterboro'."

74. The apostrophe marks the possessive case of nouns.
The following rules determine where it is to be placed :

Nouns in the singular number —
(i) The letter "s" is added, and the apostrophe is
placed before it.

222 GOOD ENGLISH IN GOOD FORM

The king's abode. A patriot's reward.

(2) If the nominative singular of the noun ends in
" s," another " s " is not added if the repetition of hissing
sounds would be displeasing to the ear. The apostrophe
is then placed at the end of the word.

Hercules' club. Augustus' dignity.

Words of one syllable follow the first rule : " James's
share." Some words of two syllables follow the first
rule, some the second : " The princess's birthday ; "
" Francis' style."

Nouns in the plural number —

1 i ) The apostrophe is placed after the " s " of the
plural.

Boys' clothing. Our friends' troubles.

(2) If the plural does not end in " s," an " s " is added,
and the apostrophe is placed before it.

Men's opinions. The children's pleasure.

75. The apostrophe is used before the " s " of the plural
when single letters are used as words.

Mind your p's and q's.

He does not dot his i's nor cross his t's.

MARKS OF ELLIPSIS

76. When, in the middle of a quotation, a part is
omitted, several asterisks or (usually) three periods are
placed in a line to mark the omission.

Clarendon makes the following remark about Lord Falk-
land : " Yet two things he could never bring himself to
whilst he continued in that office, that was to his death ; for
which he was contented to be reproached as for omissions in
a most necessary part of his place. The one, employing of
spies, or giving any countenance or entertainment to them.
. . . The other, the liberty of opening letters, upon a sus-
picion that they might contain matter of a dangerous con-
sequence." (One sentence omitted.)

" The French and Spanish nations," said Louis XIV, " are
so united that they will henceforth be only one. . . . My

THE ART OF PUNCTUATION 223

grandson, at the head of the Spaniards, will defend the
French. I, at the head of the French, will defend the Span-
iards."

If the passage omitted be of very considerable length,
for instance if it be a complete paragraph, or if a line of
poetry be omitted, the asterisks are placed in a line by
themselves. There is a tendency to confine the asterisk
to such cases, and to use periods for shorter ellipses. If
a complete sentence be omitted, the number of additional
periods is usually four; if a passage be omitted in the
middle of a sentence, the number is usually three.

When some of the letters of a name are omitted, their
place is supplied by a line or a dash, the length of which
depends on the number of letters omitted.

The scene of our story is laid in the town of B . There

was one H , who, I learned in after days, was seen ex-
piating some maturer offense in the hulks.

Blakesmoor in H shire.

REFERENCES TO NOTES

Notes are usually placed at the foot of a page ; though
sometimes they are collected at the end of a chapter, or
even at the end of a book. Various devices are in use for
indicating the passage in the text to which a note refers.

(1) The six reference signs: the "asterisk" (*), the
"dagger" (f) (also called the "obelisk"), the "double
dagger" ($), the "section" (§), the "parallels" (||),
the " paragraph " (fl). They are suitable only where t
notes are placed at the foot of a page, and are invariably
used in this order. . .

If the number of notes in one page exceeds six, tl
signs are doubled. The seventh note is marked thus :
the eighth, ff ; the ninth, ft ; and so on. But it is better
in cases where the notes are so numerous, to u
means of reference. ( .

(2) Figures: either within parentheses, as (
(3), etc.; or, more usually, printed in the raised or

224 GOOD ENGLISH IN GOOD FORM

perior" form, as * z 3, etc. Sometimes the first note in
each page is marked 1; but it is now common, in books
divided into chapters, to mark the first note in each
chapter with *, and then go on with continuous numbers
to the end of the chapter.

" Superior " figures are now the most usual marks of
reference in English books.

(3) Letters; which also may either be placed within
parentheses or be printed in " superior" form: (a), (b),
(c), etc., or abc, etc. Italic letters are sometimes used.
As a rule, the first note in each page is marked (a) or a.
If in one page there are more notes than there are letters
in the alphabet (which sometimes happens), we go to (aa),
(bb) , (cc) , etc., ** bb cc. The letter " j " is often omitted.

It is less common to make the letters continuous from
page to page.

The sign, whatever it may be, is placed at the begin-
ning of the note, but in the text immediately after the
part to which the note refers. The note may refer to a
whole sentence, to a part of a sentence, even to a single
word ; the sign is placed, as the case may be, at the end
of the sentence, at the end of the part referred to, or after
the single word.

CHAPTER II

PREPARING A MANUSCRIPT FOR THE
PRINTER

It comes continually within the experience of publishers
to be asked by writers for information about the details of
typesetting and " make-up " ; and, whereas these queries
are always courteously answered, a brief conversation or a
few letters often fail, on the one hand, to make the point
clear, and on the other to cover the necessary ground.

In the following pages we have set forth the essential
points of these matters briefly, yet with comprehensiveness.
Those persons that have had much practice in writing for
the press understand how important these points are ; how
common it is for even experienced authors to neglect
them, and that few writers are seldom wholly guiltless of
neglect of these rules.

