Playfair 2·0 is

praktischer


plus élégant


más grande


öflugri


bardziej elastyczne


säädettävämpi


có thể điều chỉnh hơn


більш дивовижний


schopnější


dikker


mai slabă


szélesebb


aktar estiża


mikroskopiškesnis


more gargantuan

Designed to spark joy and eager to impress, the Playfair 2·0 typeface family is here

The second major version of the Playfair typeface family is now available as a variable fount of three axes. These allow you to seamlessly interpolate Playfair to any coordinate within these three dimensions: widths from Semi-Condensed to Semi-Expanded, weights from slightly lighter than Regular to Black, and optical sizes from Micro to Needlepoint, where every conceivable size is covered from the smallest of small to the biggest of big. This greatly expands Playfair’s range of application. Playfair also contains an array of OpenType features. These cover both functional exceptions and stylistic alternates, even alternate glyphs designs dependent on width, weight, and optical size. These alternate glyph designs are automatically applied in their right context.

Playfair still supports both the Latin and Кирилиця scripts, in both Roman and Italic styles. Both styles come with a full complement of small-caps.

Following is a selection of demonstration documents. You can either click on the links below, or scroll horizontally (that way →) to view them. Up in the right corner there is a menu with some unforgettable colour schemes, a button that inverts the colour scheme, and a full screen toggle button. Note that some of the documents have layouts and typography that will react to the size of you browser’s viewport.

Putting it all together I have constructed some demonstration pages showing these new abilities. First a virtual Galley Proof of the many new faces of Playfair. A newspaper using a range of sizes from small to large in appropriate optical sizes. A formal scientific paper as you would find it in a scientific journal. A densely packed dictionary using a plethora of styles. A law as it might appear in government publications. A richly annotated stage play. Finally, the Open Font License agreement in a tiny yet readable size.

Would you look at that, Playfair 2·0 all grown up and exponentially more capable

Have a delightful scroll through the many new faces of Playfair. There should be an instance for any occasion.

In Playfair there are zones of sweetness – combinations of width, weight, & optical size that work particularly well together. The only way to find them is to try out Playfair for yourself, in your context.

Reliant

Ложе

Nồi đồng cối đá

60 μg

whisper

Thaï

Δ 0 · 142 GeV/c2

Quay

Estland

Métallurgie

Stürz

Avarice

me

55° 46′ 38″ 694‴

microscopic

Superb

Dollarbeløp

Flüchtlinge aus der Ukraine

røg

623

ochre

Supplémentaires défiscalisées

§ 81/d

Skraufþurran

Apricity

x = x2 + x3

Aakkonen

Społeczność białoruską

Fjőrður

@

frequency

Sonntagsleerung

Ördək

&c.

přestože jejich stáří stouplo

Vereenichde

Слава

Україні

Trepadeira herbácea

№ 39/A

¿Qué propone la Comisión Europea?

Pizza all’ananas

Chyrligwgan

Quafftide

Dia de visitação e inspeção

From the microscopic to the gargantuan, the optical size axis of Playfair 2·0 span the extremes

Below is text from the very small to the very large, in their respective optical sizes.

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£23 1‰ €19 ₹145 ₴487 ₫50·000 52° 29′ 22.0956″ N £23 1‰ €19 ₹145 ₴487 ₫50·000 52° 29′ 22.0956″ N £23 1‰ €19 ₹145 ₴487 ₫50·000 52° 29′ 22.0956″ N

From lean to dense, the weight axis of Playfair 2·0 has the right colour for your text

Playfair’s weights range from regular to black. Below is text showing this range in a selection of optical sizes.

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Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon.

Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon.

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За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon.

За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon.

За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon.

За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon.

За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon.

За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. За миг бях в чужд плюшен скърцащ фотьойл. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon.

Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon.

Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon.

Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon.

Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon.

Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Įlinkdama fechtuotojo špaga sublykčiojusi pragręžė apvalų arbūzą. Parciais fy jac codi baw hud llawn dŵr ger tŷ Mabon.

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Voix ambiguë d’un cœur qui au zéphyr préfère les jattes de kiwi. Voix ambiguë d’un cœur qui au zéphyr préfère les jattes de kiwi. Voix ambiguë d’un cœur qui au zéphyr préfère les jattes de kiwi. Voix ambiguë d’un cœur qui au zéphyr préfère les jattes de kiwi. Voix ambiguë d’un cœur qui au zéphyr préfère les jattes de kiwi.

Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich. Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich. Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich. Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich.

Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich. Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich. Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich. Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich.

Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich. Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich. Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich. Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich.

Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich. Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich. Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich. Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich.

Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich. Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich. Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich. Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich.

Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich. Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich. Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich. Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich.

Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні!

Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні!

Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні!

Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні!

Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні!

Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні! Слава великій Україні!

«Dóna amor que seràs feliç!». Això, il·lús company geniüt, ja és un lluït rètol blavís d’onze kWh. «Dóna amor que seràs feliç!». Això, il·lús company geniüt, ja és un lluït rètol blavís d’onze kWh.

«Dóna amor que seràs feliç!». Això, il·lús company geniüt, ja és un lluït rètol blavís d’onze kWh. «Dóna amor que seràs feliç!». Això, il·lús company geniüt, ja és un lluït rètol blavís d’onze kWh.

«Dóna amor que seràs feliç!». Això, il·lús company geniüt, ja és un lluït rètol blavís d’onze kWh. «Dóna amor que seràs feliç!». Això, il·lús company geniüt, ja és un lluït rètol blavís d’onze kWh.

«Dóna amor que seràs feliç!». Això, il·lús company geniüt, ja és un lluït rètol blavís d’onze kWh. «Dóna amor que seràs feliç!». Això, il·lús company geniüt, ja és un lluït rètol blavís d’onze kWh.

«Dóna amor que seràs feliç!». Això, il·lús company geniüt, ja és un lluït rètol blavís d’onze kWh. «Dóna amor que seràs feliç!». Això, il·lús company geniüt, ja és un lluït rètol blavís d’onze kWh.

«Dóna amor que seràs feliç!». Això, il·lús company geniüt, ja és un lluït rètol blavís d’onze kWh. «Dóna amor que seràs feliç!». Això, il·lús company geniüt, ja és un lluït rètol blavís d’onze kWh.

Zəfər, jaketini də papağını da götür, bu axşam hava çox soyuq olacaq. Zəfər, jaketini də papağını da götür, bu axşam hava çox soyuq olacaq.

Zəfər, jaketini də papağını da götür, bu axşam hava çox soyuq olacaq. Zəfər, jaketini də papağını da götür, bu axşam hava çox soyuq olacaq.

Zəfər, jaketini də papağını da götür, bu axşam hava çox soyuq olacaq. Zəfər, jaketini də papağını da götür, bu axşam hava çox soyuq olacaq.

Zəfər, jaketini də papağını da götür, bu axşam hava çox soyuq olacaq. Zəfər, jaketini də papağını da götür, bu axşam hava çox soyuq olacaq.

Zəfər, jaketini də papağını da götür, bu axşam hava çox soyuq olacaq. Zəfər, jaketini də papağını da götür, bu axşam hava çox soyuq olacaq.

Zəfər, jaketini də papağını da götür, bu axşam hava çox soyuq olacaq. Zəfər, jaketini də papağını da götür, bu axşam hava çox soyuq olacaq.

Glāžšķūņa rūķīši dzērumā čiepj Baha koncertflīģeļu vākus. Glāžšķūņa rūķīši dzērumā čiepj Baha koncertflīģeļu vākus.

Glāžšķūņa rūķīši dzērumā čiepj Baha koncertflīģeļu vākus. Glāžšķūņa rūķīši dzērumā čiepj Baha koncertflīģeļu vākus.

Glāžšķūņa rūķīši dzērumā čiepj Baha koncertflīģeļu vākus. Glāžšķūņa rūķīši dzērumā čiepj Baha koncertflīģeļu vākus.

Glāžšķūņa rūķīši dzērumā čiepj Baha koncertflīģeļu vākus. Glāžšķūņa rūķīši dzērumā čiepj Baha koncertflīģeļu vākus.

Glāžšķūņa rūķīši dzērumā čiepj Baha koncertflīģeļu vākus. Glāžšķūņa rūķīši dzērumā čiepj Baha koncertflīģeļu vākus.

Glāžšķūņa rūķīši dzērumā čiepj Baha koncertflīģeļu vākus. Glāžšķūņa rūķīši dzērumā čiepj Baha koncertflīģeļu vākus.

Quizdeltagerne spiste jordbær med fløde, mens cirkusklovnen Walther spillede på xylofon. Quizdeltagerne spiste jordbær med fløde, mens cirkusklovnen Walther spillede på xylofon.

Quizdeltagerne spiste jordbær med fløde, mens cirkusklovnen Walther spillede på xylofon. Quizdeltagerne spiste jordbær med fløde, mens cirkusklovnen Walther spillede på xylofon.

