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Punctuation
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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]This section needs additional citations for verification. (November 2020) |
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 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 | |||||
| « » |
|
|
|
Common | |
| ‘ ’ |
|
|
|
Common | |
| ‛ | SINGLE HIGH-REVERSED-9 QUOTATION MARK | U+201B | Pi, initial quote | Common | |
| “ ” |
|
|
|
Common | |
| ‟ | DOUBLE HIGH-REVERSED-9 QUOTATION MARK | U+201F | Pi, initial quote | Common | |
| ‹ › |
|
|
|
Common | |
| ⸂ ⸃ |
|
|
|
Common | |
| ⸄ ⸅ |
|
|
|
Common | |
| ⸉ ⸊ |
|
|
|
Common | |
| ⸌ ⸍ |
|
|
|
Common | |
| ⸜ ⸝ |
|
|
|
Common | |
| ⸠ ⸡ |
|
|
|
Common | |
| Ps-Pe, open–close (brackets) | |||||
| ( ) |
|
|
|
Common | |
| [ ] |
|
|
|
Common | |
| { } |
|
|
|
Common | |
| ‚ | SINGLE LOW-9 QUOTATION MARK | U+201A | Ps, open | Common | |
| „ | DOUBLE LOW-9 QUOTATION MARK | U+201E | Ps, open | Common | |
| ⁅ ⁆ |
|
|
|
Common | |
| ⁽ ⁾ |
|
|
|
Common | |
| ₍ ₎ |
|
|
|
Common | |
| ⌈ ⌉ |
|
|
|
Common | |
| ⌊ ⌋ |
|
|
|
Common | |
| 〈 〉 |
|
|
|
Common | |
| ❨ ❩ |
|
|
|
Common | |
| ❪ ❫ |
|
|
|
Common | |
| ❬ ❭ |
|
|
|
Common | |
| ❮ ❯ |
|
|
|
Common | |
| ❰ ❱ |
|
|
|
Common | |
| ❲ ❳ |
|
|
|
Common | |
| ❴ ❵ |
|
|
|
Common | |
| ⟅ ⟆ |
|
|
|
Common | |
| ⟦ ⟧ |
|
|
|
Common | |
| ⟨ ⟩ |
|
|
|
Common | |
| ⟪ ⟫ |
|
|
|
Common | |
| ⟬ ⟭ |
|
|
|
Common | |
| ⟮ ⟯ |
|
|
|
Common | |
| ⦃ ⦄ |
|
|
|
Common | |
| ⦅ ⦆ |
|
|
|
Common | |
| ⦇ ⦈ |
|
|
|
Common | |
| ⦉ ⦊ |
|
|
|
Common | |
| ⦋ ⦌ |
|
|
|
Common | |
| ⦍ ⦎ |
|
|
|
Common | |
| ⦏ ⦐ |
|
|
|
Common | |
| ⦑ ⦒ |
|
|
|
Common | |
| ⦓ ⦔ |
|
|
|
Common | |
| ⦕ ⦖ |
|
|
|
Common | |
| ⦗ ⦘ |
|
|
|
Common | |
| ⧘ ⧙ |
|
|
|
Common | |
| ⧚ ⧛ |
|
|
|
Common | |
| ⧼ ⧽ |
|
|
|
Common | |
| ⸢ ⸣ |
|
|
|
Common | |
| ⸤ ⸥ |
|
|
|
Common | |
| ⸦ ⸧ |
|
|
|
Common | |
| ⸨ ⸩ |
|
|
|
Common | |
| ⹂ | DOUBLE LOW-REVERSED-9 QUOTATION MARK | U+2E42 | Ps, open | Common | |
| 〈 〉 |
|
|
|
Common | |
| 《 》 |
|
|
|
Common | |
| 「 」 |
|
|
|
Common | |
| 『 』 |
|
|
|
Common | |
| 【 】 |
|
|
|
Common | |
| 〔 〕 |
|
|
|
Common | |
| 〖 〗 |
|
|
|
Common | |
| 〘 〙 |
|
|
|
Common | |
| 〚 〛 |
|
|
|
Common | |
| 〝 〞 |
|
|
|
Common | |
| 〟 | LOW DOUBLE PRIME QUOTATION MARK | U+301F | Pe, close | Common | |
| ﴿ | ORNATE RIGHT PARENTHESIS | U+FD3F | Ps, open | Common | |
| ︗ ︘ |
|
|
|
Common | |
| ︵ ︶ |