Manner of Preparation. — Manuscripts should be sub-
mitted to an editor either in typewriting or in handwriting
that is perfectly legible. If handwritten, black ink should
be used. In either case, the paper should be white, of
medium weight, and uniform in size. The number of
words written on each page should be approximately the
same, to facilitate calculation as to the amount of space it
will fill in print. Small sheets are preferable, 8xio
inches being the best size. Half an inch of space between
the lines should be allowed, whether the manuscript be
handwritten or typewritten, and the writing should be on
only one side of the sheet. Typewritten manuscripts are
always preferable and they receive the promptest at-
tention. Most manuscripts now sent to publishers are

typewritten.

225

226 GOOD ENGLISH IN GOOD FORM

Numbering of Pages : Insertions. — The pages should
be numbered in regular order, from the first page to the
last, to the end of the whole book ; not separately by chap-
ters, as is the frequent error of inexperienced writers.
Inserted pages, following, for example, page 25, should
be numbered thus : 25a, 25b, 25c, etc., to the end of the in-
serted matter, when the regular pagination should be re-
sumed with 26, 27, 28, etc.

Pages that have been taken out should be quite as care-
fully accounted for. If pages 25, 26, 27, and 28 have
been thrown out for any reason, sheet 24 must be marked
" 24-28." Additions at special places on the original
pages, intended as insertions, should be written on sepa-
rate sheets, fastened to the pages in which they are to be
inserted, and the place of insertion indicated thus:
" Here insert A," or " Here insert B," the new pages
being marked plainly on the margin " A matter," or " B
matter."

When one piece of a page is to be joined to another,
pins should not be used, but a smooth paste, the kind
known as photographers' paste, or library paste, and sold
in tubes or glass jars. Pieces of paper pinned together
are in danger of being separated, and thus may be easily
lost or get hopelessly disarranged.

A manuscript never should have the sheets fastened to
one another at the top or at the side except by means of
strong clips, which are easily removable. If they are
sewn together, or are fastened with eyelets, the printers
in separating the sheets will be likely to multilate them
and perhaps injure them seriously. To those unfamiliar
with the process of printing it should be explained that
usually each printer in a printing house puts into type
only a part of one manuscript, and sometimes only a few
pages of it.

Paragraphs should be carefully indicated by indenting
the first line of each about half an inch, or by a paragraph
mark (1[) ; otherwise it will be difficult for the printers

PREPARING A MANUSCRIPT FOR THE PRINTER

to determine the intentions of the author in regard to
them. Should the printer's arrangement, as shown when
the proofs arrive, be found unsatisfactory, any alteration
will be charged as the author's, since he is supposed to
have arranged his manuscript as he wishes it to appear
when printed before it has been sent away to be set up in
type.

Titles: Number of Chapters. — A book containing
80,000 words should have at least ten chapters. Fifteen
would seldom be too many, and the number might
even be twenty. In a history or a biography, or in any
work of a serious kind, these subdivisions help ma-
terially to open up the text, showing the reader, at a hasty
examination, something of the contents. Each chapter
should be provided with a title of its own. This applies
to fiction as well as to other works. When the volume is
printed the chapter titles will appear reproduced at the
top of each right-hand page, with the title of the book at
the top of each left-hand page. These top-page lines are
called " running heads." They assist the reader in ex-
amining the book. Historical and biographical works
should have date-lines accompanying each chapter title.

Quotation Marks; Foot-notes; Figures, etc.— Quo-
tation marks should be carefully indicated, showing where
the quoted passage begins and where it ends. Foot-notes
should be clearly designated. A systematic method is al-
ways employed to distinguish them from the body of the
text. Some authors separate text from notes by a heavy
line half-way across the foot of the page. The word
" foot-note " should be written on the margin beside this
matter (See " References to Notes " in Chapter I, Part
III, on " The Art of Punctuation.") In a new book fool
notes should be used sparingly. Whenever possible tl
information should be given in the body of
When the information consists of citations or refc
however, it often cannot go anywhere else than
notes.

228 GOOD ENGLISH IN GOOD FORM

The utmost care should be taken to write proper names,
figures, foreign words and phrases plainly and in full,
with their proper accents in place, if they are accented
words, since the printers will not insert accents unless
they find them in the " copy." Abbreviations and signs,
such as MS., etc., Fig., and the like, are not good form in
a purely literary work, but are allowable in text-books,
cyclopaedias, etc.

Supplying of " Front Matter." — Until reminded of
delay, authors sometimes fail to supply essential portions
of their manuscripts, such as title-pages, prefaces, tables
of contents, lists of illustrations, and indexes when neces-
sary. These items — which make up what is called
" front matter " by the printer, because the pages contain-
ing them are usually placed at the beginning of a volume,
except the index — are highly important parts of a book,
and all, except the index, which necessarily must be pre-
pared later, should be delivered with the manuscript.

How to Prepare an Index. — The index of a book is
sometimes furnished on cards or slips, but a better way is
to write the heads of subjects on sheets of the same size
as the paper used for the manuscript of the text. How-
ever, if cards or slips are used they may be pasted on
sheets of the right size and delivered in that form. Tech-
nical books should be indexed as fully as possible and
cross-references should be made, thus : In a medical
book " Tuberculosis of the lungs " should appear under
" Tuberculosis of the lungs " and also under " Lungs,
tuberculosis of the."

The index is usually made from the page proofs (see
Part III, Chapter III on " Press Composition and
Proofs "). It is desirable to have the manuscript of the
index ready for the printers at the earliest moment, so that
the printing may not be delayed. But in case serious cor-
rections have been made on the page proofs, resulting in
any change in the page numbers, the index should, without
fail, be verified later from the foundry proofs, which

PREPARING A MANUSCRIPT FOR THE PRINTER 22Q

show the pages as they will appear when finally printed.

