MUFI Character Database |
Number of characters in database: 1530
This range includes punctuation marks that are not included in the Unicode Standard v. 5.1. The common marks, such as full stop, comma, colon, semicolon, question mark, hyphen and solidus, are all found in the range Basic Latin (pp. 14–17 above). Some are also located in the range General Punctuation (p. 56). Finally, a few punctuation marks can be identified with characters in other ranges:
In v. 5.1 of the Unicode Standard, four characters in this subrange have been inluded in Latin Extended-D, and have therefore been decommissioned (high- lighted in yellow). More punctuation characters will probably be added to a forthcoming proposal to Unicode.
Glyph | Entity | Numeric | Codepoint | Chart | Description | Version | Andron |
---|---|---|---|---|---|---|---|
&punctinter; |  | F160 | PUA-8 | PUNCTUS INTERROGATIVUS | Uni.: MUFI: 3.0 | | |
&punctelev; |  | F161 | PUA-8 | PUNCTUS ELEVATUS | Uni.: MUFI: 3.0 | | |
This form of the punctus elevatus is typically found in English manuscripts and is sometimes seen as the default form. Sometimes called ‘tick and point’, e.g. by N.R. Ker, English Manuscripts in the Century after the Norman Conquest, Oxford, 1960, p. 46. | |||||||
&tridagger; |  | F1D2 | PUA-8 | TRIPLE DAGGER | Uni.: MUFI: 4.0 auto | | |
Cf. 2020 DAGGER and 2021 DOUBLE DAGGER in General Punctuation (p. 59–60 above). | |||||||
&medcom; |  | F1E0 | PUA-8 | MEDIEVAL COMMA | Uni.: MUFI: 3.0 | | |
Cf. Malcolm B. Parkes, Pause and Effect, Aldershot, 1992, p. 301. According to Parkes, this mark “appears most frequently in the work of fourteenth- century Italian scribes” (p. 303). | |||||||
¶g; |  | F1E1 | PUA-8 | PARAGRAPHUS | Uni.: MUFI: 3.0 | | |
Cf. Malcolm B. Parkes, Pause and Effect, Aldershot, 1992, pp. 12, 43, 305. | |||||||
&posit; |  | F1E2 | PUA-8 | COMMA POSITURA | Uni.: MUFI: 3.0 | | |
The positura is similar to COMMA 002C, but should be kept apart from this punctuation mark due to a different and more specialised usage. Cf. Malcolm B. Parkes, Pause and Effect, Aldershot, 1992, pp. 301 and 306. | |||||||
&ductsimpl; |  | F1E3 | PUA-8 | HIGH COMMA POSITURA (SIMPLEX DUCTUS) | Uni.: MUFI: 3.0 | | |
Similar form as the positura, but positioned above the ‘x’ height. Cf. Malcolm B. Parkes, Pause and Effect, Aldershot, 1992, pp. 301 and 307. | |||||||
&punctposit; |  | F1E4 | PUA-8 | PUNCTUS WITH COMMA POSITURA | Uni.: MUFI: 3.0 | | |
Cf. Malcolm B. Parkes, Pause and Effect, Aldershot, 1992, pp. 301 and 306. | |||||||
&colmidcomposit; |  | F1E5 | PUA-8 | COLON WITH MIDDLE COMMA POSITURA | Uni.: MUFI: 3.0 | | |
Cf. Malcolm B. Parkes, Pause and Effect, Aldershot, 1992, pp. 301 and 306. | |||||||
&tridotscomposit; |  | F1E6 | PUA-8 | THREE DOTS WITH COMMA POSITURA | Uni.: MUFI: 3.0 | | |
This punctuation mark looks like an upwards-poiting triangle of dots with a comma between (and below) the two lower dots. Cf. Malcolm B. Parkes, Pause and Effect, Aldershot, 1992, pp. 301 and 307. See also 2234 above in Mathematical Operators. | |||||||
&punctexclam; |  | F1E7 | PUA-8 | PUNCTUS EXCLAMATIVUS | Uni.: MUFI: 3.0 | | |
Early form with two dots below each other and a diagonal stroke on top of them. Cf. Malcolm B. Parkes, Pause and Effect, Aldershot, 1992, p. 301. | |||||||
&punctintertilde; |  | F1E8 | PUA-8 | PUNCTUS INTERROGATIVUS HORIZONTAL TILDE | Uni.: MUFI: 3.0 | | |
This is a variant of the question mark where the swash (tilde) is horizontal. Cf. Malcolm B. Parkes, Pause and Effect, Aldershot, 1992, p. 301. | |||||||