|
|
|
Common | |
| ︷ ︸ |
|
|
|
Common | |
| ︹ ︺ |
|
|
|
Common | |
| ︻ ︼ |
|
|
|
Common | |
| ︽ ︾ |
|
|
|
Common | |
| ︿ ﹀ |
|
|
|
Common | |
| ﹁ ﹂ |
|
|
|
Common | |
| ﹃ ﹄ |
|
|
|
Common | |
| ﹇ ﹈ |
|
|
|
Common | |
| ﹙ ﹚ |
|
|
|
Common | |
| ﹛ ﹜ |
|
|
|
Common | |
| ﹝ ﹞ |
|
|
|
Common | |
| ( ) |
|
|
|
Common | |
| [ ] |
|
|
|
Common | |
| { } |
|
|
|
Common | |
| ⦅ ⦆ |
|
|
|
Common | |
| 「 」 |
|
|
|
Common | |
| ᚛ ᚜ |
|
|
|
Ogham | |
| ༺ ༻ |
|
|
|
Tibetan | |
| ༼ ༽ |
|
|
|
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
[edit]- Diacritic
- James while John had had had had had had had had had had had a better effect on the teacher, a word puzzle
- Obelism, the practice of annotating manuscripts with marks set in the margins
- Orthography, the category of written conventions that includes punctuation as well as spelling, hyphenation, capitalization, word breaks, and emphasis
- Scribal abbreviations, abbreviations used by ancient and medieval scribes writing in Latin
- Terminal punctuation
- History of sentence spacing for typographical details
- Tironian notes, a system of shorthand that consisted of about 4,000 signs
- Usage
Notes
[edit]- ^ The Latin names for the marks are subdistinctio, media distinctio, and distinctio.
References
[edit]Citations
[edit]- ^ Encyclopædia Britannica: "Punctuation.
- ^ Byrne, Eugene. "Q&A: When were punctuation marks first used?". History Extra. BBC. Retrieved 14 February 2017.
- ^ a b Truss, Lynn (2004). Eats, Shoots & Leaves: The Zero Tolerance Approach to Punctuation. New York: Gotham Books. p. 112. ISBN 1-59240-087-6.
- ^ Bazin, Hervé (1966), Plumons l'oiseau, Paris (France): Éditions Bernard Grasset, p. 142
- ^ Truss, Lynne (2003). Eats, Shoots & Leaves: The Zero Tolerance Approach to Punctuation. Profile Books. ISBN 1-86197-612-7.
- ^ E. Otha Wingo, Latin Punctuation in the Classical Age (The Hague, Netherlands: De Gruyter, 1972), 22.
- ^ Parkes, M. B. (1991). "The Contribution of Insular Scribes of the Seventh and Eighth Centuries to the 'Grammar of Legibility'". Scribes, Scripts and Readers: Studies in the Communication, Presentation and Dissemination of Medieval Texts. London: Hambledon Press. pp. 1–18.
- ^ Raymond Clemens & Timothy Graham, Introduction to Manuscript Studies (Ithaca–London: Cornell UP, 2007), 84–6.
- ^ "Paleography: How to Read Medieval Handwriting". Harvard University. Archived from the original on 8 December 2015. Retrieved 13 November 2017.