Quizdeltagerne spiste jordbær med fløde, mens cirkusklovnen Walther spillede på xylofon. Quizdeltagerne spiste jordbær med fløde, mens cirkusklovnen Walther spillede på xylofon.

Quizdeltagerne spiste jordbær med fløde, mens cirkusklovnen Walther spillede på xylofon. Quizdeltagerne spiste jordbær med fløde, mens cirkusklovnen Walther spillede på xylofon.

Quizdeltagerne spiste jordbær med fløde, mens cirkusklovnen Walther spillede på xylofon. Quizdeltagerne spiste jordbær med fløde, mens cirkusklovnen Walther spillede på xylofon.

Quizdeltagerne spiste jordbær med fløde, mens cirkusklovnen Walther spillede på xylofon. Quizdeltagerne spiste jordbær med fløde, mens cirkusklovnen Walther spillede på xylofon.

A little narrower or a little wider, find what’s just right. These are the widths of the Playfair 2·0 typeface family.

You can observe the effect of the seamlessly changing width as you manipulate the slider below. The nominal ‘normal’ value is 100, and Playfair spans the widths between Semi-Condensed at 88, and Semi-Expanded at 113.

Width 100

To Sherlock Holmes she is always the woman. I have seldom heard him mention her under any other name. In his eyes she eclipses and predominates the whole of her sex. It was not that he felt any emotion akin to love for Irene Adler. All emotions, and that one particularly, were abhorrent to his cold, precise but admirably balanced mind. He was, I take it, the most perfect reasoning and observing machine that the world has seen, but as a lover he would have placed himself in a false position. He never spoke of the softer passions, save with a gibe and a sneer. They were admirable things for the observer — excellent for drawing the veil from men’s motives and actions. But for the trained reasoner to admit such intrusions into his own delicate and finely adjusted temperament was to introduce a distracting factor which might throw a doubt upon all his mental results. Grit in a sensitive instrument, or a crack in one of his own high-power lenses, would not be more disturbing than a strong emotion in a nature such as his. And yet there was but one woman to him, and that woman was the late Irene Adler, of dubious and questionable memory.

I had seen little of Holmes lately. My marriage had drifted us away from each other. My own complete happiness, and the home-centred interests which rise up around the man who first finds himself master of his own establishment, were sufficient to absorb all my attention, while Holmes, who loathed every form of society with his whole Bohemian soul, remained in our lodgings in Baker Street, buried among his old books, and alternating from week to week between cocaine and ambition, the drowsiness of the drug, and the fierce energy of his own keen nature. He was still, as ever, deeply attracted by the study of crime, and occupied his immense faculties and extraordinary powers of observation in following out those clues, and clearing up those mysteries which had been abandoned as hopeless by the official police. From time to time I heard some vague account of his doings: of his summons to Odessa in the case of the Trepoff murder, of his clearing up of the singular tragedy of the Atkinson brothers at Trincomalee, and finally of the mission which he had accomplished so delicately and successfully for the reigning family of Holland. Beyond these signs of his activity, however, which I merely shared with all the readers of the daily press, I knew little of my former friend and companion.

One night — it was on the twentieth of March, 1888 — I was returning from a journey to a patient (for I had now returned to civil practice), when my way led me through Baker Street. As I passed the well-remembered door, which must always be associated in my mind with my wooing, and with the dark incidents of the Study in Scarlet, I was seized with a keen desire to see Holmes again, and to know how he was employing his extraordinary powers. His rooms were brilliantly lit, and, even as I looked up, I saw his tall, spare figure pass twice in a dark silhouette against the blind. He was pacing the room swiftly, eagerly, with his head sunk upon his chest and his hands clasped behind him. To me, who knew his every mood and habit, his attitude and manner told their own story. He was at work again. He had risen out of his drug-created dreams and was hot upon the scent of some new problem. I rang the bell and was shown up to the chamber which had formerly been in part my own.

His manner was not effusive. It seldom was; but he was glad, I think, to see me. With hardly a word spoken, but with a kindly eye, he waved me to an armchair, threw across his case of cigars, and indicated a spirit case and a gasogene in the corner. Then he stood before the fire and looked me over in his singular introspective fashion.

“Wedlock suits you,” he remarked. “I think, Watson, that you have put on seven and a half pounds since I saw you.”

“Seven!” I answered.

“Indeed, I should have thought a little more. Just a trifle more, I fancy, Watson. And in practice again, I observe. You did not tell me that you intended to go into harness.”

