I can only say that I
have given to the punctuation of each poem as much time and thought as
to any part of the work.
have given to the punctuation of each poem as much time and thought as
to any part of the work.
John Donne
Ask, &c.
One of the semicolons is equivalent to a little more than a comma, the
other to a little less than a full stop.
Another effect of this finely-shaded punctuation is that the question
is constantly forced upon an editor, is it correct? Has the printer
understood the subtler connexion of Donne's thought, or has he placed
the semicolon where the full stop should be, the comma where the
semicolon? My solution of these difficulties has been to face and try
to overcome them. I have corrected the punctuation where it seemed
to me, on its own principles, definitely wrong; and I have, but more
sparingly, amended the pointing where it seemed to me to disguise the
subtler connexions of Donne's thought or to disturb the rhetoric and
rhythm of his verse paragraphs. In doing so I have occasionally taken
a hint from the manuscripts, especially _D_ and _W_, which, by the
kindness of Mr. Gosse and Professor Dowden, I have had by me while
revising the text. But if I occasionally quote these manuscripts in
support of my punctuation, it is only with a view to showing that I
have not departed from the principles of Elizabethan pointing. I do
not quote them as authoritative. On questions of punctuation none
of the extant manuscripts could be appealed to as authorities. Their
punctuation is often erratic and chaotic, when it is not omitted
altogether. Finally, I have recorded every change that I have made.
A reader should be able to gather from the text and notes combined
exactly what was the text of the first edition of each poem, whether
it appeared in _1633_ or a subsequent edition, in every particular,
whether of word, spelling, or punctuation. My treatment of the last
will not, as I have said, satisfy every reader.
I can only say that I
have given to the punctuation of each poem as much time and thought as
to any part of the work. In the case of Donne this is justifiable.
I am not sure that it would be in the case of a simpler, a less
intellectual poet. It would be an easier task either to retain the
old punctuation and leave a reader to correct for himself, or to
modernize. With all its refinements, Elizabethan punctuation erred
by excess. A reader who gives thought and sympathy to a poem does not
need all these commands to pause, and they frequently irritate and
mislead.
[Footnote 1: _Englands Parnassus; or The Choysest Flowers
of our Moderne Poets: with their Poetical Comparisons.
Descriptions of Bewties, Personages, Castles, Pallaces,
Mountaines, Groves, Seas, Springs, Rivers etc. Whereunto
are annexed Other Various Discourses both Pleasaunt and
Profitable. Imprinted at London, For N. L. C. B. And T. H. _
1600.
One of the semicolons is equivalent to a little more than a comma, the
other to a little less than a full stop.
Another effect of this finely-shaded punctuation is that the question
is constantly forced upon an editor, is it correct? Has the printer
understood the subtler connexion of Donne's thought, or has he placed
the semicolon where the full stop should be, the comma where the
semicolon? My solution of these difficulties has been to face and try
to overcome them. I have corrected the punctuation where it seemed
to me, on its own principles, definitely wrong; and I have, but more
sparingly, amended the pointing where it seemed to me to disguise the
subtler connexions of Donne's thought or to disturb the rhetoric and
rhythm of his verse paragraphs. In doing so I have occasionally taken
a hint from the manuscripts, especially _D_ and _W_, which, by the
kindness of Mr. Gosse and Professor Dowden, I have had by me while
revising the text. But if I occasionally quote these manuscripts in
support of my punctuation, it is only with a view to showing that I
have not departed from the principles of Elizabethan pointing. I do
not quote them as authoritative. On questions of punctuation none
of the extant manuscripts could be appealed to as authorities. Their
punctuation is often erratic and chaotic, when it is not omitted
altogether. Finally, I have recorded every change that I have made.
A reader should be able to gather from the text and notes combined
exactly what was the text of the first edition of each poem, whether
it appeared in _1633_ or a subsequent edition, in every particular,
whether of word, spelling, or punctuation. My treatment of the last
will not, as I have said, satisfy every reader.
I can only say that I
have given to the punctuation of each poem as much time and thought as
to any part of the work. In the case of Donne this is justifiable.
I am not sure that it would be in the case of a simpler, a less
intellectual poet. It would be an easier task either to retain the
old punctuation and leave a reader to correct for himself, or to
modernize. With all its refinements, Elizabethan punctuation erred
by excess. A reader who gives thought and sympathy to a poem does not
need all these commands to pause, and they frequently irritate and
mislead.
[Footnote 1: _Englands Parnassus; or The Choysest Flowers
of our Moderne Poets: with their Poetical Comparisons.
Descriptions of Bewties, Personages, Castles, Pallaces,
Mountaines, Groves, Seas, Springs, Rivers etc. Whereunto
are annexed Other Various Discourses both Pleasaunt and
Profitable. Imprinted at London, For N. L. C. B. And T. H. _
1600.