- ^ 林清源,《簡牘帛書標題格式研究》台北: 藝文印書館,2006。(Lin Qingyuan, Study of Title Formatting in Bamboo and Silk Texts Taipei: Yiwen Publishing, 2006.) ISBN 957-520-111-6.
- ^ The History of the Song Dynasty (1346) states 「凡所讀書,無不加標點。」 (Among those who read texts, there are none who do not add punctuation).
- ^ Historische Kommasetzung bei Luther, en: historical use of comma by Luther, Frank Slotta, for Prof Beatrice Primus, Landesprüfungsamt I NRW, 2010.
- ^ Truss, Lynne (2004). Eats, Shoots & Leaves: The Zero Tolerance Approach to Punctuation. New York: Gotham Books. p. 77. ISBN 1-59240-087-6.
- ^ Truss, Lynn (2004). Eats, Shoots & Leaves: The Zero Tolerance Approach to Punctuation. New York: Gotham Books. pp. 77–78. ISBN 1-59240-087-6.
- ^ Truss, Lynn (2004). Eats, Shoots & Leaves: The Zero Tolerance Approach to Punctuation. New York: Gotham Books. pp. 112–113. ISBN 1-59240-087-6.
- ^ Iona and Peter Opie (1943) I Saw Esau.
- ^ MacKellar, Thomas (1885). The American Printer: A Manual of Typography, Containing Practical Directions for Managing all Departments of a Printing Office, As Well as Complete Instructions for Apprentices: With Several Useful Tables, Numerous Schemes for Imposing Forms in Every Variety, Hints to Authors, Etc (Fifteenth – Revised and Enlarged ed.). Philadelphia: MacKellar, Smiths & Jordan. p. 63.
- ^ See e.g. Morse code
- ^ Chelsea, Lee. "Punctuating Around Quotation Marks". APA Style. American Psychological Association. Retrieved 16 February 2017.
- ^ Bryan, Chloe (12 March 2019). "Why people leave a space before punctuation in texts". Mashable. Retrieved 10 June 2022.
- ^ Tetteroo, Jeroen (19 August 2015). "Designer's Style Guide to French Translation for Canada". LanguageSolutions. Retrieved 10 June 2022.
- ^ Put, Olga (26 February 2022). "What Is the Upside-Down Question Mark in Spanish?". Spanish Academy. Retrieved 10 June 2022.
- ^ "Punctuation in Different Languages". TranslateMedia. 11 July 2013. Retrieved 10 June 2022.
- ^ Prasoon, Shrikant (2015). English Grammar and Usage. New Delhi: V & S Publishers. pp. Chapter 6. ISBN 978-93-505742-6-3.
- ^ Haley, Allan (June 2001). "The Interrobang Is Back". fonthaus.com. Archived from the original on 7 May 2008. Retrieved 3 December 2010.
- ^ Bazin, Hervé (1966), Plumons l'oiseau, Paris (France): Éditions Bernard Grasset, p. 142
- ^ Revised preliminary proposal to encode six punctuation characters introduced by Hervé Bazin in the UCS by Mykyta Yevstifeyev and Karl Pentzlin, 28 Feb. 2012
- ^ "European Patent Office publication".
- ^ Australian Official Journal of Patents, 27 January 1994
- ^ CIPO – Patent – 2102803 – Financial Transactions Archived 2 October 2008 at the Wayback Machine
- ^ Brandon Specktor; Samantha Rideout (20 March 2019). "11 Little-Known Punctuation Marks We Should Be Using". Reader's Digest Canada.
Further reading
[edit]- Allen, Robert (25 July 2002). Punctuation. Oxford University Press. ISBN 0-19-860439-4.
- Amis, Kingsley (2 March 1998). The King's English: A Guide to Modern Usage. HarperCollins. ISBN 0-00-638746-2.
- Fowler, Henry Watson; Francis George Fowler (June 2002) [1906]. The King's English. Oxford University Press. ISBN 0-19-860507-2.