“Then, how do you know?”

“I see it, I deduce it. How do I know that you have been getting yourself very wet lately, and that you have a most clumsy and careless servant girl?”

“My dear Holmes,” said I, “this is too much. You would certainly have been burned, had you lived a few centuries ago. It is true that I had a country walk on Thursday and came home in a dreadful mess, but as I have changed my clothes I can’t imagine how you deduce it. As to Mary Jane, she is incorrigible, and my wife has given her notice, but there, again, I fail to see how you work it out.”

He chuckled to himself and rubbed his long, nervous hands together.

“It is simplicity itself,” said he; “my eyes tell me that on the inside of your left shoe, just where the firelight strikes it, the leather is scored by six almost parallel cuts. Obviously they have been caused by someone who has very carelessly scraped round the edges of the sole in order to remove crusted mud from it. Hence, you see, my double deduction that you had been out in vile weather, and that you had a particularly malignant boot-slitting specimen of the London slavey. As to your practice, if a gentleman walks into my rooms smelling of iodoform, with a black mark of nitrate of silver upon his right forefinger, and a bulge on the right side of his top-hat to show where he has secreted his stethoscope, I must be dull, indeed, if I do not pronounce him to be an active member of the medical profession.”

I could not help laughing at the ease with which he explained his process of deduction. “When I hear you give your reasons,” I remarked, “the thing always appears to me to be so ridiculously simple that I could easily do it myself, though at each successive instance of your reasoning I am baffled until you explain your process. And yet I believe that my eyes are as good as yours.”

“Quite so,” he answered, lighting a cigarette, and throwing himself down into an armchair. “You see, but you do not observe. The distinction is clear. For example, you have frequently seen the steps which lead up from the hall to this room.”

“Frequently.”

“How often?”

“Well, some hundreds of times.”

“Then how many are there?”

“How many? I don’t know.”

“Quite so! You have not observed. And yet you have seen. That is just my point. Now, I know that there are seventeen steps, because I have both seen and observed. By the way, since you are interested in these little problems, and since you are good enough to chronicle one or two of my trifling experiences, you may be interested in this.” He threw over a sheet of thick, pink-tinted notepaper which had been lying open upon the table. “It came by the last post,” said he. “Read it aloud.”

Explore the design space of Playfair 2·0 and find the right combination for the context

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Weight 680

Width 103

Optical size 48 points

Size 200 pixels

More than face value, the OpenType features of the Playfair 2·0 typeface family extends utility

Playfair contains an array of OpenType features. These cover both functional exceptions and stylistic alternates, even alternate glyphs designs dependent on width, weight, and optical size. Features can be applied to text to make it orthographically correct in context, more beautifull, or in an alternate style.