Variety of Type : Heads and Sub-heads.— Technical
books, which require many heads and sub-heads, should
have the character of the heads indicated, thus: main
heads, by drawing three lines under them in the manu-
script; sub-heads, double lines, and side-heads (indicating
the substance of the first words of a paragraph) are
indicated by a waving line drawn beneath them, which
shows the printer that he is to set the words in heavy
type, that shall make the side-head stand out clearly
from the main text.

Final Form of the Manuscript : Manner of Sending
It. — Let it be urged that the manuscript be delivered in
final and complete form just as the author wishes it
printed. To correct a manuscript requires merely the
stroke of a pen ; whereas to correct type is both laborious
and expensive. The cost of author's corrections in the
proofs could be avoided entirely if the original manuscript
were made absolutely correct. It should be gone over
with great care before it is forwarded to the publishers.
Especially should typewriters' errors as to punctuation,
spelling, and the use of capitals be corrected.

Manuscripts never should be rolled or folded, but
placed flat in a box or between boards. They should be
sent by express. The charge is usually less than when
sent by mail, and the package can be more easily traced in
case it is lost in transit.

After the author has read his first proofs, he should in
all cases return his manuscript to the printer when the
proofs are sent, so that the printer's proof-reader may be
able to refer to it in deciding any question or dispute in
the final reading.

CHAPTER III
PRESS COMPOSITION AND PROOFS

Composition and Galley Proofs. — When the composi-
tion (which in this sense means the setting up in type
of any matter that is to appear in print) has been begun,
the lines of type are laid by the printer in a long, narrow,
shallow receptacle of metal known as a galley. Type
enough to make three or four pages of a book can be
placed on one of these galleys. The first proof is taken
from this type, and hence is known as a galley proof.
After several galleys have been filled with type, proofs
of the matter are taken on long, narrow strips of paper
and are read first by the printer's proof-readers and the
typesetters' errors corrected ; then new galley proofs, em-
bodying these corrections, are sent, with the manuscript,
to the author, who is expected to read, correct, and re-
turn these proofs with the manuscript. Meanwhile, the
composition, or typesetting, is continued by the printers ;
more proofs are again read and corrected ; and another set
of galleys is sent to the author; and this procedure con-
tinues until the entire work is set in galley proofs.

Revised Proofs. — On receipt by the printers of the
galley proofs from the author, with his corrections marked
on them (these proofs now being known as " foul
proofs"), these corrections also are made in the type,
which is still standing in the galley), and new proofs are
then taken. The new proofs are known as " revised
proofs " or " revises," to distinguish them from the first
galley proofs. The revises are not sent to the author un-
less specially requested; but the proof-readers go care-
fully over them to see that all changes have been made
accurately in the type.

230

PRESS COMPOSITION AND PROOFS 23!

Page Proofs. — The type is now ready to be made up
into pages. A given number of type-lines on the galley
are measured off, lifted out, and placed on a table. The
heading for the page is then set and added at the top,
with a figure at the top corner, or at the bottom of the
page, to denote the page number. These pages of type
are tied together with twine to hold them fast, and proofs
of them are taken. These are known as " page proofs,"
and are supposed to contain no errors. Lest there should
have been some slip by the author in his first reading, or
by the compositor in making the author's changes, the
page proofs also are sent to him, together with the " foul "
proofs, in order that he may see whether his corrections
and changes have been properly made.

Foundry Proofs. — The type pages are then ready for
casting at the foundry. An electrotype plate for each
page is made, this plate being a solid piece of metal.
Meanwhile the type is sent back to the composing-room,
where it was originally set up, and distributed in its own
cases, or " fonts," or is melted up, because pages are usu-
ally printed from the plates and not from the type as first
set. Proofs are taken from the type pages, however, just
before the plates are made. These are known as
" foundry proofs," and a set of them is usually sent
to the author. In books containing technical matter
a careful reading of these final proofs should take place,
and any error therein reported without delay, since the
book is usually printed as soon as these plates are ready ;
but sometimes " plate proofs " are read. An author can-
not be too prompt at this point ; he should telephone or
telegraph his discovery of an error if he lives at any
considerable distance from the printing-house.

Foundry proofs are distinguished from others by a
heavy black rule around the page made by ink from pieces
of metal, known as " guards," which are placed about the
type to hold it fast while the cast is taken, these pieces o
metal having taken the place of the twine.

232 GOOD ENGLISH IN GOOD FORM

Nearly all proofs are taken on wet paper from a hand-
press, which prevents the letters from looking clean and
sharp. The same is true of the proofs of illustrations
taken by the printers. But if the proofs of illustrations
are the kind known as " engravers' proofs," they show the
illustrations very nearly as they will appear in the book.

CHAPTER IV
THE ART OF PROOF-READING

Correcting Galley Proofs. — When proofs first reach
an author, they are supposed to conform accurately to the
manuscript as he has furnished it. The compositor has
completed his part of the work up to that point. Proofs,
both galley and page, are sent to the author in duplicate,
the galley proofs being accompanied by the manuscript.
The author should make all his corrections on the set
having a memorandum rubber-stamped in colored ink, and
return them, with the manuscript, to the publisher or the
printer, according to previous arrangement. The dupli-
cate set of proofs should be retained by him for reference,
or for use in case the originals should be lost. The
author should transfer to his duplicate set the changes he
makes on the set he sends back to the printers. All proofs
with the rubber-stamping in colored ink must go back to
the printers — galley, page, and foundry proofs.

