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Punctuation
Punctuation
from Wikipedia

Punctuation marks are marks indicating how a piece of written text should be read (silently or aloud) and, consequently, understood.[1] The oldest known examples of punctuation marks were found in the Mesha Stele from the 9th century BC, consisting of points between the words and horizontal strokes between sections.[2] The alphabet-based writing began with no spaces, no capitalization, no vowels (see abjad), and with only a few punctuation marks, as it was mostly aimed at recording business transactions. Only with the Greek playwrights (such as Euripides and Aristophanes) did the ends of sentences begin to be marked to help actors know when to make a pause during performances. Punctuation includes space between words and both obsolete and modern signs.

By the 19th century, grammarians explained the difference between the punctuation marks by means of a hierarchy that ascribed different weight to them.[3] Six marks, proposed in 1966 by the French author Hervé Bazin, could be seen as predecessors of emoticons and emojis.[4]

In rare cases, the meaning of a text can be changed substantially by using different punctuation, such as in "woman, without her man, is nothing" (emphasizing the importance of men to women), contrasted with "woman: without her, man is nothing" (emphasizing the importance of women to men).[5] Similar changes in meaning can be achieved in spoken forms of most languages by using elements of speech such as suprasegmentals. The rules of punctuation vary with the language, location, register, and time. In online chat and text messages, punctuation is used tachygraphically, especially among younger users.

History

[edit]

Western antiquity

[edit]

During antiquity, most scribes in the West wrote in scriptio continua, i.e., without punctuation delimiting word boundaries. Around the 5th century BC, the Greeks began using punctuation consisting of vertically arranged dots—usually a dicolon or tricolon—as an aid in the oral delivery of texts. After 200 BC, Greek scribes adopted the théseis system invented by Aristophanes of Byzantium, where a single dot called a punctus was placed at one of several heights to denote rhetorical divisions in speech:

  • hypostigmḗ – a low punctus on the baseline to mark off a komma (a unit smaller than a clause)
  • stigmḕ mésē – a punctus at midheight to mark off a clause (kōlon)
  • stigmḕ teleía – a high punctus to mark off a sentence (periodos)[6]

In addition, the Greeks used the paragraphos (or gamma) to mark the beginning of sentences, marginal diples to mark quotations, and a koronis to indicate the end of major sections.

During the 1st century BC, Romans also made occasional use of symbols to indicate pauses, but by the 4th century AD the Greek théseis—called distinctiones in Latin[a]—prevailed, as reported by Aelius Donatus and Isidore of Seville (7th century). Latin texts were sometimes laid out per capitula, where each sentence was placed on its own line. Diples were used, but by the late period, these often degenerated into comma-shaped marks.

Medieval

[edit]

Punctuation developed dramatically when large numbers of copies of the Bible started to be produced. These were designed to be read aloud, so the copyists began to introduce a range of marks to aid the reader, including indentation, various punctuation marks (diple, paragraphos, simplex ductus), and an early version of initial capitals (litterae notabiliores). Jerome and his colleagues, who translated the Bible into Latin, the Vulgate (c. AD 400), employed a layout system based on established practices for teaching the speeches of Demosthenes and Cicero. Under his layout per cola et commata every sense-unit was indented and given its own line. This layout was solely used for biblical manuscripts during the 5th–9th centuries, but was abandoned in favor of punctuation.

In the 7th–8th centuries Irish and Anglo-Saxon scribes, whose native languages were not derived from Latin, added more visual cues to render texts more intelligible. Irish scribes introduced the practice of word separation.[7] Likewise, insular scribes adopted the distinctiones system while adapting it for minuscule script (so as to be more prominent) by using not differing height but rather a differing number of marks—aligned horizontally (or sometimes triangularly)—to signify a pause's duration: one mark for a minor pause, two for a medium one, and three for a major one. Most common were the punctus, a comma-shaped mark, and a 7-shaped mark (comma positura), often used in combination. The same marks could be used in the margin to mark off quotations.

In the late 8th century, a different system emerged in France under the Carolingian dynasty. Originally indicating how the voice should be modulated when chanting the liturgy, the positurae migrated into any text meant to be read aloud, and then to all manuscripts. Positurae first reached England in the late 10th century, probably during the Benedictine reform movement, but was not adopted until after the Norman conquest. The original positurae were the punctus, marking a minor pause within the sentence, punctus elevatus, marking a major pause within the sentence, punctus versus, marking the end of a declarative sentence, and punctus interrogativus, marking the end of an interrogative sentence. A fifth symbol, the punctus flexus was added in the 10th century to indicate a pause of a value between the punctus and punctus elevatus. In the late 11th/early 12th century, the punctus versus disappeared and was taken over by the simple punctus (now with two distinct values).[8][9]

The late Middle Ages saw the addition of the virgula suspensiva (slash or slash with a midpoint dot), which was often used in conjunction with the punctus for different types of pauses. Direct quotations were marked with marginal diples, as in Antiquity, but from at least the 12th century, scribes also began entering diples (sometimes double) within the column of text.

Medieval China

[edit]

Punctuation marks, especially spacing, were not needed in logographic or syllabic (such as Chinese and Mayan script) texts because disambiguation and emphasis could be communicated by employing a separate written form distinct from the spoken form of the language.[clarification needed][citation needed] Ancient Chinese classical texts were transmitted without punctuation. However, many Warring States period bamboo texts contain the symbols ⟨└⟩ and ⟨▄⟩ indicating the end of a chapter and full stop, respectively.[10] By the Song dynasty, the addition of punctuation to texts by scholars to aid comprehension became common.[11]

Printing-press era

[edit]

The amount of printed material and its readership began to increase after the invention of moveable type in Europe in the 1450s. Martin Luther's German Bible translation was one of the first mass-printed works; he used only virgule, full stop, and less than one percent question marks as punctuation. The focus of punctuation still was rhetorical, to aid reading aloud.[12] As explained by writer and editor Lynne Truss, "The rise of printing in the 14th and 15th centuries meant that a standard system of punctuation was urgently required."[13] Printed books, whose letters were uniform, could be read much more rapidly than manuscripts. Rapid reading, or reading aloud, did not allow time to analyze sentence structures. This increased speed led to the greater use and finally standardization of punctuation, which showed the relationships of words with each other: where one sentence ends and another begins, for example.

The introduction of a standard system of punctuation has also been attributed to the Venetian printers Aldus Manutius and his grandson. They have been credited with popularizing the practice of ending sentences with the colon or full stop (period), inventing the semicolon, making occasional use of parentheses, and creating the modern comma by lowering the virgule. By 1566, Aldus Manutius the Younger was able to state that the main object of punctuation was the clarification of syntax.[14]

By the 19th century, punctuation in the Western world had evolved "to classify the marks hierarchically, in terms of weight".[3] Cecil Hartley's poem identifies their relative values:

The stop point out, with truth, the time of pause
A sentence doth require at ev'ry clause.
At ev'ry comma, stop while one you count;
At semicolon, two is the amount;
A colon doth require the time of three;
The period four, as learned men agree.[15]

The use of punctuation was not standardised until after the invention of printing. According to the 1885 edition of The American Printer, the importance of punctuation was noted in various sayings by children, such as:

Charles the First walked and talked
Half an hour after his head was cut off.

With a semicolon and a comma added, it reads as follows:

Charles the First walked and talked;
Half an hour after, his head was cut off.[16]

In a 19th-century manual of typography, Thomas MacKellar writes:

Shortly after the invention of printing, the necessity of stops or pauses in sentences for the guidance of the reader produced the colon and full point. In the process of time, the comma was added, which was then merely a perpendicular line, proportioned to the body of the letter. These three points were the only ones used until the close of the fifteenth century, when Aldo Manuccio gave a better shape to the comma, and added the semicolon; the comma denoting the shortest pause, the semicolon next, then the colon, and the full point terminating the sentence. The marks of interrogation and admiration were introduced many years later.[17]

Typewriters and electronic communication

[edit]

The introduction of electrical telegraphy with a limited set of transmission codes[18] and typewriters with a limited set of keys influenced punctuation subtly. For example, curved quotes and apostrophes were all collapsed into two characters (' and "). The hyphen, minus sign, and dashes of various widths have been collapsed into a single character (-), sometimes repeated to represent a long dash. The spaces of different widths available to professional typesetters were generally replaced by a single full-character-width space, with typefaces monospaced. In some cases, a typewriter keyboard did not include an exclamation point (!), which could otherwise be constructed by the overstrike of an apostrophe and a period; the original Morse code did not have an exclamation point.

These simplifications have been carried forward into digital writing, with teleprinters and the ASCII character set essentially supporting the same characters as typewriters. Treatment of whitespace in HTML discouraged the practice (in English prose) of putting two full spaces after a full stop, since a single or double space would appear the same on the screen. (Most style guides now discourage double spaces, and some electronic writing tools, including Wikipedia's software, automatically collapse double spaces to single.) The full traditional set of typesetting tools became available with the advent of desktop publishing and more sophisticated word processors. Despite the widespread adoption of character sets like Unicode that support the punctuation of traditional typesetting, writing forms like text messages tend to use the simplified ASCII style of punctuation, with the addition of new non-text characters like emoji. Informal text speak tends to drop punctuation when not needed, including some ways that would be considered errors in more formal writing.

In the computer era, punctuation characters were recycled for use in programming languages and URLs. Due to its use in email and Twitter handles, the at sign (@) has gone from an obscure character mostly used by sellers of bulk commodities (10 pounds @$2.00 per pound), to a very common character in common use for both technical routing and an abbreviation for "at". The tilde (~), in moveable type only used in combination with vowels, for mechanical reasons ended up as a separate key on mechanical typewriters, and like @ it has been put to completely new uses.

In English

[edit]

There are two major styles of punctuation in English: British or American. These two styles differ mainly in the way in which they handle quotation marks, particularly in conjunction with other punctuation marks. In British English, punctuation marks such as full stops and commas are placed inside the quotation mark only if they are part of what is being quoted, and placed outside the closing quotation mark if part of the containing sentence. In American English, however, such punctuation is generally placed inside the closing quotation mark regardless. This rule varies for other punctuation marks; for example, American English follows the British English rule when it comes to semicolons, colons, question marks, and exclamation points.[19][further explanation needed] The serial comma is used much more often in the United States than in the UK.

Other languages

[edit]

Other languages of Europe use much the same punctuation as English. The similarity is so strong that the few variations may confuse a native English reader. Quotation marks are particularly variable across European languages. For example, in French and Russian, quotes would appear as: « Je suis fatigué. » (In French, the quotation marks are spaced from the enclosed material; in Russian, they are not.)

In the French of France and Belgium, the marks ⟨:⟩, ⟨;⟩, ⟨?⟩ and ⟨!⟩ are preceded by a thin space. In Canadian French, this is only the case for ⟨:⟩.[20][21]

In Greek, the question mark is written as the English semicolon, while the functions of the colon and semicolon are performed by a raised point ⟨·⟩, known as the ano teleia (άνω τελεία).

In Georgian, three dots were formerly used as a sentence or paragraph divider. It is still sometimes used in calligraphy.

Spanish and Asturian (both of them Romance languages used in Spain) use an inverted question mark ¿ at the beginning of a question and the normal question mark at the end, as well as an inverted exclamation mark ¡ at the beginning of an exclamation and the normal exclamation mark at the end.[22]

Armenian uses several punctuation marks of its own. The full stop is represented by a colon, and vice versa; the exclamation mark is represented by a diagonal similar to a tilde ⟨~⟩, while the question mark ⟨՞⟩ resembles an unclosed circle placed after the last vowel of the word.

Arabic, Urdu, and Persian—written from right to left—use a reversed question mark: ⟨؟⟩, and a reversed comma: ⟨،⟩. This is a modern innovation; pre-modern Arabic did not use punctuation. Hebrew, which is also written from right to left, uses the same characters as in English, ⟨,⟩ and ⟨?⟩.[23]

Originally, Sanskrit had no punctuation. In the 17th century, Sanskrit and Marathi, both written using Devanagari, started using the vertical bar to end a line of prose and double vertical bars ⟨॥⟩ in verse.

Punctuation was not used in Chinese, Japanese, Korean, and Vietnamese chữ Nôm writing until the adoption of punctuation from the West in the late 19th and early 20th century. In unpunctuated texts, the grammatical structure of sentences in classical writing is inferred from context.[24] Most punctuation marks in modern Chinese, Japanese, and Korean have similar functions to their English counterparts; however, they often look different and have different customary rules.

In the Indian subcontinent, :- is sometimes used in place of colon or after a subheading. Its origin is unclear, but it could be a remnant of the British Raj. Another punctuation practice common in the Indian Subcontinent for writing monetary amounts is the use of ⟨/-⟩ or ⟨/=⟩ after the number. For example, Rs. 20/- or Rs. 20/= implies 20 whole rupees.

Thai, Khmer, Lao, and Burmese did not use punctuation until the adoption of punctuation from the West in the 20th century. Blank spaces are more frequent than full stops or commas.

Novel punctuation marks

[edit]

Interrobang

[edit]

In 1962, American advertising executive Martin K. Speckter proposed the interrobang (‽), a combination of the question mark and exclamation point, to mark rhetorical questions or questions stated in a tone of disbelief. Although the new punctuation mark was widely discussed in the 1960s, it failed to achieve widespread use.[25] Nevertheless, both it and its inverted form were given code points in Unicode: U+203D INTERROBANG, U+2E18 INVERTED INTERROBANG.

Predecessors of emoticons and emojis

[edit]

The six additional punctuation marks proposed in 1966 by the French author Hervé Bazin in his book Plumons l'Oiseau ("Let's pluck the bird", 1966)[26] could be seen as predecessors of emoticons and emojis.