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Kerning kern
LVIV ATOM Yves Tatar Герой LVIV ATOM Yves Tatar Герой
LVIV ATOM Yves Tatar Герой LVIV ATOM Yves Tatar Герой
Small-caps from majuscules c2sc
HELLO … Can anybody hear me? HELLO … Can anybody hear me?
HELLO … Can anybody hear me? HELLO … Can anybody hear me?
Small-caps from minuscule smcp
Telephone for Mr Anderson Telephone for Mr Anderson
Telephone for Mr Anderson Telephone for Mr Anderson
Majuscle context case
¿PURCHASE OF 19 F-35S! ¿PURCHASE OF 19 F-35S!
¿PURCHASE OF 19 F-35S! ¿PURCHASE OF 19 F-35S!
Standard ligatures liga
fi fl ff ffi ffl fb fh fk
fä ffä ffï fö ffö fì ffì fï
ffï fü ffü fþ ft fft ſi ſſi ſl
ſſl ſſ ſh ſſh ſk ſſk ſt ſſt
fi fl ff ffi ffl fb fh fk
fä ffä ffï fö ffö fì ffì fï
ffï fü ffü fþ ft fft ſi ſſi ſl
ſſl ſſ ſh ſſh ſk ſſk ſt ſſt
fi fl ff ffi ffl fb fh fk
fä ffä ffï fö ffö fì ffì fï
ffï fü ffü fð fþ ft fft ſi ſſi ſl
ſſl ſſ ſh ſſh ſk ſſk ſt ſſt
fi fl ff ffi ffl fb fh fk
fä ffä ffï fö ffö fì ffì fï
ffï fü ffü fð fþ ft fft ſi ſſi ſl
ſſl ſſ ſh ſſh ſk ſſk ſt ſſt
Discretionary ligatures dlig
The spunky cast The spunky cast
The spunky cast The spunky cast
Old-style figures (default) onum
numbers 902361 for text numbers 902361 for text
numbers 902361 for text numbers 902361 for text
Lining figures lnum
H0123456789H H0123456789H
H0123456789H H0123456789H
Scientific inferiors sinf
H2O CO2 NaClO4 H2O CO2 NaClO4
H2O CO2 NaClO4 H2O CO2 NaClO4
Superscript sups
0123456789 0123456789
0123456789 0123456789
Subscript subs
0123456789 0123456789
0123456789 0123456789
Numerators numr
0123456789 0123456789
0123456789 0123456789
Denominators dnom
0123456789 0123456789
0123456789 0123456789
Arbitrary fractions frac
9/7 316/5 1/69 5874/314078 9/7 316/5 1/69 5874/314078
9/7 316/5 1/69 5874/314078 9/7 316/5 1/69 5874/314078
Ordinals ordn
El 4o piso … la 3a ciudad El 4o piso … la 3a ciudad
El 4o piso … la 3a ciudad El 4o piso … la 3a ciudad
Localised forms locl Azerbaijani
qırmızı mavi qırmızı mavi
qırmızı mavi qırmızı mavi
Localised forms locl Crimean Tatar
qırmızı mavi qırmızı mavi
qırmızı mavi qırmızı mavi
Localised forms locl Kazakh
qırmızı mavi qırmızı mavi
qırmızı mavi qırmızı mavi
Localised forms locl Tatar
qırmızı mavi qırmızı mavi
qırmızı mavi qırmızı mavi
Localised forms locl Turkish
qırmızı mavi qırmızı mavi
qırmızı mavi qırmızı mavi
Localised forms locl Catalan
paral·lel CEĿLA paral·lel CEĿLA
paral·lel CEĿLA paral·lel CEĿLA
Localised forms locl Dutch/Flemish
Fúji? Nee, Fíji. FÚJI? NEE, FÍJI. Fúji? Nee, Fíji. FÚJI? NEE, FÍJI.
Fúji? Nee, Fíji. FÚJI? NEE, FÍJI. Fúji? Nee, Fíji. FÚJI? NEE, FÍJI.
Localised forms locl Polish
ĆŃÓŚŹćńóśź ĆŃÓŚŹćńóśź
ĆŃÓŚŹćńóśź ĆŃÓŚŹćńóśź
Localised forms locl Romanian
Scuzaţi-mă Scuzaţi-mă
Scuzaţi-mă Scuzaţi-mă
Localised forms locl Ukranian
Визнайте її нарешті Визнайте її нарешті
Визнайте її нарешті Визнайте її нарешті
Localised forms locl Serbian
Србије Србије
бгдпт бгдпт
Stylistic alternate ss01
pþ sp р pþ sp р
Stylistic alternate ss02
EÉĔĚÊẾỆỀỂỄËĖẸÈẺĒĘẼ ЕЀЁ EÉĔĚÊẾỆỀỂỄËĖẸÈẺĒĘẼ ЕЀЁ
Stylistic alternate ss03
рѫка рѫка
Stylistic alternate ss04
інформацію інформацію
Stylistic alternate ss05
gǵğǧĝģġǥ gǵğǧĝģġǥ
Stylistic alternate ss06
yýŷÿỵỳỷỹ уў yýŷÿỵỳỷỹ уў
Stylistic alternate ss07
TŦŤŢȚ TŦŤŢȚ ТЋЂ ТЋЂ TŦŤŢȚ TŦŤŢȚ ТЋЂ ТЋЂ
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These These
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These These
Stylistic alternate ss11
£28– £28–
£28– £28–
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Stylistic alternate ss13
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Majuscle spacing cpsp
MINIMUM MINIMUM
MINIMUM MINIMUM
Contextual alternates calt
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Yes, you could typeset a newspaper in the Playfair 2·0 typeface family

You are looking at one. This document demonstrates how Playfair 2·0 can be employed to typeset articles from French newspaper ‘Le Figaro’ published on or around the sixteenth of April 1912.


58e Année — 3e Série — № 107

Le Numéro quotidien : dix centimes dans toute la France — Estranger : vingt centimes

Mardi 16 Avril 1912


Gaston Calmette

Directeur-Gérant

Rédaction — Administration

26, rue Drouot, Paris (9e Arrt)

Pour La Publicité

s’Adresser, 26, Rue Drouot
A l’hotel du « Figaro »

Et pour les annonces et réclamés

Chez MM.Lagrange, Cerf & Cie
8, place de la Bourse
On s’abonne dans tous les Bureaux de Poste de France & d’Algérice.