A clause in the contract between the author and the
publishers provides that the publishers shall pay only a
fixed percentage of the cost of the author's proof cor-
rections, this percentage being reckoned on the original
cost of the composition and the electrotype plates. For
example, in a book of 400 pages, which might cost for
composition and plates $400, there would be an allowance
of $40 to the author for corrections, if the percentage
were ten per cent., or of $60 if the percentage were 15
per cent. When authors receive their first royalty state
ment, they often fail to understand why this sum was <
ceeded, especially if they are unfamiliar with the c
of type-setting and electrotyping.

233

234 GOOD ENGLISH IN GOOD FORM

To add a single word in the proofs, if the word be of
different length from the excluded word, may involve the
resetting of several lines ; and to add a single word after
the plate has been made may sometimes cost as much as
the original composition and plate of an entire page. In
a typesetting machine, the changing of a single letter or
punctuation mark requires the resetting of the whole line.

To insure the least cost, all author's corrections should
be made on the first galley proofs. With a little care, cor-
rections in galleys can be minimised. When confined to
the occasional substitution of one word, or of several
words of about the same length, the cost is usually small.
But the cancellation or addition of half a line will re-
quire an over-running of type from that point to the end
of the paragraph, which may mean the space of a page,
or even more if the paragraph is long. If several other
changes should be made in the same paragraph, it would
be found easier to reset it entirely, doubling the cost.
A galley proof sometimes contains so many corrections
that the whole galley must be reset.

Costly Corrections. — An author never should make
alterations on a page proof if he can avoid doing so. In
the galleys there is flexibility for additions and elimina-
tions, but in the pages the mass of type is fixed accurately
to the line. When an author makes a change in a page
proof, it should be remembered that if several words or a
sentence are added, it may be necessary for the printers
to reset virtually every line on that page, and possibly
to over-run all pages to the end of the chapter. Should
the pages contain illustrations this difficulty will become
still greater, so that it might be less costly to reset the
entire page, or even more. Corrections in page proofs,
therefore, when made at all, should if possible be limited
to the space of the page, the matter taken out and the new
matter put in containing the same number of letters.

Foundry-Reading. — When the author's page proofs
and foul proofs have been returned to the printers, any

THE ART OF PROOF-READING 235

new corrections indicated by the author are made in the
type. A proof-reader again reads the pages over, to make
sure that the first proof-reader and the author have not
overlooked any errors. This is called foundry-reading.
Should the foundry-reader detect any errors in going over
these proofs, he either corrects them himself or returns
the page on which errors occur for the author to answer
the query or approve the correction made by the foundry-
reader.

On all proofs the abbreviation " Qy." for " query/' or
an interrogation mark (?), should always be answered.
They mean that a question has come up among the printers
as to a statement made or an apparent inconsistency, and
the author alone can answer it.

Letters about corrections should not be sent direct to
the publishers unless it should have been found impossible
to make the corrections on the proofs themselves. The
publishers' office and the printing-house are frequently in
different parts of a town, if not in different towns, or even
in different States.

If corrections are to be made for a new edition of a
book, the author should ask the publisher to send him a
set of sheets on which to mark the corrections. By this
means accuracy will be best secured.

Promptness.— Let it be repeated that all proofs should
be returned promptly. The holding back of proofs de-
lays publication. Pages cannot be made up until the re-
turn of galley proofs in consecutive order. If there are
serious delays the publishers may not be able to issue the
book at the proper season, and the loss thus incurred will
fall on the author as well as the publisher.

Authors unfamiliar with the technical marks
correcting proofs will find great help in studying
following pages, wherein are given specimen proof-sheets,
uncorrected and corrected, showing the markings most
commonly used, with full explanations of their meaning
A perfect understanding and mastery of these important

236 GOOD ENGLISH IN GOOD FORM

details should enable any person with a fair education to
become a good proof-reader ; and the broader his educa-
tion and field of general information the better chance
does he stand of becoming accomplished in the art to a
degree that may be profitable to him in a pecuniary way.

An author sometimes asks whether the changes marked
on his proofs are made at his expense. The answer is
that only the corrections that he himself makes, or orders
to be made, are charged to him.

When two or more persons read the proofs, one set only
— that which bears the printers' stamp on it — embody-
ing all the corrections, should be returned to the printers.

Proof-Readers' Marks. — The marks of proof-readers
are corrections intended for the printer, made on proof-
sheets, which may be said to consist of two parts: I.
The body of type, which is to be corrected, and 2. The
broad white margin, on which the corrections are marked.
The technical marks employed by compositors to correct
errors have been the same from the infancy of the art
of printing until the present day, and by long use have
approved themselves to all who read proofs for the press.
There are few industrial occupations demanding more
exacting application than proof-reading. There can be
none in which wide reading and general knowledge are
more useful. But qualities more than these are required
to make a good proof-reader, for a practical knowledge
of the art of printing is almost indispensable. The dis-
cernment of bad style, of wrong use of type, and many
other matters can be acquired only by practical training in
a printing-office, where a proof-reader's work is trying to
the eyes and exhaustive of nervous energy, even if it be
well paid.