These were:[27]

  • the "irony point" or "irony mark" (point d'ironie: )
  • the "love point" (point d'amour: )
    A point d'amour mark, or "love point"
  • the "conviction point" (point de conviction: )
  • the "authority point" (point d'autorité: )
  • the "acclamation point" (point d'acclamation: )
  • the "doubt point" (point de doute: )

"Question comma", "exclamation comma"

[edit]
An exclamation comma

An international patent application was filed, and published in 1992 under World Intellectual Property Organization (WIPO) number WO9219458,[28] for two new punctuation marks: the "question comma" and the "exclamation comma". The question comma has a comma instead of the dot at the bottom of a question mark, while the exclamation comma has a comma in place of the point at the bottom of an exclamation mark. These were intended for use as question and exclamation marks within a sentence, a function for which normal question and exclamation marks can also be used, but which may be considered obsolescent. The patent application entered the national phase only in Canada. It was advertised as lapsing in Australia on 27 January 1994[29] and in Canada on 6 November 1995.[30]

Others

[edit]

Other proposed punctuation marks include:[31]

  • Snark mark, indicating an ironic statement by putting a tilde next to terminal punctuation: .~ for dry sarcasm, !~ for enthusiastic sarcasm, and ?~ for sarcastic questions
  • Rhetorical question mark:
  • SarcMark for sarcasm