Le Figaro

Loué par ceux-ci, blâmé par ceux-là, aidant au bon temps, supportant le mauvais, me moquant des sots, bravant les méchants, riant de ma misère et faisant la barbe à tout le monde… Beaumarchais

H. de Villemessant

Fondateur

Rédaction — Administration

26, rue Drouot, Paris (9e Arrt)

Teléphone, Trois lignes

s 102.46 — 102.47 — 102.49

Abonnement

Trois mois Six mois Un an
Paris et départsments 9 » 18 » 34 »
Étranger — Union postale 18 50 36 » 70 »
Dans les colonies’ françaises, mêmes prix d’abonnement que pour Paris.

La catastrophe du Titanic, les récits des survivants

Hier soir, vers dix heures, le Carpathia, ramenant ceux qui avaient échappé au désastre, est entré à New-York. Je me suis rendu sur la jetée pour assister au-débarquement des survivants. Une foule compacte était déjà là, abritée sous les hangars, anxieuse, émue, nerveuse, impatiente, et muette cependant. Ai-je besoin de décrire les scènes qui se sont déroulées sous mes yeux et dont l’émotion m’étreignait le cœur ? Scènes de bonheur et de joie chez ceux qui retrouvaient un être cher, scènes de douleur et de désespoir chez ceux qui, après avoir dévisagé un à un les survivants, sans reconnaître celui qu’ils cherchaient, eurent la douloureuse et suprême confirmation du malheur qui les frappait. J’ai réussi à faire parler quelques-uns de ceux qu’on nomme déjà des rescapés. Les uns ont été loquaces, sous l’impression d’une sorte de fièvre ; les autres ont, au contraire, eu la plus grande peine à prononcer quelques mots. Mais en rapprochant tous ces dires, en les contrôlant les uns les autres, j’ai pu reconstituer un récit à peu près exact, ou du moins vraisemblable, du tragique événement, et je me hâte de vous l’envoyer.

Tout d’abord, deux faits sont à retenir

Le Titanic marchait à bonne vitesse lacs de la rencontre de l’iceberg. Des passagers ont parlé de 23 nœuds. J’ai su, au siège de la White Star, que ce chiffre était faux, puisque le Titanic n’a filé que 21 noeuds à ses essais. Mais tous les passagers sont unanimes à prétendre que l’on n’avait pas dû diminuer de vitesse à l’approche des glaces.

En second lieu, il est avéré que beaucoup d’existences auraient été préservées de la mort si, à bord, on n’eut pas cru aveuglément que le Titanic, ce géant si fort, si robuste, si solidement construit ne pouvait pas couler. Cette confiance dans la résistance invincible du Titanic était telle que plusieurs canots quittèrent le paquebot sans avoir à leur bord, autant de passagers qu’ils pouvaient en contenir.

Le naufrage

Cela dit, voici comment on peut reconstituer l’affreux événement :

Il était dix heures un quart du soir lorsque la rencontre du Titanic et de la banquise eut lieu. Ce fut non par l’avant, mais par le travers que celle-ci vint frapper. C’est alors que tous ceux qui étaient debout se précipitèrent sur le pont. Les cris, le brouhaha réveillèrent ceux qui s’étaient déjà retirés dans leur cabine et qui vinrent à leur tour sur le pont. Toutefois, on ne se rendait pas compte encore de l’étendue du désastre. Les officiers rassuraient les passagers, mais il semble que les officiers eux-mêmes ne pensaient pas alors que la collision fût aussi grave qu’elle l’était. Et, de fait, comme il y avait un bal à bord, pour fêter la soirée du dimanche, la musique jouait des airs gais et joyeux. Ce ne fut qu’une demi-heure plus tard, que la pleine conscience de la gravité de la situation commença à se révéler aux passagers comme aux officiers.

En effet, à ce moment, le paquebot s’inclinait fortement sur l’avant. Le capitaine fit alors donner l’ordre que chacun prît la ceinture de sauvetage. Puis l’ordre vint de faire embarquer les femmes et les enfants dans les canots. L’ordre fut exécuté sous la surveillance des marins qui gardèrent un sang-froid admirable.

Seize embarcations partirent ainsi, disent les uns ; treize disent les autres. En tout cas le Carpathia n’en a ramené que treize, contenant 745 personnes. Ce qui est certain, c’est que dans le désarroi, des canots quittèrent le Titanic sans être aussi remplis qu’ils auraient pu l’être.