First proof comes to an author from the printer in
"galley" form, having in the top right-hand corner its
consecutive number as a piece of work done by the par-
ticular printing-house that sets up the type; and with it

THE ART OF PROOF-READING 237

printers usually send printed directions to non-profes-
sional proof-readers, in terms like the following:

1. Read carefully, ESPECIALLY for errors in NAMES, ADDRESSES,
and technical words.

2. Return the ORIGINAL COPY with the proof.

3. Write on proof order for NUMBER OF COPIES WANTED, if not
already given.

4. Mark " O.K.," or " O.K. with alterations," as the case may
be, signing your name, so that the printer may know proof has
reached the proper person.

5. Do not send verbal explanations by messenger when it is
possible to write them.

In order to exhibit the methods of correction, such
a proof-sheet as that given on page 239 shows far more
errors than is usual in any well-composed or corrected
proof reaching an author. As we show the student how
to consider and correct the errors in sequence and detail,
we may say that there are two general classes of correc-
tion-marks: i. Those marked in the body of the type, to
point out the exact location of any needed correction ;
2. Those written in the margin, to show the nature of the
correction desired to be made. In their turn, each of
these is subdivided ; the marks inserted in the type com-
prising,— (a), Strokes drawn through letters, words, or
marks of punctuation; (b), Carets and inverted carets;
(c), Horizontal curves; and (d), Underscoring with lines
and dots. The signs used in the margin may be classified
as (e), Words, letters, punctuation, etc., that are intended
to take the place of errors in the type, or to supply omis-
sions; (/), Abbreviations of such terms as "transpose,"
" wrong font," etc., — words which indicate to the com-
positor the kind of error that has been committed ; and
(g), Certain conventional signs, which have come down to
us from the earliest days of the art of printing,
two classes of signs should always be used in conjunction.
Every error marked in the type must have a correspond-
ing mark in the margin, to attract the compositor's at-

238 GOOD ENGLISH IN GOOD FORM

tention. No mark should be made in the margin which
has not some, corresponding mark in the type. But the
two classes of marks must be kept in their proper places.
In the type are to be placed only those marks which indi-
cate the place at which an error has been made. The
margin is reserved for marks denoting the nature of the
desired correction.

Though the errors possible of occurrence in the setting
of type, whether from poor copy or careless or incompe-
tent compositors, are numerous, all, or nearly all, of them
may be classified and arranged under the following heads :

1. The need of insertion of new or omitted matter;

2. The expunging or striking out of letters, signs, or mat-
ter improperly inserted; 3. The substitution of other let-
ters, signs, or matter in the place of errors ; 4. Transposi-
tion; 5. Inversion; 6. Spacing.

The errors, and the method of correcting them, are illus-
trated on the pages immediately following. In the ex-
planation of them the numbers that stand at the heads of
paragraphs refer to the corresponding numbers on the
page.

EXPLANATION OF THE CORRECTIONS. Line I. The centering of a
heading. In the type: The sign ], drawn approximately where
the end of the heading should come, with the open side of the
sign toward the type. In the margin: The word "center."

Line 2. The use of an ornament too small to conform to good
style. In the type: A horizontal line under the ornament. In the
margin: The words " larger ornament." The use of an ornament
in line 5 requires a distinction in size.

Line 3. The use of a heading too small in type-size, in propor-
tion to the size of the page. In the type: The type underscored
by a single horizontal line. In the margin: The word "larger,"
or specific and technical description of the size and face of type
desired — for the latter a knowledge of printing types is neces-
sary.

Line 4. Italics to Roman. In the type: One line under the
words to be changed. In the margin: The abbreviation " Rom."

Line 6. Change of font. In the type: A stroke under or
through the letter or word to be changed. In the margin: The
abbreviation "w.f." ("wrong font"). The letter "g" in the

THE ART OF PROOF-READING

239

H

f

J-

A/
y

H

A 26

V 27
28
29
30

/ 32

33

34

SPECIMEN-SHEET.]

POETS. SAGES. WARRIORS.

\_Uniform with Tht Historians Ser/et.]

Sage of Concord (The), RALPH WALDO EMERA
SON, Boston, United States, author of Lift
Ethics (1838), Poems (1846), Representative
(1850), English Traits (1856), and numerous other
works (1803/1882)*,'

^' In Mr. Emerson we have a poet and a profoundly refift-
,jous man who is really and ^entirely undajinted>xT)y'<1ne
discoveries of^pasl, present, or prospective/science^ In
hisjcasc, poetry, with the joy of a J»acchaTJatr-ta4rts her
graver brother science by the Rand, and cheers him with
immoral laughter, j
tr

imersoTrSaentific^onceptions are continually trans- JF
muted into the finer forms and warmer lines of an ideal ^
world. ' ' /v PROFESSOR TYNDALL, Fragments of Science. [J1 No JZT
one who has conversed with the Sage of Concord •««* JJ

can wonder at the love which his neighbors feel for himj J[£d.
tTTe^reverenceVis regarded by the scholars of England ^ —

end America." — Neidsftaper Biographical Sketch,

Sage of Monticello (The), Thomag JEFFER
SON, the third ^resident of the United States, j
\yhose country scat was at Mont^ello. *^

AAs from the grave where Henry sleeps,,
' From Vernon's weeping willow.
As from the grassy pall which hides
The Sage of Monticello,

Virginia^ o'er thy land of ^laves,
A warning voice is swelling./*.