Punctuation marks in Unicode

[edit]
By Unicode General Category 'P'
§ Pd, dash
§ Ps-Pe, start–end (open–close brackets)
§ Pi-Pf, initial–final quote
§ Pc, connector
§ Po, other
Mark Name Code point General Category Script
Pd, dash
- HYPHEN-MINUS U+002D Pd, dash Common
HYPHEN U+2010 Pd, dash Common
NON-BREAKING HYPHEN U+2011 Pd, dash Common
FIGURE DASH U+2012 Pd, dash Common
EN DASH U+2013 Pd, dash Common
EM DASH U+2014 Pd, dash Common
HORIZONTAL BAR U+2015 Pd, dash Common
DOUBLE OBLIQUE HYPHEN U+2E17 Pd, dash Common
HYPHEN WITH DIAERESIS U+2E1A Pd, dash Common
TWO-EM DASH U+2E3A Pd, dash Common
THREE-EM DASH U+2E3B Pd, dash Common
DOUBLE HYPHEN U+2E40 Pd, dash Common
WAVE DASH U+301C Pd, dash Common
WAVY DASH U+3030 Pd, dash Common
KATAKANA-HIRAGANA DOUBLE HYPHEN U+30A0 Pd, dash Common
PRESENTATION FORM FOR VERTICAL EM DASH U+FE31 Pd, dash Common
PRESENTATION FORM FOR VERTICAL EN DASH U+FE32 Pd, dash Common
SMALL EM DASH U+FE58 Pd, dash Common
SMALL HYPHEN-MINUS U+FE63 Pd, dash Common
FULLWIDTH HYPHEN-MINUS U+FF0D Pd, dash Common
֊ ARMENIAN HYPHEN U+058A Pd, dash Armenian
CANADIAN SYLLABICS HYPHEN U+1400 Pd, dash Canadian Aboriginal
־ HEBREW PUNCTUATION MAQAF U+05BE Pd, dash Hebrew
MONGOLIAN TODO SOFT HYPHEN U+1806 Pd, dash Mongolian
𐺭 YEZIDI HYPHENATION MARK U+10EAD Pd, dash Yezidi
Pi-Pf, initial–final quote
« »
  • LEFT-POINTING DOUBLE ANGLE QUOTATION MARK
  • RIGHT-POINTING DOUBLE ANGLE QUOTATION MARK
  • U+00AB
  • U+00BB
  • Pi, initial
  • Pf, final
Common
‘ ’
  • LEFT SINGLE QUOTATION MARK
  • RIGHT SINGLE QUOTATION MARK
  • U+2018
  • U+2019
  • Pi, initial
  • Pf, final
Common
SINGLE HIGH-REVERSED-9 QUOTATION MARK U+201B Pi, initial quote Common
“ ”
  • LEFT DOUBLE QUOTATION MARK
  • RIGHT DOUBLE QUOTATION MARK
  • U+201C
  • U+201D
  • Pi, initial
  • Pf, final
Common
DOUBLE HIGH-REVERSED-9 QUOTATION MARK U+201F Pi, initial quote Common
‹ ›
  • SINGLE LEFT-POINTING ANGLE QUOTATION MARK
  • SINGLE RIGHT-POINTING ANGLE QUOTATION MARK
  • U+2039
  • U+203A
  • Pi, initial
  • Pf, final
Common
⸂ ⸃
  • LEFT SUBSTITUTION BRACKET
  • RIGHT SUBSTITUTION BRACKET
  • U+2E02
  • U+2E03
  • Pi, initial
  • Pf, final
Common
⸄ ⸅
  • LEFT DOTTED SUBSTITUTION BRACKET
  • RIGHT DOTTED SUBSTITUTION BRACKET
  • U+2E04
  • U+2E05
  • Pi, initial
  • Pf, final
Common
⸉ ⸊
  • LEFT TRANSPOSITION BRACKET
  • RIGHT TRANSPOSITION BRACKET
  • U+2E09
  • U+2E0A
  • Pi, initial
  • Pf, final
Common
⸌ ⸍
  • LEFT RAISED OMISSION BRACKET
  • RIGHT RAISED OMISSION BRACKET
  • U+2E0C
  • U+2E0D
  • Pi, initial
  • Pf, final
Common
⸜ ⸝
  • LEFT LOW PARAPHRASE BRACKET
  • RIGHT LOW PARAPHRASE BRACKET
  • U+2E1C
  • U+2E1D
  • Pi, initial
  • Pf, final
Common
⸠ ⸡
  • LEFT VERTICAL BAR WITH QUILL
  • RIGHT VERTICAL BAR WITH QUILL
  • U+2E20
  • U+2E21
  • Pi, initial
  • Pf, final
Common
Ps-Pe, open–close (brackets)
( )
  • LEFT PARENTHESIS
  • RIGHT PARENTHESIS
  • U+0028
  • U+0029
  • Ps, open
  • Pe, close
Common
[ ]
  • LEFT SQUARE BRACKET
  • RIGHT SQUARE BRACKET
  • U+005B
  • U+005D
  • Ps, open
  • Pe, close
Common
{ }
  • LEFT CURLY BRACKET
  • RIGHT CURLY BRACKET
  • U+007B
  • U+007D
  • Ps, open
  • Pe, close
Common
SINGLE LOW-9 QUOTATION MARK U+201A Ps, open Common
DOUBLE LOW-9 QUOTATION MARK U+201E Ps, open Common
⁅ ⁆
  • LEFT SQUARE BRACKET WITH QUILL
  • RIGHT SQUARE BRACKET WITH QUILL
  • U+2045
  • U+2046
  • Ps, open
  • Pe, close
Common
⁽ ⁾
  • SUPERSCRIPT LEFT PARENTHESIS
  • SUPERSCRIPT RIGHT PARENTHESIS
  • U+207D
  • U+207E
  • Ps, open
  • Pe, close
Common
₍ ₎
  • SUBSCRIPT LEFT PARENTHESIS
  • SUBSCRIPT RIGHT PARENTHESIS
  • U+208D
  • U+208E
  • Ps, open
  • Pe, close
Common
⌈ ⌉
  • LEFT CEILING
  • RIGHT CEILING
  • U+2308
  • U+2309
  • Ps, open
  • Pe, close
Common
⌊ ⌋
  • LEFT FLOOR
  • RIGHT FLOOR
  • U+230A
  • U+230B
  • Ps, open
  • Pe, close
Common
〈 〉
  • LEFT-POINTING ANGLE BRACKET
  • RIGHT-POINTING ANGLE BRACKET
  • U+2329
  • U+232A
  • Ps, open
  • Pe, close
Common
❨ ❩
  • MEDIUM LEFT PARENTHESIS ORNAMENT
  • MEDIUM RIGHT PARENTHESIS ORNAMENT
  • U+2768
  • U+2769
  • Ps, open
  • Pe, close
Common
❪ ❫
  • MEDIUM FLATTENED LEFT PARENTHESIS ORNAMENT
  • MEDIUM FLATTENED RIGHT PARENTHESIS ORNAMENT
  • U+276A
  • U+276B
  • Ps, open
  • Pe, close
Common
❬ ❭
  • MEDIUM LEFT-POINTING ANGLE BRACKET ORNAMENT
  • MEDIUM RIGHT-POINTING ANGLE BRACKET ORNAMENT
  • U+276C
  • U+276D
  • Ps, open
  • Pe, close
Common
❮ ❯
  • HEAVY LEFT-POINTING ANGLE QUOTATION MARK ORNAMENT
  • HEAVY RIGHT-POINTING ANGLE QUOTATION MARK ORNAMENT
  • U+276E
  • U+276F
  • Ps, open
  • Pe, close
Common
❰ ❱
  • HEAVY LEFT-POINTING ANGLE BRACKET ORNAMENT
  • HEAVY RIGHT-POINTING ANGLE BRACKET ORNAMENT
  • U+2770
  • U+2771
  • Ps, open
  • Pe, close
Common
❲ ❳
  • LIGHT LEFT TORTOISE SHELL BRACKET ORNAMENT
  • LIGHT RIGHT TORTOISE SHELL BRACKET ORNAMENT
  • U+2772
  • U+2773
  • Ps, open
  • Pe, close
Common
❴ ❵
  • MEDIUM LEFT CURLY BRACKET ORNAMENT
  • MEDIUM RIGHT CURLY BRACKET ORNAMENT
  • U+2774
  • U+2775
  • Ps, open
  • Pe, close
Common
⟅ ⟆
  • LEFT S-SHAPED BAG DELIMITER
  • RIGHT S-SHAPED BAG DELIMITER
  • U+27C5
  • U+27C6
  • Ps, open
  • Pe, close
Common
⟦ ⟧
  • MATHEMATICAL LEFT WHITE SQUARE BRACKET
  • MATHEMATICAL RIGHT WHITE SQUARE BRACKET
  • U+27E6
  • U+27E7
  • Ps, open
  • Pe, close
Common
⟨ ⟩
  • MATHEMATICAL LEFT ANGLE BRACKET
  • MATHEMATICAL RIGHT ANGLE BRACKET
  • U+27E8
  • U+27E9
  • Ps, open
  • Pe, close
Common
⟪ ⟫
  • MATHEMATICAL LEFT DOUBLE ANGLE BRACKET
  • MATHEMATICAL RIGHT DOUBLE ANGLE BRACKET
  • U+27EA
  • U+27EB
  • Ps, open
  • Pe, close
Common
⟬ ⟭
  • MATHEMATICAL LEFT WHITE TORTOISE SHELL BRACKET
  • MATHEMATICAL RIGHT WHITE TORTOISE SHELL BRACKET
  • U+27EC
  • U+27ED
  • Ps, open
  • Pe, close
Common
⟮ ⟯
  • MATHEMATICAL LEFT FLATTENED PARENTHESIS
  • MATHEMATICAL RIGHT FLATTENED PARENTHESIS
  • U+27EE
  • U+27EF
  • Ps, open
  • Pe, close
Common
⦃ ⦄
  • LEFT WHITE CURLY BRACKET
  • RIGHT WHITE CURLY BRACKET
  • U+2983
  • U+2984
  • Ps, open
  • Pe, close
Common
⦅ ⦆
  • LEFT WHITE PARENTHESIS
  • RIGHT WHITE PARENTHESIS
  • U+2985
  • U+2986
  • Ps, open
  • Pe, close
Common
⦇ ⦈
  • Z NOTATION LEFT IMAGE BRACKET
  • Z NOTATION RIGHT IMAGE BRACKET
  • U+2987
  • U+2988
  • Ps, open
  • Pe, close
Common
⦉ ⦊
  • Z NOTATION LEFT BINDING BRACKET
  • Z NOTATION RIGHT BINDING BRACKET
  • U+2989
  • U+298A
  • Ps, open
  • Pe, close
Common
⦋ ⦌
  • LEFT SQUARE BRACKET WITH UNDERBAR
  • RIGHT SQUARE BRACKET WITH UNDERBAR
  • U+298B
  • U+298C
  • Ps, open
  • Pe, close
Common
⦍ ⦎
  • LEFT SQUARE BRACKET WITH TICK IN TOP CORNER
  • RIGHT SQUARE BRACKET WITH TICK IN BOTTOM CORNER
  • U+298D
  • U+298E
  • Ps, open
  • Pe, close
Common
⦏ ⦐
  • LEFT SQUARE BRACKET WITH TICK IN BOTTOM CORNER
  • RIGHT SQUARE BRACKET WITH TICK IN TOP CORNER
  • U+298F
  • U+2990
  • Ps, open
  • Pe, close
Common
⦑ ⦒
  • LEFT ANGLE BRACKET WITH DOT
  • RIGHT ANGLE BRACKET WITH DOT
  • U+2991
  • U+2992
  • Ps, open
  • Pe, close
Common
⦓ ⦔
  • LEFT ARC LESS-THAN BRACKET
  • RIGHT ARC GREATER-THAN BRACKET
  • U+2993
  • U+2994
  • Ps, open
  • Pe, close
Common
⦕ ⦖
  • DOUBLE LEFT ARC GREATER-THAN BRACKET
  • DOUBLE RIGHT ARC LESS-THAN BRACKET
  • U+2995
  • U+2996
  • Ps, open
  • Pe, close
Common
⦗ ⦘
  • LEFT BLACK TORTOISE SHELL BRACKET
  • RIGHT BLACK TORTOISE SHELL BRACKET
  • U+2997
  • U+2998
  • Ps, open
  • Pe, close
Common
⧘ ⧙
  • LEFT WIGGLY FENCE
  • RIGHT WIGGLY FENCE
  • U+29D8
  • U+29D9
  • Ps, open
  • Pe, close
Common
⧚ ⧛
  • LEFT DOUBLE WIGGLY FENCE
  • RIGHT DOUBLE WIGGLY FENCE
  • U+29DA
  • U+29DB
  • Ps, open
  • Pe, close
Common
⧼ ⧽
  • LEFT-POINTING CURVED ANGLE BRACKET
  • RIGHT-POINTING CURVED ANGLE BRACKET
  • U+29FC
  • U+29FD
  • Ps, open
  • Pe, close
Common
⸢ ⸣
  • TOP LEFT HALF BRACKET
  • TOP RIGHT HALF BRACKET
  • U+2E22
  • U+2E23
  • Ps, open
  • Pe, close
Common
⸤ ⸥
  • BOTTOM LEFT HALF BRACKET
  • BOTTOM RIGHT HALF BRACKET
  • U+2E24
  • U+2E25
  • Ps, open
  • Pe, close
Common
⸦ ⸧
  • LEFT SIDEWAYS U BRACKET
  • RIGHT SIDEWAYS U BRACKET
  • U+2E26
  • U+2E27
  • Ps, open
  • Pe, close
Common
⸨ ⸩
  • LEFT DOUBLE PARENTHESIS
  • RIGHT DOUBLE PARENTHESIS
  • U+2E28
  • U+2E29
  • Ps, open
  • Pe, close
Common
DOUBLE LOW-REVERSED-9 QUOTATION MARK U+2E42 Ps, open Common
〈 〉
  • LEFT ANGLE BRACKET
  • RIGHT ANGLE BRACKET
  • U+3008
  • U+3009
  • Ps, open
  • Pe, close
Common
《 》
  • LEFT DOUBLE ANGLE BRACKET
  • RIGHT DOUBLE ANGLE BRACKET
  • U+300A
  • U+300B
  • Ps, open
  • Pe, close
Common
「 」
  • LEFT CORNER BRACKET
  • RIGHT CORNER BRACKET
  • U+300C
  • U+300D
  • Ps, open
  • Pe, close
Common
『 』
  • LEFT WHITE CORNER BRACKET
  • RIGHT WHITE CORNER BRACKET
  • U+300E
  • U+300F
  • Ps, open
  • Pe, close
Common
【 】
  • LEFT BLACK LENTICULAR BRACKET
  • RIGHT BLACK LENTICULAR BRACKET
  • U+3010
  • U+3011
  • Ps, open
  • Pe, close
Common
〔 〕
  • LEFT TORTOISE SHELL BRACKET
  • RIGHT TORTOISE SHELL BRACKET
  • U+3014
  • U+3015
  • Ps, open
  • Pe, close
Common
〖 〗
  • LEFT WHITE LENTICULAR BRACKET
  • RIGHT WHITE LENTICULAR BRACKET
  • U+3016
  • U+3017
  • Ps, open
  • Pe, close
Common
〘 〙
  • LEFT WHITE TORTOISE SHELL BRACKET
  • RIGHT WHITE TORTOISE SHELL BRACKET
  • U+3018
  • U+3019
  • Ps, open
  • Pe, close
Common
〚 〛
  • LEFT WHITE SQUARE BRACKET
  • RIGHT WHITE SQUARE BRACKET
  • U+301A
  • U+301B
  • Ps, open
  • Pe, close
Common
〝 〞
  • REVERSED DOUBLE PRIME QUOTATION MARK
  • DOUBLE PRIME QUOTATION MARK
  • U+301D
  • U+301E
  • Ps, open
  • Pe, close
Common
LOW DOUBLE PRIME QUOTATION MARK U+301F Pe, close Common
﴿ ORNATE RIGHT PARENTHESIS U+FD3F Ps, open Common
︗ ︘
  • PRESENTATION FORM FOR VERTICAL LEFT WHITE LENTICULAR BRACKET
  • PRESENTATION FORM FOR VERTICAL RIGHT WHITE LENTICULAR BRAKCET
  • U+FE17
  • U+FE18
  • Ps, open
  • Pe, close
Common
︵ ︶
  • PRESENTATION FORM FOR VERTICAL LEFT PARENTHESIS
  • PRESENTATION FORM FOR VERTICAL RIGHT PARENTHESIS
  • U+FE35
  • U+FE36
  • Ps, open
  • Pe, close
Common
︷ ︸
  • PRESENTATION FORM FOR VERTICAL LEFT CURLY BRACKET
  • PRESENTATION FORM FOR VERTICAL RIGHT CURLY BRACKET
  • U+FE37
  • U+FE38
  • Ps, open
  • Pe, close
Common
︹ ︺
  • PRESENTATION FORM FOR VERTICAL LEFT TORTOISE SHELL BRACKET
  • PRESENTATION FORM FOR VERTICAL RIGHT TORTOISE SHELL BRACKET
  • U+FE39
  • U+FE3A
  • Ps, open
  • Pe, close
Common
︻ ︼
  • PRESENTATION FORM FOR VERTICAL LEFT BLACK LENTICULAR BRACKET
  • PRESENTATION FORM FOR VERTICAL RIGHT BLACK LENTICULAR BRACKET
  • U+FE3B
  • U+FE3C
  • Ps, open
  • Pe, close
Common
︽ ︾
  • PRESENTATION FORM FOR VERTICAL LEFT DOUBLE ANGLE BRACKET
  • PRESENTATION FORM FOR VERTICAL RIGHT DOUBLE ANGLE BRACKET
  • U+FE3D
  • U+FE3E
  • Ps, open
  • Pe, close
Common
︿ ﹀
  • PRESENTATION FORM FOR VERTICAL LEFT ANGLE BRACKET
  • PRESENTATION FORM FOR VERTICAL RIGHT ANGLE BRACKET
  • U+FE3F
  • U+FE40
  • Ps, open
  • Pe, close
Common
﹁ ﹂
  • PRESENTATION FORM FOR VERTICAL LEFT CORNER BRACKET
  • PRESENTATION FORM FOR VERTICAL RIGHT CORNER BRACKET
  • U+FE41
  • U+FE42
  • Ps, open
  • Pe, close
Common
﹃ ﹄
  • PRESENTATION FORM FOR VERTICAL LEFT WHITE CORNER BRACKET
  • PRESENTATION FORM FOR VERTICAL RIGHT WHITE CORNER BRACKET
  • U+FE43
  • U+FE44
  • Ps, open
  • Pe, close
Common
﹇ ﹈
  • PRESENTATION FORM FOR VERTICAL LEFT SQUARE BRACKET
  • PRESENTATION FORM FOR VERTICAL RIGHT SQUARE BRACKET
  • U+FE47
  • U+FE48
  • Ps, open
  • Pe, close
Common
﹙ ﹚
  • SMALL LEFT PARENTHESIS
  • SMALL RIGHT PARENTHESIS
  • U+FE59
  • U+FE5A
  • Ps, open
  • Pe, close
Common
﹛ ﹜
  • SMALL LEFT CURLY BRACKET
  • SMALL RIGHT CURLY BRACKET
  • U+FE5B
  • U+FE5C
  • Ps, open
  • Pe, close
Common
﹝ ﹞
  • SMALL LEFT TORTOISE SHELL BRACKET
  • SMALL RIGHT TORTOISE SHELL BRACKET
  • U+FE5D
  • U+FE5E
  • Ps, open
  • Pe, close
Common
( )
  • FULLWIDTH LEFT PARENTHESIS
  • FULLWIDTH RIGHT PARENTHESIS
  • U+FF08
  • U+FF09
  • Ps, open
  • Pe, close
Common
[ ]
  • FULLWIDTH LEFT SQUARE BRACKET
  • FULLWIDTH RIGHT SQUARE BRACKET
  • U+FF3B
  • U+FF3D
  • Ps, open
  • Pe, close
Common
{ }
  • FULLWIDTH LEFT CURLY BRACKET
  • FULLWIDTH RIGHT CURLY BRACKET
  • U+FF5B
  • U+FF5D
  • Ps, open
  • Pe, close
Common
⦅ ⦆
  • FULLWIDTH LEFT WHITE PARENTHESIS
  • FULLWIDTH RIGHT WHITE PARENTHESIS
  • U+FF5F
  • U+FF60
  • Ps, open
  • Pe, close
Common
「 」
  • HALFWIDTH LEFT CORNER BRACKET
  • HALFWIDTH RIGHT CORNER BRACKET
  • U+FF62
  • U+FF63
  • Ps, open
  • Pe, close
Common
᚛ ᚜
  • OGHAM FEATHER MARK
  • OGHAM REVERSED FEATHER MARK
  • U+169B
  • U+169C
  • Ps, open
  • Pe, close
Ogham
༺ ༻
  • TIBETAN MARK GUG RTAGS GYON
  • TIBETAN MARK GUG RTAGS GYAS
  • U+0F3A
  • U+0F3B
  • Ps, open
  • Pe, close
Tibetan
༼ ༽
  • TIBETAN MARK ANG KHANG GYON
  • TIBETAN MARK ANG KHANG GYAS
  • U+0F3C
  • U+0F3D
  • Ps, open
  • Pe, close
Tibetan
Pc, connector
_ LOW LINE U+005F Pc, connector Common
UNDERTIE U+203F Pc, connector Common
CHARACTER TIE U+2040 Pc, connector Common
INVERTED UNDERTIE U+2054 Pc, connector Common
PRESENTATION FORM FOR VERTICAL LOW LINE U+FE33 Pc, connector Common
PRESENTATION FORM FOR VERTICAL WAVY LOW LINE U+FE34 Pc, connector Common
DASHED LOW LINE U+FE4D Pc, connector Common
CENTRELINE LOW LINE U+FE4E Pc, connector Common
WAVY LOW LINE U+FE4F Pc, connector Common
_ FULLWIDTH LOW LINE U+FF3F Pc, connector Common
Po, other
! EXCLAMATION MARK U+0021 Po, other Common
" QUOTATION MARK U+0022 Po, other Common
# NUMBER SIGN U+0023 Po, other Common
% PERCENT SIGN U+0025 Po, other Common
& AMPERSAND U+0026 Po, other Common
' APOSTROPHE U+0027 Po, other Common
* ASTERISK U+002A Po, other Common
, COMMA U+002C Po, other Common
. FULL STOP U+002E Po, other Common
/ SOLIDUS U+002F Po, other Common
: COLON U+003A Po, other Common
; SEMICOLON U+003B Po, other Common
? QUESTION MARK U+003F Po, other Common
@ COMMERCIAL AT U+0040 Po, other Common
\ REVERSE SOLIDUS U+005C Po, other Common
¡ INVERTED EXCLAMATION MARK U+00A1 Po, other Common
§ SECTION SIGN U+00A7 Po, other Common
PILCROW SIGN U+00B6 Po, other Common
· MIDDLE DOT U+00B7 Po, other Common
¿ INVERTED QUESTION MARK U+00BF Po, other Common
; GREEK QUESTION MARK U+037E Po, other Common
· GREEK ANO TELEIA U+0387 Po, other Common
، ARABIC COMMA U+060C Po, other Common
؛ ARABIC SEMICOLON U+061B Po, other Common
؟ ARABIC QUESTION MARK U+061F Po, other Common
DEVANAGARI DANDA U+0964 Po, other Common
DEVANAGARI DOUBLE DANDA U+0965 Po, other Common
GEORGIAN PARAGRAPH SEPARATOR U+10FB Po, other Common
RUNIC SINGLE PUNCTUATION U+16EB Po, other Common
RUNIC MULTIPLE PUNCTUATION U+16EC Po, other Common
RUNIC CROSS PUNCTUATION U+16ED Po, other Common
