Зоб NOTES TO PAGES 200-202

in Philology 7 6, no. i (1979): 13-27; Parkes, “The Technology of Print¬
ing and the Stabilization of the Symbols,” 50-64.

42. Mitchell, “Quotation Marks, National Compositorial Habits and
False Imprints,” 359-84.

43. Octavo Editions, “Geofroy Tory, Champ Fleury.”

44. Parkes, “The Technology of Printing and the Stabilization of the
Symbols,” 50-64.

45. Margreta de Grazia, “Shakespeare in Quotation Marks,” in J. I.
Marsden, ed., The Appropriation of Shakespeare: Post-Renaissance
Reconstructions of the Works and the Myth (Harlow, UK: Harvester
Wheatsheaf, 1991), 57-71.

46. A. Moss, “The Commonplace-Book at Birth,” in Printed
Commonplace-Books and the Structuring of Renaissance Thought
(Oxford, UK: Clarendon Press, 1996), 101-33; Oxford English Dic¬
tionary, “Sententious, adj.,” Oxford English Dictionary, http://www.
0ed.c0m/view/Entry/176047 {last accessed August 27, 2012].

47. Parkes, “The Technology of Printing and the Stabilization of the
Symbols,” 50-64.

48. M. B. Parkes, “Plate 37, John Whitgift, The defense of the answere
to the admonition against the reply by T{homas} C{artwright]
(London, H. Bynneman for H. Toye, 1574), STC, 25430, p 150,” in
Pause and Effect: Punctuation in the West (Berkeley: University of Cali¬
fornia Press, 1993), 222-23.

49. De Grazia, “Shakespeare in Quotation Marks,” 57-71.

50. Parkes, “The Technology of Printing and the Stabilization of the
Symbols,” 50-64.

51. J. Higgins, T. Blenerhasset, and L. B. Campbell, “Introduction,”
in Parts Added to the Mirror for Magistrates, Huntington Library
Publications (Cambridge, UK: Cambridge University Press, 1946),
18-19.

52. Ibid.

53. Parkes, “The Technology of Printing and the Stabilization of the
Symbols,” 50-64.

54. A. G. Petti, “Punctuation,” in English Literary Hands from Chaucer
to Dry den (Cambridge, MA: Harvard University Press, 1977), 25-28.

NOTES TO PAGE 203 307

55. R. H. Finnegan, “What Do They Mean?” in Why Do We Sffote?:
The Culture and History of Quotation (Cambridge, UK: Open Book
Publishers, 2011), 95-108.

56. P. M. Logan, O. George, S. Hegeman, et al, “Dialogue,” in The
Encyclopedia of the Novel, volume 1 of Wiley-Blackwell Encyclopedia
of Literature (Hoboken, NJ: John Wiley & Sons, 2011), 250-51.

57. Daniel Defoe, The Life and Adventures of the Famous Moll Flanders,
who was Born in Newgate... : Written from Her Own Memorandums
(J. Cooke, 1765); Ibid.

58. John Smith, “The Comma,” in The printer’s grammar containing a
concise history of the origin of printing; also, an examination of the Superfi¬
cies, Gradation, and Properties of the different sizes oftypes cast by Letter
Founders; Various Tables of Calculation; Models of Letter Cases; Schemes
for casting off Copy, and Imposing; and Many Other Requisites for attain¬
ing a perfect Knowledge both in the Theory and Practice of the Art of
Printing. With directions to authors, compilers, ire. How to prepare copy,
and to correct their own proofs. Chiefly collected from Smith’s edition. To
which are added directions for pressmen, ire. The whole calculated for
the Service of All who have any Concern in the Letter Press. (London:
Printed by L. Wayland; and sold by T. Evans, Pater-Noster-Row,
1787), 95-97-

59. Parkes, “The Technology of Printing and the Stabilization of the
Symbols,” 50-64; Samuel Richardson, Clarissa, or, The history of a
young lady comprehending the most important concerns of private life, and
particularly shewing, the distresses that may attend the misconduct both
of parents and children, in relation to marriage, volume 8 (Bath, UK:
Printed by S. Richardson and sold by A. Millar, J. andja. Rivington,
John Osborn and byj. Leake, 1748).

60. Vivienne Mylne, “The Punctuation of Dialogue in Eighteenth-
Century French and English Fiction,” The Library, s6T, no. 1 (1979):
43-61.

61. Mitchell, “Quotation Marks, National Compositorial Habits and
False Imprints,” 359-84.

62. Mylne, “The Punctuation of Dialogue in Eighteenth-Century
French and English Fiction,” 43-61.