- Gowers, Ernest (1948). Plain Words: a guide to the use of English. London: Her Majesty's Stationery Office.
- Houston, Keith (2013). Shady Characters: Ampersands, Interrobangs and other Typographical Curiosities. Particular.
- Parkes, Malcolm Beckwith (1993). Pause and Effect: An Introduction to the History of Punctuation in the West. University of California Press. ISBN 0-520-07941-8.
- Patt, Sebastian (2013). Punctuation as a Means of Medium-Dependent Presentation Structure in English: Exploring the Guide Functions of Punctuation. Tübingen: Narr Francke Attempto Verlag. ISBN 978-3-8233-6753-6.
External links
[edit]- Larry Trask: Guide to Punctuation – a helpful online resource
- History of Punctuation (in French) – helpful photographs of early punctuation
- Punctuation Marks in English: Clarity in Expression
- Unicode reference tables:
- Unicode collation charts—including punctuation marks, sorted by shape
- "General punctuation U2000" (PDF).
- "CJK Symbols and Punctuation U3000" (PDF).
- "CJK Compatibility Forms UFE30" (PDF).
- "Small Form Variants UFE50" (PDF).
- "Halfwidth and Fullwidth Forms UFF00" (PDF).
- Ethiopic script
- Automatic Recovery of Capitalization and Punctuation of Automatic Speech Transcripts
- English Punctuation Rules
- Punctuation marks with independent clauses, by Jennifer Frost
Punctuation
View on GrokipediaFundamentals
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.[12] 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.[13] 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").[14] 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 ambiguity, clarifying syntactic structure in complex constructions like lists or quotations, enhancing overall readability by organizing text flow, and replicating spoken prosody through indications of pauses, stress, or emotional tone.[1] For instance, a comma can signal a brief pause akin to natural speech breathing, while an exclamation point conveys heightened emphasis or excitement.[15] A striking illustration of punctuation's disambiguating role is the difference between "Let's eat, Grandma" and "Let's eat Grandma," where the comma transforms an unintended cannibalistic suggestion into a polite dinner invitation, underscoring how these marks can radically alter meaning.[16] 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 recitation and comprehension; early marks were thus reader-added to facilitate aloud performance of scripts, gradually standardizing to support silent reading and independent interpretation.[17]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.[18][19] 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).[18][20] Punctuation also distinguishes between linear uses in continuous prose, 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 readability across contexts. The classification further varies by script type: alphabetic systems, with inherent word spacing, 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.[13][21]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 Egyptian hieroglyphs, which used directional indicators but no pause marks, and early Mesoamerican glyphs, emphasizing the global primacy of spoken performance over visual separators.[22] In the Hellenistic period, significant advancements occurred in Greek textual practices. Around the 3rd century BCE, Aristophanes of Byzantium, a scholar at the Library of Alexandria, 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 comma or period), a middle dot for a moderate pause (similar to a colon), and a high dot for a full stop (anticipating the semicolon or period). This innovation addressed the challenges of scriptio continua—continuous writing without spaces—prevalent in Greek manuscripts, and was intended to guide performers in oral recitation by mimicking natural rhetorical breaks. Roman adaptations of Greek practices were more limited during the classical era (c. 1st century BCE to 2nd century CE), with Latin texts predominantly employing scriptio continua to conserve space on expensive papyrus, 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.[23] 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 scriptio continua without diacritics for pauses, though later cantillation marks (developed for chanting biblical verses) retroactively encoded prosodic rhythms to preserve melodic recitation patterns from memory.[24] Ancient Chinese texts, from the oracle bone script of the Shang dynasty (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.[25] Similarly, Sanskrit 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.[26] Throughout antiquity, punctuation's development was inextricably linked to oral recitation, as written texts served primarily as aides-mémoire for public performance; readers, often trained in rhetorical delivery, inferred pauses, emphasis, and phrasing from cultural memory and prosodic cues rather than fixed marks, a practice that persisted across Greek, Roman, and Near Eastern literate societies.[27] This oral-visual interplay highlights how early punctuation prototypes enhanced, rather than supplanted, the performative aspects of literacy.[27]Medieval Developments