PHILIPPINE SINGLE PUNCTUATION U+1735 Po, other Common
PHILIPPINE DOUBLE PUNCTUATION U+1736 Po, other Common
MONGOLIAN COMMA U+1802 Po, other Common
MONGOLIAN FULL STOP U+1803 Po, other Common
MONGOLIAN FOUR DOTS U+1805 Po, other Common
VEDIC SIGN NIHSHVASA U+1CD3 Po, other Common
DOUBLE VERTICAL LINE U+2016 Po, other Common
DOUBLE LOW LINE U+2017 Po, other Common
DAGGER U+2020 Po, other Common
DOUBLE DAGGER U+2021 Po, other Common
BULLET U+2022 Po, other Common
TRIANGULAR BULLET U+2023 Po, other Common
ONE DOT LEADER U+2024 Po, other Common
TWO DOT LEADER U+2025 Po, other Common
HORIZONTAL ELLIPSIS U+2026 Po, other Common
HYPHENATION POINT U+2027 Po, other Common
PER MILLE SIGN U+2030 Po, other Common
PER TEN THOUSAND SIGN U+2031 Po, other Common
PRIME U+2032 Po, other Common
DOUBLE PRIME U+2033 Po, other Common
TRIPLE PRIME U+2034 Po, other Common
REVERSED PRIME U+2035 Po, other Common
REVERSED DOUBLE PRIME U+2036 Po, other Common
REVERSED TRIPLE PRIME U+2037 Po, other Common
CARET U+2038 Po, other Common
REFERENCE MARK U+203B Po, other Common
DOUBLE EXCLAMATION MARK U+203C Po, other Common
INTERROBANG U+203D Po, other Common
OVERLINE U+203E Po, other Common
CARET INSERTION POINT U+2041 Po, other Common
ASTERISM U+2042 Po, other Common
HYPHEN BULLET U+2043 Po, other Common
DOUBLE QUESTION MARK U+2047 Po, other Common
QUESTION EXCLAMATION MARK U+2048 Po, other Common
EXCLAMATION QUESTION MARK U+2049 Po, other Common
TIRONIAN SIGN ET U+204A Po, other Common
REVERSED PILCROW SIGN U+204B Po, other Common
BLACK LEFTWARDS BULLET U+204C Po, other Common
BLACK RIGHTWARDS BULLET U+204D Po, other Common
LOW ASTERISK U+204E Po, other Common
REVERSED SEMICOLON U+204F Po, other Common
CLOSE UP U+2050 Po, other Common
TWO ASTERISKS ALIGNED VERTICALLY U+2051 Po, other Common
SWUNG DASH U+2053 Po, other Common
FLOWER PUNCTUATION MARK U+2055 Po, other Common
THREE DOT PUNCTUATION U+2056 Po, other Common
QUADRUPLE PRIME U+2057 Po, other Common
FOUR DOT PUNCTUATION U+2058 Po, other Common
FIVE DOT PUNCTUATION U+2059 Po, other Common
TWO DOT PUNCTUATION U+205A Po, other Common
FOUR DOT MARK U+205B Po, other Common
DOTTED CROSS U+205C Po, other Common
TRICOLON U+205D Po, other Common
VERTICAL FOUR DOTS U+205E Po, other Common
RIGHT ANGLE SUBSTITUTION MARKER U+2E00 Po, other Common
RIGHT ANGLE DOTTED SUBSTITUTION MARKER U+2E01 Po, other Common
RAISED INTERPOLATION MARKER U+2E06 Po, other Common
RAISED DOTTED INTERPOLATION MARKER U+2E07 Po, other Common
DOTTED TRANSPOSITION MARKER U+2E08 Po, other Common
RAISED SQUARE U+2E0B Po, other Common
EDITORIAL CORONIS U+2E0E Po, other Common
PARAGRAPHOS U+2E0F Po, other Common
FORKED PARAGRAPHOS U+2E10 Po, other Common
REVERSED FORKED PARAGRAPHOS U+2E11 Po, other Common
HYPODIASTOLE U+2E12 Po, other Common
DOTTED OBELOS U+2E13 Po, other Common
DOWNWARDS ANCORA U+2E14 Po, other Common
UPWARDS ANCORA U+2E15 Po, other Common
DOTTED RIGHT-POINTING ANGLE U+2E16 Po, other Common
INVERTED INTERROBANG U+2E18 Po, other Common
PALM BRANCH U+2E19 Po, other Common
TILDE WITH RING ABOVE U+2E1B Po, other Common
TILDE WITH DOT ABOVE U+2E1E Po, other Common
TILDE WITH DOT BELOW U+2E1F Po, other Common
TWO DOTS OVER ONE DOT PUNCTUATION U+2E2A Po, other Common
ONE DOT OVER TWO DOTS PUNCTUATION U+2E2B Po, other Common
SQUARED FOUR DOT PUNCTUATION U+2E2C Po, other Common
FIVE DOT MARK U+2E2D Po, other Common
REVERSED QUESTION MARK U+2E2E Po, other Common
RING POINT U+2E30 Po, other Common
WORD SEPARATOR MIDDLE DOT U+2E31 Po, other Common
TURNED COMMA U+2E32 Po, other Common
RAISED DOT U+2E33 Po, other Common
RAISED COMMA U+2E34 Po, other Common
TURNED SEMICOLON U+2E35 Po, other Common
DAGGER WITH LEFT GUARD U+2E36 Po, other Common
DAGGER WITH RIGHT GUARD U+2E37 Po, other Common
TURNED DAGGER U+2E38 Po, other Common
TOP HALF SECTION SIGN U+2E39 Po, other Common
STENOGRAPHIC FULL STOP U+2E3C Po, other Common
VERTICAL SIX DOTS U+2E3D Po, other Common
WIGGLY VERTICAL LINE U+2E3E Po, other Common
⸿ CAPITULUM U+2E3F Po, other Common
REVERSED COMMA U+2E41 Po, other Common
DASH WITH LEFT UPTURN U+2E43 Po, other Common
DOUBLE SUSPENSION MARK U+2E44 Po, other Common
INVERTED LOW KAVYKA U+2E45 Po, other Common
INVERTED LOW KAVYKA WITH KAVYKA ABOVE U+2E46 Po, other Common
LOW KAVYKA U+2E47 Po, other Common
LOW KAVYKA WITH DOT U+2E48 Po, other Common
DOUBLE STACKED COMMA U+2E49 Po, other Common
DOTTED SOLIDUS U+2E4A Po, other Common
TRIPLE DAGGER U+2E4B Po, other Common
MEDIEVAL COMMA U+2E4C Po, other Common
PARAGRAPHUS MARK U+2E4D Po, other Common
PUNCTUS ELEVATUS MARK U+2E4E Po, other Common
CORNISH VERSE DIVIDER U+2E4F Po, other Common
TIRONIAN SIGN CAPITAL ET U+2E52 Po, other Common
IDEOGRAPHIC COMMA U+3001 Po, other Common
IDEOGRAPHIC FULL STOP U+3002 Po, other Common
DITTO MARK U+3003 Po, other Common
PART ALTERNATION MARK U+303D Po, other Common
KATAKANA MIDDLE DOT U+30FB Po, other Common
KAYAH LI SIGN CWI U+A92E Po, other Common
PRESENTATION FORM FOR VERTICAL COMMA U+FE10 Po, other Common
PRESENTATION FORM FOR VERTICAL IDEOGRAPHIC COMMA U+FE11 Po, other Common
PRESENTATION FORM FOR VERTICAL IDEOGRAPHIC FULL STOP U+FE12 Po, other Common
PRESENTATION FORM FOR VERTICAL COLON U+FE13 Po, other Common
PRESENTATION FORM FOR VERTICAL SEMICOLON U+FE14 Po, other Common
PRESENTATION FORM FOR VERTICAL EXCLAMATION MARK U+FE15 Po, other Common
PRESENTATION FORM FOR VERTICAL QUESTION MARK U+FE16 Po, other Common
PRESENTATION FORM FOR VERTICAL HORIZONTAL ELLIPSIS U+FE19 Po, other Common
PRESENTATION FORM FOR VERTICAL TWO DOT LEADER U+FE30 Po, other Common
SESAME DOT U+FE45 Po, other Common
WHITE SESAME DOT U+FE46 Po, other Common
DASHED OVERLINE U+FE49 Po, other Common
CENTRELINE OVERLINE U+FE4A Po, other Common
WAVY OVERLINE U+FE4B Po, other Common
DOUBLE WAVY OVERLINE U+FE4C Po, other Common
SMALL COMMA U+FE50 Po, other Common
SMALL IDEOGRAPHIC COMMA U+FE51 Po, other Common
SMALL FULL STOP U+FE52 Po, other Common
SMALL SEMICOLON U+FE54 Po, other Common
SMALL COLON U+FE55 Po, other Common
SMALL QUESTION MARK U+FE56 Po, other Common
SMALL EXCLAMATION MARK U+FE57 Po, other Common
SMALL NUMBER SIGN U+FE5F Po, other Common
SMALL AMPERSAND U+FE60 Po, other Common
SMALL ASTERISK U+FE61 Po, other Common
SMALL REVERSE SOLIDUS U+FE68 Po, other Common
SMALL PERCENT SIGN U+FE6A Po, other Common
SMALL COMMERCIAL AT U+FE6B Po, other Common
FULLWIDTH EXCLAMATION MARK U+FF01 Po, other Common
FULLWIDTH QUOTATION MARK U+FF02 Po, other Common
FULLWIDTH NUMBER SIGN U+FF03 Po, other Common
FULLWIDTH PERCENT SIGN U+FF05 Po, other Common
FULLWIDTH AMPERSAND U+FF06 Po, other Common
FULLWIDTH APOSTROPHE U+FF07 Po, other Common
FULLWIDTH ASTERISK U+FF0A Po, other Common
FULLWIDTH COMMA U+FF0C Po, other Common
FULLWIDTH FULL STOP U+FF0E Po, other Common
FULLWIDTH SOLIDUS U+FF0F Po, other Common
FULLWIDTH COLON U+FF1A Po, other Common
FULLWIDTH SEMICOLON U+FF1B Po, other Common
FULLWIDTH QUESTION MARK U+FF1F Po, other Common
FULLWIDTH COMMERCIAL AT U+FF20 Po, other Common
FULLWIDTH REVERSE SOLIDUS U+FF3C Po, other Common
HALFWIDTH IDEOGRAPHIC FULL STOP U+FF61 Po, other Common
HALFWIDTH IDEOGRAPHIC COMMA U+FF64 Po, other Common
HALFWIDTH KATAKANA MIDDLE DOT U+FF65 Po, other Common
𐄀 AEGEAN WORD SEPARATOR LINE U+10100 Po, other Common
𐄁 AEGEAN WORD SEPARATOR DOT U+10101 Po, other Common
𐄂 AEGEAN CHECK MARK U+10102 Po, other Common
𖿢 OLD CHINESE HOOK MARK U+16FE2 Po, other Common
𞥞 ADLAM INITIAL EXCLAMATION MARK U+1E95E Po, other Adlam
𞥟 ADLAM INITIAL QUESTION MARK U+1E95F Po, other Adlam
՚ ARMENIAN APOSTROPHE U+055A Po, other Armenian
՛ ARMENIAN EMPHASIS MARK U+055B Po, other Armenian
՜ ARMENIAN EXCLAMATION MARK U+055C Po, other Armenian
՝ ARMENIAN COMMA U+055D Po, other Armenian
՞ ARMENIAN QUESTION MARK U+055E Po, other Armenian
՟ ARMENIAN ABBREVIATION MARK U+055F Po, other Armenian
։ ARMENIAN FULL STOP U+0589 Po, other Armenian
؉ ARABIC-INDIC PER MILLE SIGN U+0609 Po, other Arabic
؊ ARABIC-INDIC PER TEN THOUSAND SIGN U+060A Po, other Arabic
؍ ARABIC DATE SEPARATOR U+060D Po, other Arabic
؞ ARABIC TRIPLE DOT PUNCTUATION MARK U+061E Po, other Arabic
٪ ARABIC PERCENT SIGN U+066A Po, other Arabic
٫ ARABIC DECIMAL SEPARATOR U+066B Po, other Arabic
٬ ARABIC THOUSANDS SEPARATOR U+066C Po, other Arabic
٭ ARABIC FIVE POINTED STAR U+066D Po, other Arabic
۔ ARABIC FULL STOP U+06D4 Po, other Arabic
𑜼 AHOM SIGN SMALL SECTION U+1173C Po, other Ahom
𑜽 AHOM SIGN SECTION U+1173D Po, other Ahom
𑜾 AHOM SIGN RULAI U+1173E Po, other Ahom
𐬹 AVESTAN ABBREVIATION MARK U+10B39 Po, other Avestan
𐬺 TINY TWO DOTS OVER ONE DOT PUNCTUATION U+10B3A Po, other Avestan
𐬻 SMALL TWO DOTS OVER ONE DOT PUNCTUATION U+10B3B Po, other Avestan
𐬼 LARGE TWO DOTS OVER ONE DOT PUNCTUATION U+10B3C Po, other Avestan
𐬽 LARGE ONE DOT OVER TWO DOTS PUNCTUATION U+10B3D Po, other Avestan
𐬾 LARGE TWO RINGS OVER ONE RING PUNCTUATION U+10B3E Po, other Avestan
𐬿 LARGE ONE RING OVER TWO RINGS PUNCTUATION U+10B3F Po, other Avestan
BALINESE PANTI U+1B5A Po, other Balinese
BALINESE PAMADA U+1B5B Po, other Balinese
BALINESE WINDU U+1B5C Po, other Balinese
BALINESE CARIK PAMUNGKAH U+1B5D Po, other Balinese
BALINESE CARIK SIKI U+1B5E Po, other Balinese
BALINESE CARIK PAREREN U+1B5F Po, other Balinese
BALINESE PAMENENG U+1B60 Po, other Balinese
BAMUM NJAEMLI U+A6F2 Po, other Bamum
BAMUM FULL STOP U+A6F3 Po, other Bamum
BAMUM COLON U+A6F4 Po, other Bamum
BAMUM COMMA U+A6F5 Po, other Bamum
BAMUM SEMICOLON U+A6F6 Po, other Bamum
BAMUM QUESTION MARK U+A6F7 Po, other Bamum
𖫵 BASSA VAH FULL STOP U+16AF5 Po, other Bassa Vah
BATAK SYMBOL BINDU NA METEK U+1BFC Po, other Batak
BATAK SYMBOL BINDU PINARBORAS U+1BFD Po, other Batak
BATAK SYMBOL BINDU JUDUL U+1BFE Po, other Batak
᯿ BATAK SYMBOL BINDU PANGOLAT U+1BFF Po, other Batak
BENGALI ABBREVIATION SIGN U+09FD Po, other Bengali
𑱁 BHAIKSUKI DANDA U+11C41 Po, other Bhaiksuki
𑱂 BHAIKSUKI DOUBLE DANDA U+11C42 Po, other Bhaiksuki
𑱃 BHAIKSUKI WORD SEPARATOR U+11C43 Po, other Bhaiksuki
𑱄 BHAIKSUKI GAP FILLER-1 U+11C44 Po, other Bhaiksuki
𑱅 BHAIKSUKI GAP FILLER-2 U+11C45 Po, other Bhaiksuki
𑁇 BRAHMI DANDA U+11047 Po, other Brahmi
𑁈 BRAHMI DOUBLE DANDA U+11048 Po, other Brahmi
𑁉 BRAHMI PUNCTUATION DOT U+11049 Po, other Brahmi
𑁊 BRAHMI PUNCTUATION DOUBLE DOT U+1104A Po, other Brahmi
𑁋 BRAHMI PUNCTUATION LINE U+1104B Po, other Brahmi
𑁌 BRAHMI PUNCTUATION CRESCENT BAR U+1104C Po, other Brahmi
𑁍 BRAHMI PUNCTUATION LOTUS U+1104D Po, other Brahmi
BUGINESE PALLAWA U+1A1E Po, other Buginese
BUGINESE END OF SECTION U+1A1F Po, other Buginese
CANADIAN SYLLABICS FULL STOP U+166E Po, other Canadian Aboriginal
𑅀 CHAKMA SECTION MARK U+11140 Po, other Chakma
𑅁 CHAKMA DANDA U+11141 Po, other Chakma
𑅂 CHAKMA DOUBLE DANDA U+11142 Po, other Chakma
𑅃 CHAKMA QUESTION MARK U+11143 Po, other Chakma
CHAM PUNCTUATION SPIRAL U+AA5C Po, other Cham
CHAM PUNCTUATION DANDA U+AA5D Po, other Cham
CHAM PUNCTUATION DOUBLE DANDA U+AA5E Po, other Cham
CHAM PUNCTUATION TRIPLE DANDA U+AA5F Po, other Cham
COPTIC OLD NUBIAN FULL STOP U+2CF9 Po, other Coptic
COPTIC OLD NUBIAN DIRECT QUESTION MARK U+2CFA Po, other Coptic
COPTIC OLD NUBIAN INDIRECT QUESTION MARK U+2CFB Po, other Coptic
COPTIC OLD NUBIAN VERSE DIVIDER U+2CFC Po, other Coptic
COPTIC FULL STOP U+2CFE Po, other Coptic
⳿ COPTIC MORPHOLOGICAL DIVIDER U+2CFF Po, other Coptic
𒑰 CUNEIFORM PUNCTUATION SIGN OLD ASSYRIAN WORD DIVIDER U+12470 Po, other Cuneiform
𒑱 CUNEIFORM PUNCTUATION SIGN VERTICAL COLON U+12471 Po, other Cuneiform
𒑲 CUNEIFORM PUNCTUATION SIGN DIAGONAL COLON U+12472 Po, other Cuneiform
𒑳 CUNEIFORM PUNCTUATION SIGN DIAGONAL TRICOLON U+12473 Po, other Cuneiform
𒑴 CUNEIFORM PUNCTUATION SIGN DIAGONAL QUADCOLON U+12474 Po, other Cuneiform
SLAVONIC ASTERISK U+A673 Po, other Cyrillic
CYRILLIC KAVYKA U+A67E Po, other Cyrillic
𐕯 CAUCASIAN ALBANIAN CITATION MARK U+1056F Po, other Caucasian Albanian
DEVANAGARI ABBREVIATION SIGN U+0970 Po, other Devanagari
DEVANAGARI SIGN PUSHPIKA U+A8F8 Po, other Devanagari
DEVANAGARI GAP FILLER U+A8F9 Po, other Devanagari
DEVANAGARI CARET U+A8FA Po, other Devanagari
DEVANAGARI SIGN SIDDHAM U+A8FC Po, other Devanagari
𑥄 DIVES AKURU DOUBLE DANDA U+11944 Po, other Dives Akuru
𑥅 DIVES AKURU GAP FILLER U+11945 Po, other Dives Akuru
𑥆 DIVES AKURU END OF TEXT MARK U+11946 Po, other Dives Akuru
𑠻 DOGRA ABBREVIATION SIGN U+1183B Po, other Dogra
𛲟 DUPLOYAN PUNCTUATION CHINOOK FULL STOP U+1BC9F Po, other Duployan
ETHIOPIC SECTION MARK U+1360 Po, other Ethiopic
ETHIOPIC WORDSPACE U+1361 Po, other Ethiopic
ETHIOPIC FULL STOP U+1362 Po, other Ethiopic
ETHIOPIC COMMA U+1363 Po, other Ethiopic
ETHIOPIC SEMICOLON U+1364 Po, other Ethiopic
ETHIOPIC COLON U+1365 Po, other Ethiopic
ETHIOPIC PREFACE COLON U+1366 Po, other Ethiopic
ETHIOPIC QUESTION MARK U+1367 Po, other Ethiopic
ETHIOPIC PARAGRAPH SEPARATOR U+1368 Po, other Ethiopic
GURMUKHI ABBREVIATION SIGN U+0A76 Po, other Gurmukhi
GUJARATI ABBREVIATION SIGN U+0AF0 Po, other Gujarati
׀ HEBREW PUNCTUATION PASEQ U+05C0 Po, other Hebrew
׃ HEBREW PUNCTUATION SOF PASUQ U+05C3 Po, other Hebrew
׆ HEBREW PUNCTUATION NUN HAFUKHA U+05C6 Po, other Hebrew
׳ HEBREW PUNCTUATION GERESH U+05F3 Po, other Hebrew
״ HEBREW PUNCTUATION GERSHAYIM U+05F4 Po, other Hebrew
𐡗 IMPERIAL ARAMAIC SECTION SIGN U+10857 Po, other Imperial Aramaic
JAVANESE LEFT RERENGGAN U+A9C1 Po, other Javanese
JAVANESE RIGHT RERENGGAN U+A9C2 Po, other Javanese
JAVANESE PADA ANDAP U+A9C3 Po, other Javanese
JAVANESE PADA MADYA U+A9C4 Po, other Javanese
JAVANESE PADA LUHUR U+A9C5 Po, other Javanese
JAVANESE PADA WINDU U+A9C6 Po, other Javanese
JAVANESE PADA PANGKAT U+A9C7 Po, other Javanese
JAVANESE PADA LINGSA U+A9C8 Po, other Javanese
JAVANESE PADA LUNGSI U+A9C9 Po, other Javanese
JAVANESE PADA ADEG U+A9CA Po, other Javanese
JAVANESE PADA ADEG ADEG U+A9CB Po, other Javanese
JAVANESE PADA PISELEH U+A9CC Po, other Javanese
JAVANESE TURNED PADA PISELEH U+A9CD Po, other Javanese
JAVANESE PADA TIRTA TUMETES U+A9DE Po, other Javanese
JAVANESE PADA ISEN-ISEN U+A9DF Po, other Javanese
𑂻 KAITHI ABBREVIATION SIGN U+110BB Po, other Kaithi
𑂼 KAITHI ENUMERATION SIGN U+110BC Po, other Kaithi
𑂾 KAITHI SECTION MARK U+110BE Po, other Kaithi
𑂿 KAITHI DOUBLE SECTION MARK U+110BF Po, other Kaithi
𑃀 KAITHI DANDA U+110C0 Po, other Kaithi
𑃁 KAITHI DOUBLE DANDA U+110C1 Po, other Kaithi
KANNADA SIGN SIDDHAM U+0C84 Po, other Kannada
KAYAH LI SIGN SHYA U+A92F Po, other Kayah Li
𐩐 KHAROSHTHI PUNCTUATION DOT U+10A50 Po, other Kharoshthi
𐩑 KHAROSHTHI PUNCTUATION SMALL CIRCLE U+10A51 Po, other Kharoshthi
𐩒 KHAROSHTHI PUNCTUATION CIRCLE U+10A52 Po, other Kharoshthi
