All these
circumstances led to occasional error.
circumstances led to occasional error.
John Donne
In doing this I
have been much assisted by the study of Mr. Percy Simpson's work on
_Shakespearian Punctuation_. My punctuation will not probably in the
end quite satisfy either the Elizabethan purist, or the critic who
would have preferred a modernized text. I will state the principles
which have guided me.
I do not agree with Mr. Chambers that the punctuation, at any rate
of _1633_, is 'exceptionally chaotic'. It is sometimes wrong, and in
certain poems, as the _Satyres_, it is careless. But as a rule it
is excellent on its own principles. Donne, indeed, was exceptionally
fastidious about punctuation and such typographical details as capital
letters, italics, brackets, &c. The _LXXX Sermons_ of 1640 are a model
of fine rhetorical and rhythmical pointing, pointing which inserted
stops to show you where to stop. The sermons were not printed in his
lifetime, but we know that he wrote them out for the press, hoping
that they might be a source of income to his son.
But Donne did not prepare his poems for the press. Their punctuation
is that of the manuscript from which they were taken, revised by the
editor or printer. One can often recognize in _D_ the source of a stop
in _1633_, or can see what the pointing and use of capitals would have
been had Donne himself supervised the printing. The printer's man was
sometimes careless; the printer or editor had prejudices of his own
in certain things; and Donne is a difficult and subtle poet.
All these
circumstances led to occasional error.
The printer's prejudice was one which Donne shared, but not, I
think, to quite the same extent. Compared, for example, with the
_Anniversaries_ (printed in Donne's lifetime) _1633_ shows a fondness
for the semicolon,[45] not only within the sentence, but separating
sentences, instead of a full stop, when these are closely related in
thought to one another. In an argumentative and rhetorical poet like
Donne the result is excellent, once one grows accustomed to it, as
is the use of commas, where we should use semicolons, within the
sentence, dividing co-ordinate clauses from one another. On the other
hand this use of semicolons leads to occasional ambiguity when one
which separates two sentences comes into close contact with another
within the sentence. For example, in _Satyre III_, ll. 69-72,
how should an editor, modernizing the punctuation, deal with the
semicolons in ll. 70 and 71? Should he print thus? --
But unmoved thou
Of force must one, and forc'd but one allow;
And the right. Ask thy father which is shee;
Let him ask his.
With trifling differences that is how Chambers and the Grolier Club
editor print them. But the lines might run, to my mind preferably--
But unmoved thou
Of force must one, and forc'd but one allow.
And the right; ask thy father which is shee,
Let him ask his.
'And the right' being taken as equivalent to 'And as to the right'.
One might even print--
And the right?
have been much assisted by the study of Mr. Percy Simpson's work on
_Shakespearian Punctuation_. My punctuation will not probably in the
end quite satisfy either the Elizabethan purist, or the critic who
would have preferred a modernized text. I will state the principles
which have guided me.
I do not agree with Mr. Chambers that the punctuation, at any rate
of _1633_, is 'exceptionally chaotic'. It is sometimes wrong, and in
certain poems, as the _Satyres_, it is careless. But as a rule it
is excellent on its own principles. Donne, indeed, was exceptionally
fastidious about punctuation and such typographical details as capital
letters, italics, brackets, &c. The _LXXX Sermons_ of 1640 are a model
of fine rhetorical and rhythmical pointing, pointing which inserted
stops to show you where to stop. The sermons were not printed in his
lifetime, but we know that he wrote them out for the press, hoping
that they might be a source of income to his son.
But Donne did not prepare his poems for the press. Their punctuation
is that of the manuscript from which they were taken, revised by the
editor or printer. One can often recognize in _D_ the source of a stop
in _1633_, or can see what the pointing and use of capitals would have
been had Donne himself supervised the printing. The printer's man was
sometimes careless; the printer or editor had prejudices of his own
in certain things; and Donne is a difficult and subtle poet.
All these
circumstances led to occasional error.
The printer's prejudice was one which Donne shared, but not, I
think, to quite the same extent. Compared, for example, with the
_Anniversaries_ (printed in Donne's lifetime) _1633_ shows a fondness
for the semicolon,[45] not only within the sentence, but separating
sentences, instead of a full stop, when these are closely related in
thought to one another. In an argumentative and rhetorical poet like
Donne the result is excellent, once one grows accustomed to it, as
is the use of commas, where we should use semicolons, within the
sentence, dividing co-ordinate clauses from one another. On the other
hand this use of semicolons leads to occasional ambiguity when one
which separates two sentences comes into close contact with another
within the sentence. For example, in _Satyre III_, ll. 69-72,
how should an editor, modernizing the punctuation, deal with the
semicolons in ll. 70 and 71? Should he print thus? --
But unmoved thou
Of force must one, and forc'd but one allow;
And the right. Ask thy father which is shee;
Let him ask his.
With trifling differences that is how Chambers and the Grolier Club
editor print them. But the lines might run, to my mind preferably--
But unmoved thou
Of force must one, and forc'd but one allow.
And the right; ask thy father which is shee,
Let him ask his.
'And the right' being taken as equivalent to 'And as to the right'.
One might even print--
And the right?