In the early Middle Ages, European manuscript traditions built upon ancient rhetorical systems by developing more systematic punctuation for oral reading and scriptural interpretation. Isidore of Seville, in his Etymologiae (c. 636 CE), described a three-tiered system of points corresponding to classical distinctions: the punctus (low point) for short pauses akin to a comma, 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.[28] These marks facilitated pauses in liturgical and scholarly texts, reflecting the era's focus on lectio divina where punctuation aided meditative recitation.[29] During the Carolingian Renaissance in the 8th century, Alcuin of York advanced these practices through educational reforms, promoting consistent word spacing (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 Ireland and Anglo-Saxon England (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 question mark resembling a tilde 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 Lindisfarne Gospels.[29] These innovations supported the oral performance of texts in monastic settings, where rhythmic pauses aligned with poetic meters in Old English and Irish literature. 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 (consonant dotting) and tashkil (vowel marks) were refined under scholars like Khalil ibn Ahmad al-Farahidi (d. 791 CE), including symbols like the sukun (a small circle indicating a consonant without vowel) to aid prosodic pauses, but these served phonetic and recitational purposes rather than syntactic breaks in the unspaced abjad script. These marks, initially for religious accuracy, extended to secular literature, marking a shift toward structured readability 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 York and Tours under Alcuin, meticulously copied and refined marks for liturgical books, ensuring fidelity to rhetorical intent; similarly, Tang academies and Abbasid libraries like the House of Wisdom adapted symbols for scholarly exegesis, safeguarding ancient knowledge while introducing practical aids for diverse readers.[30]Early Modern Standardization
The invention of the movable-type printing press by Johannes Gutenberg in the 1450s revolutionized book production in Europe, but early printed works like the Gutenberg Bible (completed around 1455) featured minimal and inconsistent punctuation, relying primarily on rubrication and sparse points for visual breaks rather than systematic syntax guidance.[31] This scarcity reflected medieval manuscript 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.[32] 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.[33] 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.[22] 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.[34] French developments paralleled these efforts, with Robert Estienne incorporating hyphens and parentheses in his 1530s Latin-French dictionaries to organize entries and denote asides, fostering precision in bilingual texts.[35] The Académie Française, 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.[36] These European standards disseminated globally via colonial printing; Spanish missionaries established the first New World press in Mexico by 1539, adapting European marks to indigenous languages like Nahuatl for catechetical texts, while Jesuit and Protestant presses in Asia from the 1550s introduced punctuation to scripts such as Chinese and Vietnamese, facilitating literacy and conversion efforts.[37][38] This era witnessed a pivotal shift from rhetorical punctuation—based on pauses for recitation—to grammatical uses emphasizing syntax, as critiqued by humanist Desiderius Erasmus 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.[39] Erasmus'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 silent reading comprehension by the late 16th century.[40]Modern and Digital Evolution
In the late 19th century, typewriters revolutionized punctuation by integrating symbols directly into mechanical keyboards. The Remington No. 2 model, released in 1878, introduced the shift key, 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.[41] This innovation reduced reliance on manual insertions and promoted uniformity in professional writing, as earlier models often required separate attachments or overstriking for symbols.[42] The early 20th century brought formal codification through style guides that shaped punctuation in publishing and journalism. The first edition of The Chicago Manual of Style, published in 1906 by the University of Chicago Press, outlined detailed rules for punctuation, such as the use of serial commas and quotation mark placement, influencing academic and book publishing standards.[43] Complementing this, the Associated Press Stylebook emerged in 1953 as a concise pamphlet, simplifying punctuation for news reporting—favoring brevity in commas and dashes—to ensure clarity in fast-paced media.[44] 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.[45] By the 1980s, email protocols and word processors such as WordStar (1978) and WordPerfect (1980) restored full punctuation repertoires, supporting proportional fonts and easy insertion, which diminished typewriter-era habits like double-spacing after periods.[46] The digital era further transformed punctuation through informal and visual adaptations. Emojis, pioneered in 1999 by Japanese designer Shigetaka Kurita for NTT DoCoMo's i-mode mobile platform, extended traditional marks by adding 176 pictorial icons to convey emotion and nuance in text-based messaging.