𐩓 KHAROSHTHI PUNCTUATION CRESCENT BAR U+10A53 Po, other Kharoshthi
𐩔 KHAROSHTHI PUNCTUATION MANGALAM U+10A54 Po, other Kharoshthi
𐩕 KHAROSHTHI PUNCTUATION LOTUS U+10A55 Po, other Kharoshthi
𐩖 KHAROSHTHI PUNCTUATION DANDA U+10A56 Po, other Kharoshthi
𐩗 KHAROSHTHI PUNCTUATION DOUBLE DANDA U+10A57 Po, other Kharoshthi
𐩘 KHAROSHTHI PUNCTUATION LINES U+10A58 Po, other Kharoshthi
KHMER SIGN KHAN U+17D4 Po, other Khmer
KHMER SIGN BARIYOOSAN U+17D5 Po, other Khmer
KHMER SIGN CAMNUC PII KUUH U+17D6 Po, other Khmer
KHMER SIGN BEYYAL U+17D8 Po, other Khmer
KHMER SIGN PHNAEK MUAN U+17D9 Po, other Khmer
KHMER SIGN KOOMUUT U+17DA Po, other Khmer
𑈸 KHOJKI DANDA U+11238 Po, other Khojki
𑈹 KHOJKI DOUBLE DANDA U+11239 Po, other Khojki
𑈺 KHOJKI WORD SEPARATOR U+1123A Po, other Khojki
𑈻 KHOJKI SECTION MARK U+1123B Po, other Khojki
𑈼 KHOJKI DOUBLE SECTION MARK U+1123C Po, other Khojki
𑈽 KHOJKI ABBREVIATION SIGN U+1123D Po, other Khojki
LEPCHA PUNCTUATION TA-ROL U+1C3B Po, other Lepcha
LEPCHA PUNCTUATION NYET THYOOM TA-ROL U+1C3C Po, other Lepcha
LEPCHA PUNCTUATION CER-WA U+1C3D Po, other Lepcha
LEPCHA PUNCTUATION TSHOOK CER-WA U+1C3E Po, other Lepcha
᰿ LEPCHA PUNCTUATION TSHOOK U+1C3F Po, other Lepcha
LIMBU EXCLAMATION MARK U+1944 Po, other Limbu
LIMBU QUESTION MARK U+1945 Po, other Limbu
LISU PUNCTUATION COMMA U+A4FE Po, other Lisu
LISU PUNCTUATION FULL STOP U+A4FF Po, other Lisu
𐤿 LYDIAN TRIANGULAR MARK U+1093F Po, other Lydian
𑅴 MAHAJANI ABBREVIATION SIGN U+11174 Po, other Mahajani
𑅵 MAHAJANI SECTION MARK U+11175 Po, other Mahajani
𑻷 MAKASAR PASSIMBANG U+11EF7 Po, other Makasar
𑻸 MAKASAR END OF SECTION U+11EF8 Po, other Makasar
𐫰 MANICHAEAN PUNCTUATION STAR U+10AF0 Po, other Manichaean
𐫱 MANICHAEAN PUNCTUATION FLEURON U+10AF1 Po, other Manichaean
𐫲 MANICHAEAN PUNCTUATION DOUBLE DOT WITHIN DOT U+10AF2 Po, other Manichaean
𐫳 MANICHAEAN PUNCTUATION DOT WITHIN DOT U+10AF3 Po, other Manichaean
𐫴 MANICHAEAN PUNCTUATION DOT U+10AF4 Po, other Manichaean
𐫵 MANICHAEAN PUNCTUATION TWO DOTS U+10AF5 Po, other Manichaean
𐫶 MANICHAEAN PUNCTUATION LINE FILLER U+10AF6 Po, other Manichaean
𑱰 MARCHEN HEAD MARK U+11C70 Po, other Marchen
𑱱 MARCHEN MARK SHAD U+11C71 Po, other Marchen
𖺗 MEDEFAIDRIN COMMA U+16E97 Po, other Medefaidrin
𖺘 MEDEFAIDRIN FULL STOP U+16E98 Po, other Medefaidrin
𖺙 MEDEFAIDRIN SYMBOL AIVA U+16E99 Po, other Medefaidrin
𖺚 MEDEFAIDRIN EXCLAMATION OH U+16E9A Po, other Medefaidrin
MEETEI MAYEK CHEIKHAN U+AAF0 Po, other Meetei Mayek
MEETEI MAYEK AHANG KHUDAM U+AAF1 Po, other Meetei Mayek
MEETEI MAYEK CHEIKHEI U+ABEB Po, other Meetei Mayek
𑙁 MODI DANDA U+11641 Po, other Modi
𑙂 MODI DOUBLE DANDA U+11642 Po, other Modi
𑙃 MODI ABBREVIATION SIGN U+11643 Po, other Modi
MONGOLIAN BIRGA U+1800 Po, other Mongolian
MONGOLIAN ELLIPSIS U+1801 Po, other Mongolian
MONGOLIAN COLON U+1804 Po, other Mongolian
MONGOLIAN SIBE SYLLABLE BOUNDARY MARKER U+1807 Po, other Mongolian
MONGOLIAN MANCHU COMMA U+1808 Po, other Mongolian
MONGOLIAN MANCHU FULL STOP U+1809 Po, other Mongolian
MONGOLIAN NIRUGU U+180A Po, other Mongolian
𑙠 MONGOLIAN BIRGA WITH ORNAMENT U+11660 Po, other Mongolian
𑙡 MONGOLIAN ROTATED BIRGA U+11661 Po, other Mongolian
𑙢 MONGOLIAN DOUBLE BIRGA WITH ORNAMENT U+11662 Po, other Mongolian
𑙣 MONGOLIAN TRIPLE BIRGA WITH ORNAMENT U+11663 Po, other Mongolian
𑙤 MONGOLIAN BIRGA WITH DOUBLE ORNAMENT U+11664 Po, other Mongolian
𑙥 MONGOLIAN ROTATED BIRGA WITH ORNAMENT U+11665 Po, other Mongolian
𑙦 MONGOLIAN ROTATED BIRGA WITH DOUBLE ORNAMENT U+11666 Po, other Mongolian
𑙧 MONGOLIAN INVERTED BIRGA U+11667 Po, other Mongolian
𑙨 MONGOLIAN INVERTED BIRGA WITH DOUBLE ORNAMENT U+11668 Po, other Mongolian
𑙩 MONGOLIAN SWIRL BIRGA U+11669 Po, other Mongolian
𑙪 MONGOLIAN SWIRL BIRGA WITH ORNAMENT U+1166A Po, other Mongolian
𑙫 MONGOLIAN SWIRL BIRGA WITH DOUBLE ORNAMENT U+1166B Po, other Mongolian
𑙬 MONGOLIAN TURNED SWIRL BIRGA WITH DOUBLE ORNAMENT U+1166C Po, other Mongolian
𖩮 MRO DANDA U+16A6E Po, other Mro
𖩯 MRO DOUBLE DANDA U+16A6F Po, other Mro
𑊩 MULTANI SECTION MARK U+112A9 Po, other Multani
MYANMAR SIGN LITTLE SECTION U+104A Po, other Myanmar
MYANMAR SIGN SECTION U+104B Po, other Myanmar
MYANMAR SYMBOL LOCATIVE U+104C Po, other Myanmar
MYANMAR SYMBOL COMPLETED U+104D Po, other Myanmar
MYANMAR SYMBOL AFOREMENTIONED U+104E Po, other Myanmar
MYANMAR SYMBOL GENITIVE U+104F Po, other Myanmar
߷ NKO SYMBOL GBAKURUNEN U+07F7 Po, other N'Ko
߸ NKO COMMA U+07F8 Po, other N'Ko
߹ NKO EXCLAMATION MARK U+07F9 Po, other N'Ko
𑧢 NANDINAGARI SIGN SIDDHAM U+119E2 Po, other Nandinagari
𑑋 NEWA DANDA U+1144B Po, other Newa
𑑌 NEWA DOUBLE DANDA U+1144C Po, other Newa
𑑍 NEWA COMMA U+1144D Po, other Newa
𑑎 NEWA GAP FILLER U+1144E Po, other Newa
𑑏 NEWA ABBREVIATION SIGN U+1144F Po, other Newa
𑑚 NEWA DOUBLE COMMA U+1145A Po, other Newa
𑑛 NEWA PLACEHOLDER MARK U+1145B Po, other Newa
𑑝 NEWA INSERTION SIGN U+1145D Po, other Newa
OL CHIKI PUNCTUATION MUCAAD U+1C7E Po, other Ol Chiki
᱿ OL CHIKI PUNCTUATION DOUBLE MUCAAD U+1C7F Po, other Ol Chiki
𐏐 OLD PERSIAN WORD DIVIDER U+103D0 Po, other Old Persian
𐩿 OLD SOUTH ARABIAN NUMERIC INDICATOR U+10A7F Po, other Old South Arabian
𖬷 PAHAWH HMONG SIGN VOS THOM U+16B37 Po, other Pahawh Hmong
𖬸 PAHAWH HMONG SIGN VOS TSHAB CEEB U+16B38 Po, other Pahawh Hmong
𖬹 PAHAWH HMONG SIGN CIM CHEEM U+16B39 Po, other Pahawh Hmong
𖬺 PAHAWH HMONG SIGN VOS THIAB U+16B3A Po, other Pahawh Hmong
𖬻 PAHAWH HMONG SIGN VOS FEEM U+16B3B Po, other Pahawh Hmong
𖭄 PAHAWH HMONG SIGN XAUS U+16B44 Po, other Pahawh Hmong
PHAGS-PA SINGLE HEAD MARK U+A874 Po, other Phags-pa
PHAGS-PA DOUBLE HEAD MARK U+A875 Po, other Phags-pa
PHAGS-PA MARK SHAD U+A876 Po, other Phags-pa
PHAGS-PA MARK DOUBLE SHAD U+A877 Po, other Phags-pa
𐤟 PHOENICIAN WORD SEPARATOR U+1091F Po, other Phoenician
𐮙 PSALTER PAHLAVI SECTION MARK U+10B99 Po, other Psalter Pahlavi
𐮚 PSALTER PAHLAVI TURNED SECTION MARK U+10B9A Po, other Psalter Pahlavi
𐮛 PSALTER PAHLAVI FOUR DOTS WITH CROSS U+10B9B Po, other Psalter Pahlavi
𐮜 PSALTER PAHLAVI FOUR DOTS WITH DOT U+10B9C Po, other Psalter Pahlavi
REJANG SECTION MARK U+A95F Po, other Rejang
SAMARITAN PUNCTUATION NEQUDAA U+0830 Po, other Samaritan
SAMARITAN PUNCTUATION AFSAAQ U+0831 Po, other Samaritan
SAMARITAN PUNCTUATION ANGED U+0832 Po, other Samaritan
SAMARITAN PUNCTUATION BAU U+0833 Po, other Samaritan
SAMARITAN PUNCTUATION ATMAAU U+0834 Po, other Samaritan
SAMARITAN PUNCTUATION SHIYYAALAA U+0835 Po, other Samaritan
SAMARITAN ABBREVIATION MARK U+0836 Po, other Samaritan
SAMARITAN PUNCTUATION MELODIC QITSA U+0837 Po, other Samaritan
SAMARITAN PUNCTUATION ZIQAA U+0838 Po, other Samaritan
SAMARITAN PUNCTUATION QITSA U+0839 Po, other Samaritan
SAMARITAN PUNCTUATION ZAEF U+083A Po, other Samaritan
SAMARITAN PUNCTUATION TURU U+083B Po, other Samaritan
SAMARITAN PUNCTUATION ARKAANU U+083C Po, other Samaritan
SAMARITAN PUNCTUATION SOF MASHFAAT U+083D Po, other Samaritan
SAMARITAN PUNCTUATION ANNAAU U+083E Po, other Samaritan
SAURASHTRA DANDA U+A8CE Po, other Saurashtra
SAURASHTRA DOUBLE DANDA U+A8CF Po, other Saurashtra
𑇅 SHARADA DANDA U+111C5 Po, other Sharada
𑇆 SHARADA DOUBLE DANDA U+111C6 Po, other Sharada
𑇇 SHARADA ABBREVIATION SIGN U+111C7 Po, other Sharada
𑇈 SHARADA SEPARATOR U+111C8 Po, other Sharada
𑇍 SHARADA SUTRA MARK U+111CD Po, other Sharada
𑇛 SHARADA SIGN SIDDHAM U+111DB Po, other Sharada
𑇝 SHARADA CONTINUATION SIGN U+111DD Po, other Sharada
𑇞 SHARADA SECTION MARK-1 U+111DE Po, other Sharada
𑇟 SHARADA SECTION MARK-2 U+111DF Po, other Sharada
𑗁 SIDDHAM SIGN SIDDHAM U+115C1 Po, other Siddham
𑗂 SIDDHAM DANDA U+115C2 Po, other Siddham
𑗃 SIDDHAM DOUBLE DANDA U+115C3 Po, other Siddham
𑗄 SIDDHAM SEPARATOR DOT U+115C4 Po, other Siddham
𑗅 SIDDHAM SEPARATOR BAR U+115C5 Po, other Siddham
𑗆 SIDDHAM REPETITION MARK-1 U+115C6 Po, other Siddham
𑗇 SIDDHAM REPETITION MARK-2 U+115C7 Po, other Siddham
𑗈 SIDDHAM REPETITION MARK-3 U+115C8 Po, other Siddham
𑗉 SIDDHAM END OF TEXT MARK U+115C9 Po, other Siddham
𑗊 SIDDHAM SECTION MARK WITH TRIDENT AND U-SHAPED ORNAMENTS U+115CA Po, other Siddham
𑗋 SIDDHAM SECTION MARK WITH TRIDENT AND DOTTED CRESCENTS U+115CB Po, other Siddham
𑗌 SIDDHAM SECTION MARK WITH RAYS AND DOTTED CRESCENTS U+115CC Po, other Siddham
𑗍 SIDDHAM SECTION MARK WITH RAYS AND DOTTED DOUBLE CRESCENTS U+115CD Po, other Siddham
𑗎 SIDDHAM SECTION MARK WITH RAYS AND DOTTED TRIPLE CRESCENTS U+115CE Po, other Siddham
𑗏 SIDDHAM SECTION MARK DOUBLE RING U+115CF Po, other Siddham
𑗐 SIDDHAM SECTION MARK DOUBLE RING WITH RAYS U+115D0 Po, other Siddham
𑗑 SIDDHAM SECTION MARK WITH DOUBLE CRESCENTS U+115D1 Po, other Siddham
𑗒 SIDDHAM SECTION MARK WITH TRIPLE CRESCENTS U+115D2 Po, other Siddham
𑗓 SIDDHAM SECTION MARK WITH QUADRUPLE CRESCENTS U+115D3 Po, other Siddham
𑗔 SIDDHAM SECTION MARK WITH SEPTUPLE CRESCENTS U+115D4 Po, other Siddham
𑗕 SIDDHAM SECTION MARK WITH CIRCLES AND RAYS U+115D5 Po, other Siddham
𑗖 SIDDHAM SECTION MARK WITH CIRCLES AND TWO ENCLOSURES U+115D6 Po, other Siddham
𑗗 SIDDHAM SECTION MARK WITH CIRCLES AND FOUR ENCLOSURES U+115D7 Po, other Siddham
𝪇 SIGNWRITING COMMA U+1DA87 Po, other SignWriting
𝪈 SIGNWRITING FULL STOP U+1DA88 Po, other SignWriting
𝪉 SIGNWRITING SEMICOLON U+1DA89 Po, other SignWriting
𝪊 SIGNWRITING COLON U+1DA8A Po, other SignWriting
𝪋 SIGNWRITING PARENTHESIS U+1DA8B Po, other SignWriting
SINHALA PUNCTUATION KUNDDALIYA U+0DF4 Po, other Sinhala
𐽕 SOGDIAN PUNCTUATION TWO VERTICAL BARS U+10F55 Po, other Sogdian
𐽖 SOGDIAN PUNCTUATION TWO VERTICAL BARS WITH DOTS U+10F56 Po, other Sogdian
𐽗 SOGDIAN PUNCTUATION CIRCLE WITH DOT U+10F57 Po, other Sogdian
𐽘 SOGDIAN PUNCTUATION TWO CIRCLES WITH DOTS U+10F58 Po, other Sogdian
𐽙 SOGDIAN PUNCTUATION HALF CIRCLE WITH DOT U+10F59 Po, other Sogdian
𑪚 SOYOMBO MARK TSHEG U+11A9A Po, other Soyombo
𑪛 SOYOMBO MARK SHAD U+11A9B Po, other Soyombo
𑪜 SOYOMBO MARK DOUBLE SHAD U+11A9C Po, other Soyombo
𑪞 SOYOMBO HEAD MARK WITH MOON AND SUN AND TRIPLE FLAME U+11A9E Po, other Soyombo
𑪟 SOYOMBO HEAD MARK WITH MOON AND SUN AND FLAME U+11A9F Po, other Soyombo
𑪠 SOYOMBO HEAD MARK WITH MOON AND SUN U+11AA0 Po, other Soyombo
𑪡 SOYOMBO TERMINAL MARK-1 U+11AA1 Po, other Soyombo
𑪢 SOYOMBO TERMINAL MARK-2 U+11AA2 Po, other Soyombo
SUNDANESE PUNCTUATION BINDU SURYA U+1CC0 Po, other Sundanese
SUNDANESE PUNCTUATION BINDU PANGLONG U+1CC1 Po, other Sundanese
SUNDANESE PUNCTUATION BINDU PURNAMA U+1CC2 Po, other Sundanese
SUNDANESE PUNCTUATION BINDU CAKRA U+1CC3 Po, other Sundanese
SUNDANESE PUNCTUATION BINDU LEU SATANGA U+1CC4 Po, other Sundanese
SUNDANESE PUNCTUATION BINDU KA SATANGA U+1CC5 Po, other Sundanese
SUNDANESE PUNCTUATION BINDU DA SATANGA U+1CC6 Po, other Sundanese
SUNDANESE PUNCTUATION BINDU BA SATANGA U+1CC7 Po, other Sundanese
܀ SYRIAC END OF PARAGRAPH U+0700 Po, other Syriac
܁ SYRIAC SUPRALINEAR FULL STOP U+0701 Po, other Syriac
܂ SYRIAC SUBLINEAR FULL STOP U+0702 Po, other Syriac
܃ SYRIAC SUPRALINEAR COLON U+0703 Po, other Syriac
܄ SYRIAC SUBLINEAR COLON U+0704 Po, other Syriac
܅ SYRIAC HORIZONTAL COLON U+0705 Po, other Syriac
܆ SYRIAC COLON SKEWED LEFT U+0706 Po, other Syriac
܇ SYRIAC COLON SKEWED RIGHT U+0707 Po, other Syriac
܈ SYRIAC SUPRALINEAR COLON SKEWED LEFT U+0708 Po, other Syriac
܉ SYRIAC SUBLINEAR COLON SKEWED RIGHT U+0709 Po, other Syriac
܊ SYRIAC CONTRACTION U+070A Po, other Syriac
܋ SYRIAC HARKLEAN OBELUS U+070B Po, other Syriac
܌ SYRIAC HARKLEAN METOBELUS U+070C Po, other Syriac
܍ SYRIAC HARKLEAN ASTERISCUS U+070D Po, other Syriac
TAI THAM SIGN WIANG U+1AA0 Po, other Tai Tham
TAI THAM SIGN WIANGWAAK U+1AA1 Po, other Tai Tham
TAI THAM SIGN SAWAN U+1AA2 Po, other Tai Tham
TAI THAM SIGN KEOW U+1AA3 Po, other Tai Tham
TAI THAM SIGN HOY U+1AA4 Po, other Tai Tham
TAI THAM SIGN DOKMAI U+1AA5 Po, other Tai Tham
TAI THAM SIGN REVERSED ROTATED RANA U+1AA6 Po, other Tai Tham
TAI THAM SIGN KAAN U+1AA8 Po, other Tai Tham
TAI THAM SIGN KAANKUU U+1AA9 Po, other Tai Tham
TAI THAM SIGN SATKAAN U+1AAA Po, other Tai Tham
TAI THAM SIGN SATKAANKUU U+1AAB Po, other Tai Tham
TAI THAM SIGN HANG U+1AAC Po, other Tai Tham
TAI THAM SIGN CAANG U+1AAD Po, other Tai Tham
TAI VIET SYMBOL HO HOI U+AADE Po, other Tai Viet
TAI VIET SYMBOL KOI KOI U+AADF Po, other Tai Viet
𑿿 TAMIL PUNCTUATION END OF TEXT U+11FFF Po, other Tamil
TELUGU SIGN SIDDHAM U+0C77 Po, other Telugu
THAI CHARACTER FONGMAN U+0E4F Po, other Thai
THAI CHARACTER ANGKHANKHU U+0E5A Po, other Thai
THAI CHARACTER KHOMUT U+0E5B Po, other Thai
TIBETAN MARK INITIAL YIG MGO MDUN MA U+0F04 Po, other Tibetan
TIBETAN MARK CLOSING YIG MGO SGAB MA U+0F05 Po, other Tibetan
TIBETAN MARK CARET YIG MGO PHUR SHAD MA U+0F06 Po, other Tibetan
TIBETAN MARK YIG MGO TSHEG SHAD MA U+0F07 Po, other Tibetan
TIBETAN MARK SBRUL SHAD U+0F08 Po, other Tibetan
TIBETAN MARK BSKUR YIG MGO U+0F09 Po, other Tibetan
TIBETAN MARK BKA- SHOG YIG MGO U+0F0A Po, other Tibetan
TIBETAN MARK INTERSYLLABIC TSHEG U+0F0B Po, other Tibetan
TIBETAN MARK DELIMITER TSHEG BSTAR U+0F0C Po, other Tibetan
TIBETAN MARK SHAD U+0F0D Po, other Tibetan
TIBETAN MARK NYIS SHAD U+0F0E Po, other Tibetan
TIBETAN MARK TSHEG SHAD U+0F0F Po, other Tibetan
TIBETAN MARK NYIS TSHEG SHAD U+0F10 Po, other Tibetan
TIBETAN MARK RIN CHEN SPUNGS SHAD U+0F11 Po, other Tibetan
TIBETAN MARK RGYA GRAM SHAD U+0F12 Po, other Tibetan
TIBETAN MARK GTER TSHEG U+0F14 Po, other Tibetan
TIBETAN MARK PALUTA U+0F85 Po, other Tibetan
TIBETAN MARK BSKA- SHOG GI MGO RGYAN U+0FD0 Po, other Tibetan
TIBETAN MARK MNYAM YIG GI MGO RGYAN U+0FD1 Po, other Tibetan
TIBETAN MARK NYIS TSHEG U+0FD2 Po, other Tibetan
TIBETAN MARK INITIAL BRDA RNYING YIG MGO MDUN MA U+0FD3 Po, other Tibetan
TIBETAN MARK CLOSING BRDA RNYING YIG MGO SGAB MA U+0FD4 Po, other Tibetan
TIBETAN MARK LEADING MCHAN RTAGS U+0FD9 Po, other Tibetan
TIBETAN MARK TRAILING MCHAN RTAGS U+0FDA Po, other Tibetan
TIFINAGH SEPARATOR MARK U+2D70 Po, other Tifinagh
𑓆 TIRHUTA ABBREVIATION SIGN U+114C6 Po, other Tirhuta
𐎟 UGARITIC WORD DIVIDER U+1039F Po, other Ugaritic
VAI COMMA U+A60D Po, other Vai
VAI FULL STOP U+A60E Po, other Vai
VAI QUESTION MARK U+A60F Po, other Vai
𑨿 ZANABAZAR SQUARE INITIAL HEAD MARK U+11A3F Po, other Zanabazar Square
𑩀 ZANABAZAR SQUARE CLOSING HEAD MARK U+11A40 Po, other Zanabazar Square
𑩁 ZANABAZAR SQUARE MARK TSHEG U+11A41 Po, other Zanabazar Square
𑩂 ZANABAZAR SQUARE MARK SHAD U+11A42 Po, other Zanabazar Square
𑩃 ZANABAZAR SQUARE MARK DOUBLE SHAD U+11A43 Po, other Zanabazar Square
𑩄 ZANABAZAR SQUARE MARK LONG TSHEG U+11A44 Po, other Zanabazar Square
𑩅 ZANABAZAR SQUARE INITIAL DOUBLE-LINED HEAD MARK U+11A45 Po, other Zanabazar Square
𑩆 ZANABAZAR SQUARE CLOSING DOUBLE-LINED HEAD MARK U+11A46 Po, other Zanabazar Square
MANDAIC PUNCTUATION U+085E Po, other Mandaic