La consigne de ne faire entrer que des femmes et des enfants dans les canots fut strictement et sévèrement observée. Des hommes qui voulurent embarquer malgré tout furent abattus à coups de revolver par les officiers et le capitaine. C’est alors que quelques hommes se jetèrent à la mer et que plusieurs d’entre eux réussirent un peu plus tard à s’accrocher à quelque épave qui les aida à se maintenir à la surface.

Durant deux longues heures, la flottille des canots erra autour du Titanic qui, tout en s’enfonçant peu à peu, gardait ses hublots brillamment illuminés dans la nuit froide et restait immobile sur la mer absolument calme. Soudain, les lumières s’éteignirent. Une clameur plus forte que les précédentes s’éleva du paquebot, comme un appel suprême, et bientôt le navire s’engloutit chavirant doucement, après s’être dressé pendant quelques minutes presque verticalement. Un grand remous troubla l’eau. Une dernière clameur de cris désespérés fendit l’air. Et ce fut tout.

Jusqu’à l’aube, c’est-à-dire durant trois heures après la perte du paquebot, la flottille des canots se groupant le mieux qu’elle pouvait circula, au milieu des blocs de glaces détachés de la banquise, tandis que les femmes poussaient des gémissements plaintifs, appelant de leurs lamentations le mari, le père, le fils qu’elles venaient de perdre avec le Titanic. Dans leur hâte, elles s’étaient précipitées dans les canots presque dévêtues ou sommairement enroulées dans, des couvertures. Elles grelottaient sous le vent froid.

On m’a assuré que des femmes sont devenues folles et que certaines ne recouvreront jamais la raison. Faut-il s’en étonner ?

On imagine aisément ce que put être pour ces malheureuses cette nuit d’angoisse, d’effroi et de deuil !

Un passager m’a raconté :

« Nous occupions notre nuit à réciter des prières ; il n’y eut pas un seul instant où des prières ne s’élevassent au-dessus des flots. Des hommes, parmi nous, qui, depuis des années, avaient oublié leur créateur se rappelaient les prières de leur plus tendre enfance et se mettaient à les répéter. Combien de fois ne répétâmes-nous pas tous ensemble le Pater pendant les angoisses de cette nuit terrible… ! »

Enfin, vers quatre heures du matin, un navire apparut sur le lieu de la catastrophe. C’était le Carpathia qui, ayant reçu les appels de la télégraphie sans fil, arrivait à toute vitesse au secours du Titanic.

Des cris d’espoir s’élevèrent des canots. Bientôt le Carpathia fut au milieu d’eux. Il recueillit tour à tour tous les naufragés. Il les soigna à bord avec un soin, un dévouement auxquels chacun rend hommage. Après quoi il mit les canots à son bord et fit route sur New-York.

Un passager m’a assuré que le capitaine Smith, ne voulant pas survivre à son malheur, conscient peut-être de son imprudence, s’était suicidé, ainsi, du reste, que son chef mécanicien. Un autre m’a affirmé que cela n’était pas exact, qu’ayant quitté le bord un des derniers, il avait vu, lors de son départ, le capitaine donnant des ordres avec beaucoup de calme et de sang-froid. Il est difficile de savoir la vérité. Le pauvre officier est mort. C’est tout ce qu’on sait de précis.

Trois Français sont parmi les survivants, ce sont, MM. Omont, Maréchal et Chevré. Ils ont été fêtés par la colonie française.

Voilà le récit à peu près cohérent que je peux dresser après avoir causé avec nombre de survivants, et que je me hâte de vous faire parvenir, pensant qu’il vous intéressera par le résumé qu’il présente des circonstances où s’est produite la plus effroyable catastrophe maritime que l’histoire ait encore enregistrée.

Le comité des survivants

Un comité de survivants s’est formé sur le Carpathia. Son président a rédigé le communiqué suivant, qui a été remis à la presse :

« Nous, soussignés, passagers survivants du Titanic, afin de prévenir toute déclaration sensationnelle et exagérée, considérons de notre devoir de donner à la presse un énoncé des faits parvenus à notre connaissance et que nous croyons exacts :

Le dimanche 14 avril 1912, à environ 11 h. 40, par une froide nuit étoilée, le capitaine Smith se suicida sur le pont.

Les passagers qui apprirent les premiers la mort du capitaine, disent qu’il s’y prit à deux fois avant de réussir à se donner la mort.