[47] In the 2010s, texting shorthand evolved, with periods increasingly signaling sarcasm or abruptness—contrasting their neutral role in formal writing—as noted in linguistic analyses of digital tone.[48] 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 character encoding.[49][50]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 the Chicago Manual of Style and the Associated Press 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 academic, publishing, or news writing—the core principles emphasize logical separation and emphasis. The period (.), also known as a full stop, 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 question mark (?) follows interrogative sentences, such as "What time is it?", to indicate a direct inquiry. The exclamation mark (!) 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 serial comma—also called the Oxford or Harvard comma—precedes the final conjunction; for instance, "apples, oranges, and bananas" is standard in American English per the Chicago Manual of Style, though British styles like Oxford often omit it unless ambiguity arises.[51] 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 London, visited yesterday."[52] The debate over the serial comma highlights style variations, with American guides favoring it for clarity and British ones preferring its omission in simple lists.[53] Semicolons (;) connect closely related independent clauses without a conjunction, as in "She studied hard; he relaxed.", or separate items in complex lists. Colons (:) introduce lists, explanations, or quotations after an independent clause, 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.'.[54] 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 creative writing but demand consistency in professional contexts.In Other Languages
In Romance languages, punctuation often reflects typographic traditions distinct from English conventions. French employs guillemets (« ») as primary quotation marks, 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 interrogative or exclamatory sentences to indicate their nature from the outset, a practice standardized by the Real Academia Española to aid readability in prolix structures.[55] 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 syllable containing the umlaut (e.g., über-tragen), following Duden guidelines to preserve vowel modifications without altering pronunciation. Dutch uses double quotation marks (“ ”) for direct speech, aligning with British English by placing closing punctuation outside the quotes unless integral to the quoted material, differing from American English norms.[56] Asian languages adapt punctuation to ideographic and syllabic scripts, often prioritizing visual harmony. Chinese utilizes full-width punctuation marks, such as the period (。) and comma (,), 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 kaomoji—text-based emoticons like (^_^)—with standard punctuation, employing them as supplementary markers for tone in informal writing, sometimes replacing or enhancing exclamation points.[57] Scripts like Thai and Arabic omit interword spaces entirely, relying on diacritics and contextual cues for separation; Thai uses tone marks and clustered consonants without spaces, while Arabic 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 "interrogative" (referring to the question mark, also known as the interrogation point) and "bang," printers' slang for the exclamation mark dating back to the era of hot-metal typesetting. Early adoption occurred in advertising, 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 glyph into the Americana bold typeface produced by American Type Founders, making it available in print media like magazines during the late 1960s. Variants of the interrobang include the single superimposed symbol ‽, officially encoded in Unicode 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 Remington Rand Model 25—users created it by typing a question mark, backspacing to the same position, and overstriking with an exclamation mark, a technique that mimicked the overlay effect but required precise alignment. Critics, including major style guides, have dismissed the interrobang as superfluous; for instance, The Chicago Manual of Style (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 Associated Press 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 interrobang has experienced a modest revival through the informal sequence ?! in texting and social media, 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 emoji approximations like the double exclamation question mark (⁉).Predecessors of Emoticons and Emojis