WHLTTIER, voices of Fretdoin (1835}.

MARKING A PAGE OF PROOF

24O GOOD ENGLISH IN GOOD FORM

SPECIMEN-SHEET.
*

POETS, SAGES, WARRIORS.

[Uniform with .the Historians Series.]
*

Sage of Concord (The), RALPH WALDO EMER-
SON, Boston, United States, author of ^Literary
Ethics (1838), Poems (1846), Representative, Men.
(1850), English Traits (1856), and numerous other,
works (1803-1882).

" In Mr. Emerson we have a poet and a profoundly re-
ligions man, who is really and entirely undaunted by the
discoveries of science, past, present, or prospective. In
his case, poetry, with the joy of a Bacchanal, takes her
graver brother science by the hand, and cheers him with
immortal laughter. By Emerson, scientific conceptions
are continually transmuted into the finer forms and
warmer lines of an ideal world."— PROFESSOR TYNDALL,
Fragments of Science.

" " No one who has conversed with the Sage of Concord
can, wonder at the love which his neighbors feel for him,
or the reverence with vvhich he is regarded by the scholars
of England and America. ' ' — Newspaper Biographical Sketch,
May, 1879.

Sage of Monticello (The), THOMAS JEFFER-
SON, the third President of the United States,
whose country seat was at Monticello.

" As from the grave where Henry sleeps,

From Vernon's weeping willow.
And from the grassy pall which hides

The Sage of Monticello, . . .

Virginia! o'er thy land of slaves

A warning voice is swelling."

WHITTIER, Voices, of Freedom (1835).

THE PROOF-PAGE CORRECTED

THE ART OF PROOF-READING 24!

word " Sage " is lighter- faced than the other letters, as will be
seen by comparison.

Roman to Italics. In the type: One line under the word to be
changed. In the margin: The abbreviation " Ital."

The insertion of an omitted hyphen. In the type: A
caret, /\, at the point where the correction is desired. In the
margin: A hyphen between slanting lines; thus, /-/.

Lines 7-8. The insertion of an omitted " lead." In the type:
A caret, <, the apex pointing between the lines where the lead
has been left out. In the margin: The abbreviation "Id.," for
lead, written in the angle of the caret.

Line 9. The substitution of a perfect for a defective type. In
the type: A line under or through the defective letter. In the
margin: A small cross, X.

Line 10. The insertion of an en-dash instead of a hyphen
between connected and inclusive dates. In the type: A stroke
through the hyphen. In the margin: An en-dash between slant-
ing lines.

The insertion of an omitted period. In the type: A caret at
the place of omission. In the margin: A period encircled by a
ring.

Line n. Indenting for a paragraph. In the type: A
caret at the place where the indentation is to be made. In the
margin: A square. Another marginal sign for a paragraph is
made thus : II

Lines 11-12. The wrong division of a word. In the type: A
stroke through the letters out of place and a caret where they
should be inserted. In the margin: The dele, or sign of omis-
sion, 8 (the dele — a Latin imperative meaning " destroy "-
made in a variety of ways, all resembling, in some degree, the
Greek letter 5), and the expunged letter or letters written op-
posite its appropriate line, followed by a slanting stroke.

Line 12. The correction of improper spacing between words or
letters. In the type and margin: Inverted carets.

Line 13. A transposition desired. In the type: A circle
thrown about the word, and a line carried between the type hi
to a caret at the point where the insertion is to be made. ,
margin: The abbreviation "tr."

To transpose two words. In the type: A line passed ov(
first word and under and around the second. In the i

Changing the "ord/r of several words. In the type: Numbers
placed over the words to be transposed, so as to . iicate the
order in which they are to be arranged. In the margin
abbreviation "tr."

242 GOOD ENGLISH IN GOOD FORM

In transposing letters a curved line is sometimes passed above
the first and below the second.

Change of punctuation. Comma to period. In the type: A
stroke through the comma. In the margin: A period enclosed
in a circle. Period to comma. In the type: A stroke through
the period. In the margin: A comma, followed by a slanting
stroke.

Line 14. Depressing a space. In the type: A line through the
space. In the margin: A vertical dash resting on a shorter
horizontal dash, or, often, a semicircle. (Spaces and quads (or
quadrats) are pieces of type-metal used to space out the lines of
type. Although not as high as the pieces bearing the type- faces,
they sometimes are elevated so as to appear in the proof.)

Change of type. Lower case to capital. In the type: A stroke
through the letter to be changed. In the margin: The abbrevia-
tion " cap," or the letter with three lines thereunder and a slanting
line beside it. (Small letters are called, by printers, lower-case
letters; capitals and small capitals, upper-case letters. A change
from upper to lower case is indicated by underscoring once the
word in the type and writing the abbreviation " I.e." in the margin.
The common method of indicating a change from a lower to an
upper-case letter is to draw a line through the letter in the type,
and to place in the margin the same letter underscored twice for
small capitals and thrice for capitals. See also line 24.)

Line 15. A letter inverted. In the type: A stroke under the
inverted letter. In the margin: The inversion sign.

Line 16. The insertion of an omitted letter. In the type: A
caret, showing the point at which the letter is to be supplied.
In the margin: The omitted letter, followed by a slanting line.

Lines 16-17. Two separate paragraphs to be united in one. In
the type: A curved line drawn from the end of the first para-
graph to the beginning of the second. In the margin: "No 11."
The words " run in " are also frequently used.