See also

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Notes

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia
from Grokipedia
Punctuation refers to the standardized set of symbols and marks used in written language to organize ideas, clarify meaning, and replicate the pauses, emphasis, and intonation of spoken communication. These marks function as visual cues that structure sentences, separate clauses, and indicate relationships between words, much like vocal inflections do in speech. By aiding and reducing ambiguity, punctuation is essential for effective written expression across languages, though its rules vary by linguistic tradition and . The history of punctuation dates to ancient times, originating in and as tools for oratory and public reading, where —writing without spaces or marks—prevailed, and symbols like points or accents denoted breathing pauses rather than grammatical units. In the medieval period, Irish and Anglo-Saxon scribes introduced more systematic pointing to facilitate and liturgical recitation, evolving into distinct marks by the 8th century. The and the invention of the in the 15th century marked a pivotal shift, as Venetian printer standardized several forms: he refined the for syntactic separation, invented the in 1494 to link related clauses, and promoted parentheses for asides, while also creating italic typeface to enhance textual flow. By the 16th and 17th centuries, followed suit, influenced by grammarians like , who in 1640 advocated for logical rather than rhetorical use, solidifying its role in grammatical analysis. In contemporary English, punctuation comprises approximately 14 primary marks, each with defined roles to enhance precision and rhythm in . The period (.) ends declarative sentences, the question mark (?) concludes interrogatives, and the exclamation point (!) conveys strong or emphasis. Separators like the comma (,) divide items in lists or clauses, the semicolon (;) connects independent clauses, and the colon (:) introduces explanations or lists. Enclosers such as parentheses ( ), brackets [ ], and braces { } set off supplementary information, while the dash (—) and hyphen (-) indicate breaks or compound words. Additional marks include the apostrophe (') for contractions and possession, quotation marks (" ") for direct speech, and the ellipsis (…) for omissions. Beyond mechanics, punctuation reflects evolving cultural and technological influences, from elocutionary traditions emphasizing oral delivery to modern grammatical standards prioritizing syntax and clarity. In professional writing, style guides like or dictate usage to ensure consistency, while digital communication has introduced informal adaptations, such as emojis as pseudo-punctuation. Ultimately, effective punctuation prevents misinterpretation—the absence of an Oxford comma famously led to a $5 million settlement in the 2018 Oakhurst Dairy overtime case in —and underscores its enduring importance in precise discourse.

Fundamentals

Definition and Functions

Punctuation refers to a system of conventional signs and symbols used in written language to separate elements such as words, phrases, clauses, and sentences, while also indicating pauses, intonation, emphasis, and other prosodic features that mimic aspects of spoken discourse. These marks serve as visual cues that guide readers in interpreting the structure and rhythm of text, compensating for the absence of auditory signals like voice pitch or gestures present in oral communication. The term "punctuation" derives from the Medieval Latin punctuātiō, meaning "a marking with points," which stems from the Latin punctus ("point" or "mark") and the verb pungere ("to prick" or "to point"). This etymology reflects the historical practice of inserting dots or points into manuscripts to denote divisions, evolving into the diverse array of symbols used today. The primary functions of punctuation include separating ideas to prevent , clarifying syntactic structure in complex constructions like lists or quotations, enhancing overall by organizing text flow, and replicating spoken prosody through indications of pauses, stress, or emotional tone. For instance, a can signal a brief pause akin to natural speech , while an exclamation point conveys heightened emphasis or excitement. A striking of punctuation's disambiguating role is the difference between "" and "," where the transforms an unintended cannibalistic suggestion into a polite invitation, underscoring how these marks can radically alter meaning. Punctuation's development traces back to the transition from predominantly oral traditions, where reciters relied on memory and vocal cues, to written forms that required visual aids for accurate and comprehension; early marks were thus reader-added to facilitate aloud of scripts, gradually standardizing to support and independent interpretation.