The earliest precursors to modern emoticons and emojis appeared in the late 19th century 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 joy (😊), melancholy (😢), indifference (😐), and astonishment (😲), intended as humorous indicators in prose where tone might be ambiguous.[58] These symbols marked an early attempt to extend punctuation beyond grammar to express affect, predating digital communication by a century.[59] In the mid-20th century, computing environments began fostering similar innovations through limited character sets. On the PLATO system, an educational computer network operational since the 1960s and widely used in the 1970s, users created rudimentary ASCII art 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.[60] These multi-line or simple constructs served as precursors to more standardized emoticons, compensating for the absence of vocal cues in early online discussions.[61] 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 Carnegie Mellon University bulletin board to distinguish jokes from serious posts amid frequent misunderstandings in text-only exchanges.[62] This innovation quickly spread via Usenet and early email, evolving into a protocol for emotional nuance; for instance, the winking ;-) variant emerged soon after to signal sarcasm or irony, contrasting with standard punctuation like periods or exclamation points that lacked such subtlety.[63] By addressing tone in tone-less media, these emoticons functioned as affective punctuation, influencing digital etiquette.[64] The transition from textual emoticons to graphical emojis occurred in the late 1990s with mobile technology in Japan. In 1999, designer Shigetaka Kurita developed a set of 176 pictographic symbols for NTT DoCoMo's i-mode 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.[65] These "emoji" (from Japanese e for picture and moji for character) built on emoticon traditions by adding visual detail within constrained screens, enhancing emotional conveyance in short-form communication.[66] By the 2010s, this evolution culminated in global standardization through Unicode. The Unicode Consortium incorporated the first dedicated emoji 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.[67]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 question mark or exclamation mark, respectively, for use within sentences to convey subtle intonation or emphasis without terminating the clause. 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 confirmation 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 exclamation mark over a comma (,!), signals surprise or excitement during a pause, as in "I can't believe it, that's incredible,!" allowing emotional expression mid-sentence. These marks address gaps in traditional punctuation by preserving sentence flow while capturing spoken nuances like tag questions or exclamatory asides.[68] 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 patent WO1992019458A1 and Canadian patent CA2102803A1), marking them as among the first novel punctuation proposals in the desktop publishing 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., comma followed by backspace and question mark). Their patent lapsed after three years due to lack of commercial adoption, reflecting limited interest from publishers and typographers.[69][68][70] 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 typography, artistic writing, or niche discussions on punctuation innovation, with no inclusion in major style guides like the Chicago Manual of Style or AP Stylebook, 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.[71][72]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 rhetorical question, such as one implying an obvious answer like "Why?" It was used in English printing until the early 17th century before falling into disuse.[34][73] The asterism, symbolized by ⁂ (three asterisks arranged in a triangle), originated as a medieval punctuation mark to divide sections of text or denote paragraph breaks in manuscripts. It was revived in 19th-century printing 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.[74][73][75] 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 sarcasm 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 symbol 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.[76][72][69]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 commas, 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 full stop (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.[77] A dedicated block for general punctuation 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 typography, and various quotation marks 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 angle quotation mark at U+2039 (Pi) and single right-pointing angle quotation mark at U+203A (Pf), enabling typographically rich quoting in European languages. These characters are assigned to the Common script (Zyyy), promoting interoperability in multilingual text.[78][79][77] 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).[80][81] 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.[82][83] The encoding of punctuation has evolved with Unicode 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 emoji but maintained stability in core punctuation encoding, incorporating punctuation-inspired emoji like the red exclamation mark (U+2757) and question mark (U+2753) with skin tone modifiers from earlier versions, enhancing expressive digital communication while maintaining backward compatibility.[84][67]| Symbol | Codepoint | Category | Script |
|---|---|---|---|
| . | U+002E | Po | Common |
| , | U+002C | Po | Common |
| # | U+0023 | Po | Common |
| ? | U+003F | Po | Common |
| — | U+2014 | Pd | Common |
| “ | U+201C | Ps | Common |
| ” | U+201D | Pe | Common |
| ‚ | U+201A | Ps | Common |
| . | U+FF0E | Po | Common |