Line 17. Insert space between words. In the type: A
caret, or a slanting stroke, /, between the letters to be separated.
In the margin: The sign #.

Line 19. The insertion of an em-dash. In the type: A
caret, at the place where the omission is to be supplied. In
the margin: An em-dash between slanting lines.

The beginning of a fresh paragraph. In the type: The sign [,
marked where the paragraph should begin, with the open side of
sign toward the trend of the type. In the margin : The sign 1f.

Line 20. The elision of a repeated word, called a " doublet."
In the type: A stroke drawn through one of the words consti-
tuting the doublet. In the margin: The dele-mark, 8.

THE ART OF PROOF-READING 243

Lines 21-22. To take out a lead improperly inserted. In the
type: A caret between the lines, with the apex pointing
away from the lines in question. In the margin: The dele-mark,
3, and the abbreviation "Id." (8 Id.).

Line 22. The insertion of an omitted clause. In the type: A
caret showing the point at which the words are to be supplied.
In the margin: The omitted clause, from which is drawn a line
to the caret in the type.

When the omitted passage is so long that to rewrite it in the
margin would be a waste of time, the printer is referred to the
original manuscript. In such case a caret is placed in the type
and the words " out, see copy, page — " (giving the folio of the
copy), or "out, s.c.," are written in the margin. In the manu-
script the omitted words should be inclosed in brackets, preferably
with a colored pencil, and " out" written at the place of omission.

Lines 22-23. Straightening crooked lines of type. In the type:
The depressed words or letters inclosed by parallel perpendicular
lines. In the margin: Short parallel horizontal lines.

Line 23. The elision of a hyphen between words and the
closing up of the improperly compounded word. In the type: A
slanting line drawn through the hyphen, with the sign, meaning
close up, above and below. In the margin: The double mark.

Line 24. The changing of lower case to small capitals. In the
type: Two lines under the words to be changed. In the mar-
gin: The abbreviation "s. caps.," or " sm. caps." See also
line 14.

Line. 25. The capitalizing of a letter. In the type: A slanting
line through the letter. In the margin: The capital letter de-
sired, with three lines drawn under it

The substitution of one letter for another. In the type: A
stroke through the letter. In the margin: The letter which is
to be substituted for that in the type, followed by a slanting line.
(The slanting line serves both to attract the printer's eye and t
separate one letter or word from another, in case two or more
corrections are made in the same line of type.)

Line 26. The uniting of improperly separated parts of a word.
In the type: Horizontal curves, inclosing the separated parts.
In the margin: Horizontal curves.

The restoration of a word which has been stricken out. 1*1*
type: A line of dots^ under the word. In the margin:
Latin word stet ("let it stand").

Line 27. The insertion of quotation marks, or inverted <
mas. In the type: A caret, at the point where the quotation
marks, or inverted commas, are to be inserted. In ti
Quotation-marks, or inverted commas, in an mver

244 GOOD ENGLISH IN GOOD FORM

(The inverted caret serves also to distinguish the apostrophe
from the comma.

Line 29. A dirty or "filled" letter. In the type: A stroke
under the defective letter. In the margin: A small cross, x.

Line 30. The insertion of three spaced periods at the end of
line 30, instead of the line of asterisks in line 31, to mark an
intentional hiatus, or omission. In the type: A line through the
asterisks. In the margin: Line 30, three spaced periods in a
ring; line 31, the dele-mark, S. This alteration is one made for
style and neatness.

Line 32. The substitution of an exclamation mark for a comma.

Line 33. The insertion of apostrophes at end of quotation.

The page, when marked, is returned to the printer,
who makes all necessary corrections. The compositor is
usually paid by time for making corrections, and a serious
item of expense for what are called " author's correc-
tions " will be incurred by numerous or unnecessary alter-
ations. In some offices a ring or loop is drawn round the
marginal mark of an error which is not the fault of a
compositor. Obviously, the more nearly perfect is the
technical preparation of a manuscript — in the details of
punctuation, capitalizing, paragraphing, etc. — the smaller
will be the charge for author's corrections.

A few general suggestions are necessary.

In cases of doubt, strike out the matter to be corrected and re-
write it in the margin exactly as it should appear in the type.

The logotypes fi, ffi, are used instead of the separate fi, ffi.
When ae is desired in place of ae, it is indicated by a horizontal
line or curve above the two letters.

The following errors are somewhat difficult of detection : I.
Changes of font, when the types of the two fonts are much alike ;
2. Inversion of s and x; 3. The occurrence of inverted n, u, b,
and p, for u, n, q and d, respectively.

Differences in fonts can be learned only by experience. The
principal differences are in the shape of the letters, the thickness
or blackness of the lines, and the size of the face.

The spacing of the punctuation requires some care : notice that
the comma follows immediately the preceding word, but is sep-
arated by a slight space from the word that follows ; that the semi-
colon and colon stand a little distance from the preceding word;
that the period is followed by a considerably greater space than
the other points.

THE ART OF PROOF-READING 245

Type is set either " solid," that is, without spacing between the
lines, or " leaded," that is, with the lines separated by thin strips
of type-metal known as " leads." When but one " lead " is used
between each pair of lines, the type is said to be " single-leaded " ;
when two " leads " are used, the type is said to be " double-leaded."
Errors in leading are of two kinds : I. Omitting leads ; and 2.
Inserting them where they are not needed. See lines 7-8, 21-22.