Types and Classification

Punctuation marks are broadly classified by their structural roles in organizing written text. End-of-sentence terminators, such as the period (.), question mark (?), and exclamation mark (!), indicate the completion of a declarative, interrogative, or exclamatory unit, respectively, thereby signaling major pauses or shifts in intonation within linear text flow. Internal separators, including the comma (,), semicolon (;), and colon (:), function to divide elements like clauses, phrases, or lists, clarifying relationships and preventing ambiguity in sentence structure. Enclosure marks, exemplified by parentheses (()), brackets [ ], and quotation marks (" "), isolate supplementary, explanatory, or cited material from the primary discourse. Supplementary symbols, such as the hyphen (-) and apostrophe ('), support word-level adjustments like compounding or contractions without altering broader sentence architecture. Functionally, punctuation is grouped into orthographic, syntactic, and rhetorical categories, each addressing distinct aspects of written expression. Orthographic marks, like the apostrophe, assist in spelling and morphological clarity by denoting omissions or possessions, ensuring precise representation of sounds or forms. Syntactic marks, such as the colon or semicolon, delineate clause boundaries and hierarchical relationships, aiding in the parsing of complex structures. Rhetorical marks, including the exclamation mark and dash (—), convey emphasis, tone, or emotional nuance, enhancing the persuasive or expressive quality of text. These groupings highlight how punctuation bridges visual cues with underlying linguistic intent, with terminators exemplifying completion (e.g., a period concluding a statement) and separators illustrating connectivity (e.g., a comma linking parallel items). Punctuation also distinguishes between linear uses in continuous , where marks regulate one-dimensional reading flow, and spatial applications in formats like lists or tables, where they facilitate hierarchical organization and visual scanning. For instance, bullets or indents in lists serve spatial separation akin to commas in linear text, promoting across contexts. The classification further varies by script type: alphabetic systems, with inherent , emphasize punctuation for syntactic and prosodic refinement, while logographic scripts like Chinese rely on marks to define boundaries in unspaced character sequences, adapting terminators and separators for similar prosodic signaling in dense text. This reflects general patterns where script morphology influences punctuation's role in unit demarcation.

Historical Development

Ancient and Classical Periods

In the ancient world, most writing systems lacked systematic punctuation, relying instead on oral traditions, contextual cues, and prosodic patterns for interpretation during recitation. This was true across diverse scripts, including , which used directional indicators but no pause marks, and early Mesoamerican glyphs, emphasizing the global primacy of spoken performance over visual separators. In the , significant advancements occurred in Greek textual practices. Around the 3rd century BCE, of Byzantium, a scholar at the , developed the first systematic punctuation scheme using dots called théseis (singular thésis, meaning "position" or "pause"), placed at varying heights to denote pauses of different durations: a low dot for a brief pause (precursor to the modern or period), a middle dot for a moderate pause (similar to a colon), and a high dot for a full stop (anticipating the or period). This innovation addressed the challenges of —continuous writing without spaces—prevalent in Greek manuscripts, and was intended to guide performers in oral by mimicking natural rhetorical breaks. Roman adaptations of Greek practices were more limited during the classical (c. BCE to 2nd century CE), with Latin texts predominantly employing scriptio continua to conserve space on expensive , resulting in unbroken streams of letters that relied on reader expertise for interpretation. Occasional interpuncts—small points or dots placed between words—appeared in inscriptions and some literary works to indicate divisions, but these were inconsistent and not systematically used for syntactic guidance, as Roman reading culture emphasized aloud performance where intonation conveyed structure. During this era, other major scripts like ancient Hebrew, Chinese, and Indian (Sanskrit) lacked systematic punctuation marks, instead incorporating prosodic notations tied to oral traditions. In Hebrew, classical texts such as those from the Second Temple period (c. 516 BCE–70 CE) were written in without diacritics for pauses, though later cantillation marks (developed for chanting biblical verses) retroactively encoded prosodic rhythms to preserve melodic recitation patterns from memory. Ancient Chinese texts, from the of the (c. 1200 BCE) onward, adhered to a convention of unpunctuated continuous characters, where sentence boundaries were inferred through contextual rhythm and parallelism rather than visual separators. Similarly, manuscripts in the classical period (c. 400 BCE–500 CE) featured no punctuation, depending on metrical prosody (chandas)—patterns of long and short syllables—to delineate phrases during Vedic and epic recitations, underscoring the oral primacy of these traditions. Throughout antiquity, punctuation's development was inextricably linked to oral , as written texts served primarily as aides-mémoire for public performance; readers, often trained in rhetorical delivery, inferred pauses, emphasis, and phrasing from and prosodic cues rather than fixed marks, a practice that persisted across Greek, Roman, and Near Eastern literate societies. This oral-visual interplay highlights how early punctuation prototypes enhanced, rather than supplanted, the performative aspects of .

Medieval Developments

In the , European manuscript traditions built upon ancient rhetorical systems by developing more systematic punctuation for oral reading and scriptural interpretation. , in his (c. 636 CE), described a three-tiered system of points corresponding to classical distinctions: the punctus (low point) for short pauses akin to a , the punctus elevatus (raised point) for medial pauses like a colon, and the punctus versus (reversed point) for full stops at sentence ends, emphasizing their role in guiding rhetorical delivery. These marks facilitated pauses in liturgical and scholarly texts, reflecting the era's focus on where punctuation aided meditative recitation. During the in the , of advanced these practices through educational reforms, promoting consistent (distinctio) and the use of virgules (slashing marks) to denote pauses and syntactic breaks in Latin manuscripts. Alcuin's guidelines, outlined in letters and treatises like De orthographia, standardized punctuation in monastic scriptoria, integrating points and virgules to enhance clarity in copying classical and biblical works, thus influencing the production of uniform Carolingian minuscules across Frankish territories. In Insular scripts of and Anglo-Saxon (7th–9th centuries), punctuation adapted to vernacular and Latin texts with distinctive marks suited to the region's intricate illuminations and bilingual contexts. Scribes employed the punctus interrogativus, an early inverted resembling a over a point, to signal interrogative intonation at sentence ends, while the posca—a curved, comma-like stroke—marked minor pauses within clauses, often in glossed manuscripts like those from the . These innovations supported the oral performance of texts in monastic settings, where rhythmic pauses aligned with poetic meters in and . Parallel developments in non-European traditions continued to emphasize oral aids over visual punctuation. In medieval China during the Tang Dynasty (618–907 CE), classical texts remained unpunctuated, with sentence structure inferred through contextual rhythm and parallelism in Confucian and Buddhist canons, adapting to the logographic script's lack of spaces and relying on scholarly recitation traditions. In Arabic and Persian manuscript traditions by the 9th century, diacritical systems evolved primarily to support accurate pronunciation in Quranic recitation and poetic meter. I'jam ( dotting) and tashkil ( marks) were refined under scholars like Khalil ibn Ahmad al-Farahidi (d. 791 CE), including symbols like the sukun (a small indicating a without ) to aid prosodic pauses, but these served phonetic and recitational purposes rather than syntactic breaks in the unspaced script. These marks, initially for religious accuracy, extended to secular literature, marking a shift toward structured tied to oral performance. Monasteries and scholarly centers across these regions played a pivotal role in preserving and innovating punctuation systems, serving as hubs for textual transmission amid cultural exchanges. European scriptoria, such as those at and Tours under , meticulously copied and refined marks for liturgical books, ensuring fidelity to rhetorical intent; similarly, Tang academies and Abbasid libraries like the adapted symbols for scholarly , safeguarding ancient knowledge while introducing practical aids for diverse readers.

Early Modern Standardization

The invention of the movable-type by in the 1450s revolutionized book production in , but early printed works like the (completed around 1455) featured minimal and inconsistent punctuation, relying primarily on rubrication and sparse points for visual breaks rather than systematic syntax guidance. This scarcity reflected medieval traditions, where punctuation served mainly rhetorical purposes for oral delivery. As printing spread, printers began adapting and refining marks to enhance readability in mass-produced texts, marking the onset of broader standardization across languages. In Venice during the 1490s, Aldus Manutius advanced this process through his Aldine Press, introducing italic typefaces for compactness and pioneering consistent use of the comma and semicolon to clarify sentence structure in classical editions. Manutius's innovations, including the period at sentence ends and apostrophes, promoted a more logical flow, influencing typographic norms across Europe by the early 1500s. In England, William Caxton, who established the first press in 1476, favored virgules (slashes) as comma substitutes and periods for full stops, applying them liberally in his English imprints to mimic spoken pauses, though syntax remained secondary. By the 1580s, printer Henry Denham contributed to query punctuation by proposing the percontation point—a reversed question mark—for rhetorical questions, aiding subtle distinctions in printed dialogue. French developments paralleled these efforts, with incorporating hyphens and parentheses in his 1530s Latin-French dictionaries to organize entries and denote asides, fostering precision in bilingual texts. The , founded in 1635, issued early orthographic guidelines in its statutes and subsequent dictionaries (from 1694), advocating uniform punctuation to reflect spoken French rhythms while advancing grammatical clarity. These European standards disseminated globally via colonial printing; Spanish missionaries established the first New World press in by 1539, adapting European marks to indigenous languages like for catechetical texts, while Jesuit and Protestant presses in from the 1550s introduced punctuation to scripts such as Chinese and Vietnamese, facilitating and conversion efforts. This era witnessed a pivotal shift from rhetorical punctuation—based on pauses for recitation—to grammatical uses emphasizing syntax, as critiqued by humanist Desiderius in his 1528 treatise De recta Latini Graeci sermonis pronuntiatione, where he urged marks like colons and periods to mirror logical thought rather than mere breath control. 's examples, drawn from classical authors, highlighted inconsistencies in contemporary prints and advocated reader-oriented systems, influencing later grammarians and solidifying punctuation's role in comprehension by the late .

Modern and Digital Evolution

In the late 19th century, revolutionized punctuation by integrating symbols directly into mechanical keyboards. The Remington No. 2 model, released in 1878, introduced the , enabling access to both uppercase letters and a range of punctuation marks, including dedicated keys for commas and periods that standardized their placement and usage in typed documents. This innovation reduced reliance on manual insertions and promoted uniformity in , as earlier models often required separate attachments or overstriking for symbols. The early 20th century brought formal codification through style guides that shaped punctuation in publishing and journalism. The first edition of , published in 1906 by the , outlined detailed rules for punctuation, such as the use of serial commas and placement, influencing academic and book publishing standards. Complementing this, the Stylebook emerged in 1953 as a concise , simplifying punctuation for news reporting—favoring brevity in commas and dashes—to ensure clarity in fast-paced media. These guides established enduring conventions amid growing print media demands. Electronic communication in the mid-20th century imposed constraints, but later innovations expanded possibilities. Teletype systems and the 1963 ASCII standard limited punctuation to a core set of about 33 symbols within its 128-character framework, excluding ornate marks like em dashes due to 7-bit hardware restrictions. By the 1980s, email protocols and word processors such as (1978) and (1980) restored full punctuation repertoires, supporting proportional fonts and easy insertion, which diminished typewriter-era habits like double-spacing after periods. The digital era further transformed punctuation through informal and visual adaptations. Emojis, pioneered in 1999 by Japanese designer for NTT DoCoMo's mobile platform, extended traditional marks by adding 176 pictorial icons to convey and nuance in text-based messaging. In the , texting evolved, with periods increasingly signaling or abruptness—contrasting their neutral role in formal writing—as noted in linguistic analyses of digital tone. Autocorrect features in smartphones have amplified these shifts, automatically applying or altering punctuation in real-time, fostering casual conventions while occasionally introducing errors in multilingual contexts supported by Unicode's expansive .

Language-Specific Usage

In English

In English writing, punctuation marks serve to clarify meaning, indicate pauses, and structure sentences according to established conventions derived from style guides such as and Stylebook. These marks are essential for distinguishing between ideas, preventing ambiguity, and adhering to formal or journalistic standards. While rules can vary slightly by context—such as , or news writing—the core principles emphasize logical separation and emphasis. The period (.), also known as a , is placed at the end of declarative sentences, abbreviations, and indirect questions to signal completion. For example, in "She arrived on time.", it denotes the end of a statement. The (?) follows sentences, such as "What time is it?", to indicate a direct inquiry. The (!) concludes exclamatory sentences expressing strong emotion or emphasis, as in "Watch out!", and is used sparingly in formal writing to avoid overuse. Commas (,) separate elements in lists, introduce clauses, set off nonessential information, and address direct speech. In series of three or more items, the —also called the or Harvard comma—precedes the final conjunction; for instance, "apples, oranges, and bananas" is standard in per the Chicago Manual of Style, though British styles like often omit it unless ambiguity arises. Commas also separate independent clauses joined by coordinating conjunctions (e.g., "I ran, but she walked") and enclose appositives or interrupters, such as "My brother, who lives in , visited yesterday." The debate over the highlights style variations, with American guides favoring it for clarity and British ones preferring its omission in simple lists. Semicolons (;) connect closely related s without a conjunction, as in "She studied hard; he relaxed.", or separate items in complex lists. Colons (:) introduce lists, explanations, or quotations after an , for example, "The ingredients are: flour, sugar, and eggs." Dashes—en dashes (–) for ranges and em dashes (—) for interruptions—provide emphasis or parenthetical breaks; an em dash appears as "The decision—final and binding—stood." without spaces around it in American style. Parentheses () enclose supplemental information or asides, like "(born 1980)", ensuring the main sentence remains intact if removed. Quotation marks enclose direct speech or titles of short works, with American English using double quotes (" ") for primary and single (' ') for nested, as in "She said, 'Hello'." where the period falls inside the closing quote. British English reverses this preference, using single quotes primarily and placing punctuation outside unless integral to the quote, such as 'Hello.'. The apostrophe (') indicates possession (e.g., "the dog's tail") or contractions (e.g., "don't"), but not plurals. Ellipses (...) signal omissions in quoted material or trailing thoughts, typically with three spaced periods in formal writing, as in "She said... I agree." Hyphens (-) join compound words, especially modifiers before nouns; "well-known author" uses a hyphen, but "She is well known" does not, following rules to avoid confusion. These conventions, while standardized, allow flexibility in but demand consistency in professional contexts.

In Other Languages

In , punctuation often reflects typographic traditions distinct from English conventions. French employs guillemets (« ») as primary , placed at the beginning and end of quoted material with non-breaking spaces separating them from the text, unlike English double quotes. In Spanish, inverted question (¿) and exclamation (¡) marks appear at the start of or exclamatory sentences to indicate their nature from the outset, a practice standardized by the Real Academia Española to aid readability in prolix structures. Germanic languages exhibit variations influenced by phonetic and orthographic features. In German, hyphens interact with umlauts in compound words and line breaks, where the hyphen attaches to the containing the umlaut (e.g., über-tragen), following guidelines to preserve modifications without altering . Dutch uses double quotation marks (“ ”) for direct speech, aligning with by placing closing punctuation outside the quotes unless integral to the quoted material, differing from norms. Asian languages adapt punctuation to ideographic and syllabic scripts, often prioritizing visual harmony. Chinese utilizes full-width punctuation marks, such as the period (。) and (,), which occupy the same space as characters to maintain square text blocks in vertical or horizontal layouts, as per national standards for printed and digital text. Japanese integrates —text-based emoticons like (^_^)—with standard punctuation, employing them as supplementary markers for tone in informal writing, sometimes replacing or enhancing exclamation points. Scripts like Thai and omit interword spaces entirely, relying on diacritics and contextual cues for separation; Thai uses tone marks and clustered consonants without spaces, while employs optional diacritics (harakat) for vowels and relies on punctuation for sentence boundaries. In logographic systems, punctuation aligns closely with Chinese influences. Korean, when using hanja (Chinese-derived characters), mirrors Chinese full-width marks for periods and commas to ensure compatibility in mixed-script texts. Hindi in Devanagari script employs the danda (।) as a full stop at sentence ends, a vertical bar distinct from the English period, to denote completion without disrupting the abugida flow. Right-to-left scripts incorporate unique spacing and connection mechanisms. Arabic uses tatweel (ـ), a elongated letter form, for line justification and aesthetic spacing in justified text, functioning as a non-breaking extender rather than a traditional hyphen. Hebrew employs the maqaf (־), a short hyphen-like mark, for connecting compound words or in dates, serving as an equivalent to the English hyphen but adapted to the script's cursive connections.

