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 passing 1 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 depicting 1 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/tooo 1 , 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- 
 GUMENT 7 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. INDICT 7 , 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 (G 22 ), 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 
 
 FEAT 7 , to undo; to overthrow. DEFECT', want; a blemish. 
 
 DEFEC'TION, departure ; revolt. DEFICIENT, DEFECTIVE, 
 failing. DIF'FICULT, hard to be done. Fi'AT 28 (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 having 1 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 (lu f 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' dare 6 * (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'a 60 (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. MANUFAc 7 - 
 
 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. REMIT 7 , 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. DENY 7 
 (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 (G 76 ), 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. REPENT 7 , 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. 
 8a The 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. PROROGUE 7 , 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. RESENT 7 , 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 G 000 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. Ec y - 
 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. INSTRUCT 7 , 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. PROTEST 7 , 
 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. 
 
 CONTEXT 7 , 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 
 
 2I 7 
 
 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 
 
 2 39 
 
 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 EMER A 
 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 >x T)y' < 1ne 
 discoveries of^pasl, present, or prospective/science^ In 
 hisjcasc, poetry, with the joy of a JacchaTJatr-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. [J 1 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. *^ 
 
 A As 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