Words may be carried up or down, to the right or the left, by
means of brackets placed about the words and repeated in the
margin in such a way as to indicate the direction of movement
desired.

Corrections are made in the margin nearest which they occur.
If the corrections are numerous, it is well to draw lines from the
marks in the type to those in the margin.

The bibliography of proof-reading is that of the art
of printing, of which it forms a part. Mention may be
made of A. N. Sherman's Printer^ Manual (1834) ; Mac-
Kellar's American Printer; The American Dictionary of
Printing and Bookbinding; William Blades's Pentateuch
of Printing.

CHAPTER V
PREPARATION OF ILLUSTRATIONS

Instructions Regarding Illustrations. — Material and
instructions for illustrations should be furnished to the
publishers apart from the manuscript, as the intended
illustrations, known as " engraver's copy," is used only
by the engraver ; whereas the manuscript, or " printer's
copy," is used only by the printers. If the two kinds of
copy are furnished in one mass, they must be separated
by the publishers. It is not necessary that the proper
places for the illustrations be indicated on the margins of
the manuscript. The place for such instructions is on
the margins of the galley proofs.

How to send Drawings, Prints, etc. — Drawings,
prints, and unmounted photographs should not be folded
or rolled, but furnished flat. Valuable books, from which
illustrations are to be copied, should be covered with
strong paper, in order to avoid soiling them by handling
in the various departments of an engraving establish-
ment. Pictures to be reproduced from books should be
described in written lists, not indicated by slips of paper
inserted between leaves. Such slips, if accidentally
dropped out, cannot always be properly replaced.

Illustrations in Relief or in Half-tone. — Relief illus-
trations, whether engraved in line or in stipple, can be
printed on ordinary book paper, but those made by the
half-tone process require a coated paper, which, being less
flexible in binding and more expensive, is used chiefly
for books containing a large number of half-tone plates of
varying sizes, some being set into the text.

For a book containing no half-tones, one class of paper,

246

PREPARATIONS OF ILLUSTRATIONS 247

not coated, is used throughout. But in a book to be illus-
trated with half-tones in addition to the " line cuts," as
they are called, two kinds must be used — the ordinary
paper and the coated. In such cases it is desirable that
the number of half-tones shall be limited to 4 or 8, or to
the multiples of 4 or 8. They must each be made of the
uniform size of a full page of the book, so that they can
be printed separately on the coated paper. Such illus-
trations are pasted in by the bookbinder and are called
" insets." Insets add materially to the expense of bind-
ing. If the half-tones are very numerous, it may be
found best, as a matter of economy, to print the entire
book on a coated paper, though this kind of paper makes a
very heavy book and is not flexible.

Illustrations in colors are usually given as full-page in-
sets ; and a separate printing is required for each color.

Proofs of Illustrations. — When the number of illus-
trations and their size and style of treatment have been
decided, the photographs or drawings are put into the en-
graver's hands. When plates from these have been made,
proofs of them are sent to the author, in the same way as
followed with the galley and page proofs of the text.
Two sets of the pictures are sent to him. One set is for
his use in cutting out the illustrations and attaching them
at the proper places on the galley proofs; the other set
he is to keep for reference.

A proof of every picture should be carefully pasted on
the margin of the galley proofs, showing where it is to be
inserted in the text. Its title should be given, and if the
illustrations are to be numbered as " figures," the number
should be clearly written at the bottom of the proof. The
printer will then arrange the illustration at the place on
the page most convenient to the one indicated by the
author. The author should carefully examine the pic-
tures and titles on receipt of the page proofs of them.

Care in Indicating Pictures.— It is not sufficient to
write on the galley proof the words " Here insert illustra-

248 GOOD ENGLISH IN GOOD FORM

tion," or " Insert portrait," " Illustrations already made,"
etc. A proof of the illustration itself must be placed
there. Among hundreds of illustrations constantly on
hand for " make-up " at the office of the publishers, there
are frequently many that are similar in their general ap-
pearance but quite different in the purposes for which
they are intended. For example, there may be several
pictures of the same object, but each different from the
others in size and style of engraving. The printer has no
certain means of identifying the illustration except by its
proof, as furnished by the author.

Galley proofs requiring the insertion of pictures, of
which engraver's proofs have not reached the author,
should be held until the pictures arrive. A notification
to the publishers that a certain galley is ready to be re-
turned, but requires the proof of a certain illustration,
will hasten the matter. If galleys requiring pictures are
inadvertently without proofs of the pictures, the work at
the printer's may go forward beyond the point where the
pictures should have been inserted. The cost of insertion
afterward will be largely increased ; but the make-up may
be stopped if notification reaches the publishers.

In the case of insets, however, such an omission would
make no difference, these directions applying only to such
illustrations as are printed with the text.

Cost of Author's Corrections. — The cost of author's
corrections in a book in which illustrations are in the text
is usually greater than in one without them, as the
changes in the pages frequently cause resetting in order
that the lines may be rearranged about the illustrations.

When an illustration has been taken from another book,
credit should be given in a line printed just under the
illustration itself at the right-hand side, permission being
first secured from the author and the publishers of the
book from, which it is taken ; but in the list of illustrations
printed in the front matter of the book it is not neces-
sary to repeat the credit.

15 2001
SFiLF
QUARTER LOAN

OS

A 000130092 0