Innovative and Proposed Marks

Interrobang

The interrobang is a nonstandard punctuation mark designed to convey both interrogation and exclamation simultaneously, often appearing as an overlay of a question mark (?) and an exclamation mark (!), or simply as the adjacent sequence ?!. It was invented in 1962 by Martin K. Speckter, an American advertising executive and editor of the journal Type Talks, who proposed it as a solution to the awkwardness of juxtaposing the two marks in copywriting for rhetorical questions expressing surprise or emphasis, such as "What?!" in exclamatory form. Speckter's idea stemmed from his observation that advertisers frequently combined the marks to capture excited queries, and he advocated for a unified glyph to streamline typesetting. The mark was initially rendered by printing an exclamation point over a question point or vice versa. The name "interrobang" is a portmanteau of "" (referring to the , also known as the interrogation point) and "bang," printers' for the dating back to the era of hot-metal . Early adoption occurred in , where Speckter worked, and in comic books, particularly in dialogue balloons to denote characters' astonished or rhetorical outbursts. In 1966, the interrobang received further legitimacy when designer Richard Isbell incorporated a dedicated into the Americana bold produced by American Type Founders, making it available in print media like magazines during the late . Variants of the include the single superimposed symbol ‽, officially encoded in as U+203D within the General Punctuation block since version 5.1 in 2008, allowing digital rendering across platforms. On typewriters lacking a dedicated key—such as the short-lived inclusion on the 1968 Model 25—users created it by typing a , backspacing to the same position, and overstriking with an , a technique that mimicked the overlay effect but required precise alignment. Critics, including major style guides, have dismissed the interrobang as superfluous; for instance, (17th edition) omits it entirely and advises using an exclamation point alone for sentences that function as both questions and exclamations, such as "How could they!". This stance, echoed in Stylebook guidelines, has confined the mark to niche or informal contexts, limiting its mainstream integration into formal writing. Despite early buzz in periodicals like Type Talks and Americana magazine, where it symbolized mid-20th-century typographic innovation, the interrobang's use waned by the 1970s. In contemporary digital communication, the has experienced a modest revival through the informal sequence ?! in texting and , where it punctuates messages blending inquiry with enthusiasm or disbelief, such as "Really‽". This evolution aligns with the expressive demands of online discourse, though the single glyph ‽ remains rare outside specialized fonts or approximations like the double exclamation question mark (⁉).

Predecessors of Emoticons and Emojis

The earliest precursors to modern emoticons and s appeared in the late as playful typographical experiments in print media, using punctuation to form simple facial expressions. In the March 30, 1881, issue of the American satirical magazine Puck, four vertical "typographical art" faces were published to convey emotions such as (😊), melancholy (😢), indifference (😐), and astonishment (😲), intended as humorous indicators in where tone might be ambiguous. These symbols marked an early attempt to extend punctuation beyond to express affect, predating digital communication by a century. In the mid-20th century, computing environments began fostering similar innovations through limited character sets. On the system, an educational operational since the 1960s and widely used in the 1970s, users created rudimentary smileys as early as 1972 to denote humor or emotion in text-based interactions, leveraging available terminals to form sideways faces like :-) from colons, hyphens, and parentheses. These multi-line or simple constructs served as precursors to more standardized emoticons, compensating for the absence of vocal cues in early online discussions. The 1980s saw the formalization of these ideas in networked computing. On September 19, 1982, computer scientist Scott Fahlman proposed the sideways smiley :-) and frowny :-( on a bulletin board to distinguish jokes from serious posts amid frequent misunderstandings in text-only exchanges. This innovation quickly spread via and early , evolving into a protocol for emotional nuance; for instance, the winking ;-) variant emerged soon after to signal or irony, contrasting with standard punctuation like periods or exclamation points that lacked such subtlety. By addressing tone in tone-less media, these emoticons functioned as affective punctuation, influencing digital etiquette. The transition from textual emoticons to graphical emojis occurred in the late with in . In 1999, designer developed a set of 176 pictographic symbols for NTT DoCoMo's platform, enabling users to insert small icons—like hearts for affection or faces for emotions—directly into cellular text messages as an extension of expressive punctuation. These "emoji" (from Japanese e for picture and moji for character) built on traditions by adding visual detail within constrained screens, enhancing emotional conveyance in short-form communication. By the 2010s, this evolution culminated in global standardization through . The incorporated the first dedicated block in version 6.0 (2010), encoding over 600 symbols—including many derived from Japanese sets—to ensure cross-platform consistency, while subsequent releases expanded the repertoire to support diverse emotional and contextual expressions beyond textual limits.

Question and Exclamation Commas

The question comma and exclamation comma are proposed punctuation marks designed to combine the functions of a comma with those of a or , respectively, for use within sentences to convey subtle intonation or emphasis without terminating the . The question comma, often rendered as a question mark superimposed over a comma (resembling ¿ in some typographic representations or simply ,?), indicates rising intonation in statements that seek or imply a query, such as in "You're coming to the party,?" where it softens the statement into a gentle prompt without restructuring the sentence. Similarly, the exclamation comma, depicted as an over a comma (,!), signals surprise or excitement during a pause, as in "I can't believe it, ,!" allowing mid-sentence. These marks address gaps in traditional punctuation by preserving sentence flow while capturing spoken nuances like tag questions or exclamatory asides. Invented in 1992 by American typographers Leonard Storch, Ernst van Haagen, and Sigmund Silber, the marks were patented under the title "Two New Punctuation Marks: The Question Comma and the Exclamation Comma" (international WO1992019458A1 and Canadian CA2102803A1), marking them as among the first novel punctuation proposals in the era. The inventors argued that existing punctuation forced awkward sentence breaks to convey mid-sentence doubt or enthusiasm, proposing these hybrids as efficient alternatives typed by overlaying standard keys (e.g., followed by and ). Their lapsed after three years due to lack of commercial adoption, reflecting limited interest from publishers and typographers. These punctuation marks gained modest visibility through Keith Houston's 2013 book Shady Characters: The Secret Life of Punctuation, Symbols, & Other Typographical Marks, which chronicled their invention and potential but noted their obscurity. Usage remains rare, confined primarily to experimental , artistic writing, or niche discussions on punctuation , with no inclusion in major style guides like or , which view them as redundant given alternatives like italics or restructuring. Despite their intuitive appeal for bridging written and spoken expression, the question and exclamation commas have not entered mainstream orthography, overshadowed by digital tools like emojis for conveying tone.

Other Proposals

The percontation point, rendered as ⸮, is a reversed question mark proposed in the 1580s by English printer Henry Denham to indicate the end of a , such as one implying an obvious answer like "Why?" It was used in English until the early before falling into disuse. The asterism, symbolized by ⁂ (three asterisks arranged in a ), originated as a medieval punctuation mark to divide sections of text or denote paragraph breaks in manuscripts. It was revived in 19th-century for similar purposes, such as signaling chapter divisions or footnotes, and has been proposed in recent digital contexts for enhancing navigation in decentralized online platforms by visually grouping related content. In the 1960s, French author Hervé Bazin advocated for several new punctuation innovations in his book Plumons l'oiseau, including the point d'ironie—a reversed question mark with a swirling tail, often approximated as ؟ or ¿—to explicitly denote or irony at the sentence's start. This proposal aimed to clarify tone in written expression, similar to inverted marks in Spanish, but it never gained widespread adoption. Later, in 2010, American entrepreneurs Paul and Marc Dingman patented and marketed the SarcMark (a resembling a dotted 6, ™), intended to highlight sarcastic statements in digital communication, though it requires paid software for insertion and remains niche. As a digital workaround, some users employ Unicode's right-to-left override (U+202E) to subtly alter text direction, mimicking ironic reversal without a dedicated mark.

Representation in Digital Standards

Unicode Encoding

The Unicode Standard provides a comprehensive encoding for punctuation marks, ensuring their consistent representation across digital systems and scripts. Punctuation characters are primarily categorized under the General Category "P" (Punctuation), with subcategories such as Po (Other Punctuation) for standalone marks like periods and s, Ps (Open Punctuation) for opening quotes and brackets, Pe (Close Punctuation) for their closing counterparts, Pf (Final Punctuation) for right-oriented quotes in certain conventions, Pd (Dash Punctuation) for hyphens and dashes, Pc (Connector Punctuation) for underscores, and Pi (Initial Punctuation) for left-oriented quotes. These categories facilitate text processing, such as parsing and rendering, by defining behavioral properties. For instance, the (period) at U+002E and the comma at U+002C both fall under Po and are part of the Basic Latin block (U+0000–U+007F), supporting fundamental ASCII-derived punctuation. A dedicated block for is the General Punctuation block (U+2000–U+206F), which includes spacing modifiers, dashes, quotes, and specialized marks used across scripts. This block encompasses 112 characters, such as the em dash at U+2014 (category Pd), which serves as a versatile separator in , and various like the left double quotation mark at U+201C (Ps) and right double quotation mark at U+201D (Pe). Other notable entries include the single left-pointing quotation mark at U+2039 (Pi) and single right-pointing quotation mark at U+203A (Pf), enabling typographically rich quoting in European languages. These characters are assigned to the Common script (Zyyy), promoting in multilingual text. For East Asian typography, particularly in CJK (Chinese, Japanese, Korean) contexts, Unicode includes full-width variants in the Halfwidth and Fullwidth Forms block (U+FF00–U+FFEF) to match the proportional width of ideographs. Examples include the fullwidth full stop at U+FF0E (Po), which visually aligns with CJK text and decomposes compatibly to the narrow full stop (U+002E), and the fullwidth comma at U+FF0C (Po). These compatibility ideographs ensure legacy support for systems like Shift-JIS, while maintaining canonical equivalence through normalization forms like NFC (Normalization Form C). Unicode assigns properties to punctuation for advanced rendering and analysis. The Bidirectional Class (Bidi_Class) determines text directionality; for example, commas (U+002C) have class CS (Common Separator), inheriting direction from adjacent strong directional characters, while many other punctuation marks like the em dash (U+2014) are ON (Other Neutral), resolving based on surrounding context in bidirectional text. Decomposition mappings handle compatibility, such as ligature-like forms in historical scripts or full-width variants, where NFC recomposes where possible (e.g., certain quote ligatures decompose to base forms under NFKD). These properties are defined in the Unicode Character Database, aiding applications in line breaking, shaping, and accessibility. The encoding of punctuation has evolved with versions. Version 1.0 (1991) included basic ASCII punctuation in the Basic Latin block, such as U+002E and U+002C, focusing on Western scripts. Subsequent releases expanded coverage: Unicode 1.1 (1993) introduced the General Punctuation block with initial dashes and quotes; later versions like 3.0 (2000) added CJK-specific marks. More recent updates include Unicode 16.0 (2024) and 17.0 (2025), which extended support in scripts and but maintained stability in core punctuation encoding, incorporating punctuation-inspired like the red (U+2757) and (U+2753) with skin tone modifiers from earlier versions, enhancing expressive digital communication while maintaining .
SymbolCodepointCategoryScript
.U+002EPoCommon
,U+002CPoCommon
#U+0023PoCommon
?U+003FPoCommon
U+2014PdCommon
U+201CPsCommon
U+201DPeCommon
U+201APsCommon
U+FF0EPoCommon

Legacy and Alternative Encodings

The American Standard Code for Information Interchange (ASCII), standardized in 1963 by the American Standards Association, was a 7-bit encoding scheme limited to 128 characters, including only basic punctuation marks such as the exclamation point at code 33 (U+0021 in modern notation). This restriction excluded advanced symbols like the em dash (—), which users approximated with two hyphens (--). As a foundational encoding for early , ASCII prioritized compatibility across devices but constrained typographic expressiveness in punctuation. In parallel, developed the in the for its System/360 mainframes, using an 8-bit scheme with non-contiguous placements for characters. Punctuation like the (code 0x6B) and occupied shifted positions compared to ASCII, leading to incompatibilities in data exchange between IBM systems and other platforms. EBCDIC variants, such as those for punched cards, further adapted punctuation mappings to support legacy hardware, but these differences complicated interoperability in early networked environments. The ISO 8859 series, introduced in the mid-1980s by the International Organization for Standardization, extended 7-bit ASCII into 8-bit encodings to accommodate Western European languages. ISO 8859-1 (Latin-1) added diacritical accents and a few supplementary punctuation characters, such as the non-breaking space (code 0xA0), but retained limitations on specialized marks like guillemets (« » at codes 0xAB and 0xBB). Subsequent parts of the series, including ISO 8859-5 for Cyrillic and ISO 8859-6 for Arabic, incorporated language-specific punctuation extensions, such as the Arabic comma (، at code 0xAC in ISO 8859-6), while still prioritizing regional needs over universal coverage. For East Asian scripts, encodings like (developed in 1983 for Traditional Chinese in ) and GB2312 (standardized in 1980 for Simplified Chinese in ) supported full-width punctuation to align with proportional . In , the ideographic full stop (。 U+3002) is encoded at A143, rendering as a square character matching ideograph width, while GB2312 uses similar double-byte mappings for marks like the enumeration comma (、 U+3001 at A1A2). These systems addressed the visual integration of punctuation in dense Chinese text but introduced challenges in cross-encoding conversions due to varying glyph widths. Modern alternatives to direct character encoding include HTML entities and markup languages, which bypass legacy limitations by referencing symbols indirectly. For instance, the em dash is represented via — in , allowing browsers to render Unicode U+2014 without native support in the underlying text stream. In , commands like \emph{emphasized text} apply italics to enclosed content, including punctuation, ensuring consistent styling without altering the marks themselves (e.g., ``quoted text'' becomes italicized with preserved curly quotes). These methods provide flexibility in document preparation but rely on processor interpretation. Legacy encodings often face round-trip conversion challenges, where transforming data between schemes alters punctuation fidelity. For example, curly quotes (“ ”) inserted by word processors like (using ) may revert to straight quotes (' ') in plain-text ASCII exports, losing typographic nuance during file transfers. Such issues persist in mixed environments, underscoring the shift toward as a unifying successor for comprehensive punctuation support.

References

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