&punctvers; |  | F1EA | PUA-8 | PUNCTUS VERSUS | Uni.: MUFI: 3.0 | | |
Similar in shape to the semicolon (003B), but should be kept apart from this mark. Cf. Malcolm B. Parkes, Pause and Effect, Aldershot, 1992, pp. 301, 306. | |||||||
&renvoi; |  | F1EC | PUA-8 | SIGNE DE RENVOI | Uni.: MUFI: 3.0 | | |
Looks like two dots over a single dot. Used to connect a marginal note to a place in the text. Looks similar to TWO DOTS OVER ONE DOT PUNCTUATION below, but has a different usage and the dots are more widely spaced. | |||||||
&punctelevdiag; |  | F1F0 | PUA-8 | PUNCTUS ELEVATUS DIAGONAL STROKE | Uni.: MUFI: 3.0 | | |
Variant form of the punctus elevatus. | |||||||
&punctinterlemn; |  | F1F1 | PUA-8 | PUNCTUS INTERROGATIVUS LEMNISKATE FORM | Uni.: MUFI: 3.0 | | |
Attested in Old Icelandic, but very marginal. For examples, see Holm perg 15 B 4to (cf. Hreinn Benediktsson, Early Icelandic Script, Reykjavík 1965, pl. 8:13 and 8:19). | |||||||
&bidotscomposit; |  | F1F2 | PUA-8 | TWO DOTS OVER COMMA POSITURA | Uni.: MUFI: 3.0 | | |
Attested in Old Icelandic, e.g. in Holm perg 15 B 4to (see Hreinn Benediktsson, Early Icelandic Script, Reykjavík 1965, pl. 8:14) and in GKS 2365 4to (Codex Regius of the Eddic poems). | |||||||
&virgsusp; |  | F1F4 | PUA-8 | VIRGULA SUSPENSIVA | Uni.: MUFI: 3.0 | | |
Looks like a solidus with a dot in the middle. Used to mark a very brief pause or hesitation in the text. Cf. Malcolm B. Parkes, Pause and Effect, Aldershot, 1992, p. 307. | |||||||
&punctflex; |  | F1F5 | PUA-8 | PUNCTUS FLEXUS | Uni.: MUFI: 3.0 | | |
Looks like the digit 7 with a dot below, sometimes referred to as ‘seven and point’ (e.g. by N.R. Ker, English Manuscripts in the Century after the Norman Conquest, Oxford, 1960, p. 47). Also called PUNCTUS CIRCUMFLEXUS. Used to mark sentence-medial pauses, especially in liturgical texts where the pitch of the voice drops. Cf. also Malcolm B. Parkes, Pause and Effect, Aldershot, 1992, pp. 301, 306. Note that the shape in Parkes’ book looks more like an open ‘a’ than ‘7’, but this is basically a question of variance. | |||||||
&virgmin; |  | F1F7 | PUA-8 | SHORT VIRGULA | Uni.: MUFI: 3.0 | | |
Looks like a virgule, but confined within the ‘x’ height (like a half-height slash), e.g. ‘x x’. Attested in late paper manuscripts of Medieval Nordic verse and not to be unified with the ordinary comma. | |||||||
&hidot; |  | F1F8 | PUA-8 | DISTINCTIO | Uni.: MUFI: 3.0 | | |
Described by the grammarian Donatus, who distinguishes between three positions of the dot: on the baseline (to be unified with 002E FULL STOP), middle height (to be unified with 00B7 MIDDLE DOT) and the high dot, shown here. See also Isidore of Sevilla, Etymologiae I 20. Malcolm B. Parkes, Pause and Effect, Aldershot, 1992, p. 13, says that the distinctio was used to indicate “a final pause, after a periodus, or where the sententia is completed”. | |||||||
&wavylin; |  | F1F9 | PUA-8 | WAVY LINE | Uni.: MUFI: 3.0 | | |
Frequently used in English manuscripts in the 12th century in the form of a wavy line or sometimes a straight line. Placed slightly above the base line. | |||||||
&punctelevhiback; |  | F1FA | PUA-8 | PUNCTUS ELEVATUS WITH HIGH BACK | Uni.: MUFI: 3.0 | | |
Variant form of the punctus elevatus found in manuscripts in the Low countries, eastern France and the Rhineland. | |||||||
&punctelevhack; |  | F1FB | PUA-8 | PUNCTUS ELEVATUS WITH ONSET | Uni.: MUFI: 3.0 | | |
Variant form of the punctus elevatus found in manuscripts from southern Germany. |
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