Le second officier lui arracha le revolver des mains dans la bibliothèque : mais il s’échappa sur le pont et se tira un coup de feu dans la bouche.

Le mécanicien en chef se suicida également.

Trois Italiens furent tués au cours d’une lutte pour s’emparer des embarcations de sauvetage.

Le navire heurta un iceberg qui avait été signalé à la passerelle par la vigie, mais pas assez tôt pour que pût être évitée la collision.

Des mesures furent aussitôt prises pour constater les avaries et sauver les passagers et le navire.

Ordre fut donné de mettre les ceintures de sauvetage

Les embarcations furent mises à la mer et les signaux habituels de détresse furent envoyés par télégraphie sans fil, tandis que des fusées étaient tirées par intervalles. Heureusement, un message radiotélégraphique fut reçu par le Carpathia vers minuit.

Il arriva sur le lieu du désastre lundi matin, vers quatre heures.

Les officiers et l’équipage du Carpathia avaient pris, durant la nuit, toutes les dispositions nécessaires à l’œuvre de sauvetage et propres à assurer le confort des survivants.

Tous, à quelque classe qu’ils appartinssent furent reçus à bord du Carpathia de la manière, la plus touchante.

Passagers, officiers et hommes d’équipage nous abandonnèrent avec joie leurs cabines et leurs effets pour assurer notre confort. Honneur à eux !

Le nombre approximatif des passagers à bord du Titanic, au moment de la collision, était :

Première classe 330
Deuxième classe 320
Troisième classe 750
Total 1.400
Officiers et équipage 940
Total général 2.340

Le Carpathia a recueilli :

Première classe 310
Deuxième classe 135
Troisième classe 200
Total 535
Officiers 4
Matelots 39
Stewards 96
Chauffeurs 71
Total (hommes de l’équipage) 210

Soit en tout : 745 personnes sauvées.


Le nombre des sauvés a été environ de 80% du nombre maximum que pouvaient emmener les embarcations. Nous sentons qu’il est de notre devoir d’attirer l’attention du public sur ce que nous considérons comme une insuffisance des moyens de sauvetage fournis par les steamers modernes pour passagers, et nous demandons que des mesures immédiates soient prises pour obliger les vapeurs qui transportent des passagers à avoir un nombre suffisant de canots pour recevoir le nombre total des gens transportés.

Les faits suivants ont été observés et devraient également retenir l’attention. Non seulement il n’y avait pas assez d’embarcations, de radeaux, etc., mais encore on manquait de marins en connaissant la manœuvre.

Il n’y avait pas assez d’officiers pour exécuter les ordres urgents et pour veiller au lancement et à la direction des embarcations et il n’y avait pas non plus de projecteur électrique.

Sur le Titanic, le pont où se trouvaient les embarcations était élevé d’environ 75 pieds au-dessus du niveau de l’eau. Aussi dut-on faire embarquer les passagers avant de des cendre les canots. L’opération était rendue ainsi plus dangereuse, et on ne pouvait prendre autant de personnes que les canots en auraient pu contenir.

La déclaration est signée : « Samuel Goldenberg, président du comité des passagers. »

Et elle porte encore vingt-cinq autres noms.

La mort du capitaine Smith

Le premier officier du Titanic, M. Murdock, se trouvait sur la passerelle au moment de la collision.

Si quelqu’un se suicida, ce qui n’est pas démontré, c’est probablement M. Murdock et non le capitaine Smith, dont l’héroïsme et l’abnégation furent admirables et ne se démentirent point, même au moment où la passerelle avait disparu sous les flots.

Avant d’être balayé du poste où le retenait le sentiment du devoir, le malheureux capitaine criait encore, dans son mégaphone: « Conduisez-vous comme des hommes, comme des Anglais. »

Et plus tard, on le vit aidant ceux qui se débattaient dans l’eau et refusant de se sauver lui-même.

D’autres officiers de bord imitèrent son exemple.

Mais une telle conduite avait une fâcheuse contre-partie.

Il se produisit aussi, au dernier moment, quelques scènes de violence et des coups de feu furent tirés. C’est ce qui ressort de tous les comptes rendus.

C’est ainsi, par exemple, que MM. Luigi, Signoli et Snyder ne cachent pas que certains brûlèrent la cervelle aux nageurs qui tentaient d’aborder les chaloupes et que des passagers essuyèrent des coups de feu dans les bateaux.

Le chiffre officiel des morts et des survivants

Il y a 705 survivants dans la catastrophe du Titanic. Suivant un bulletin officiel, les survivants se répartissent comme suit :

202 des premières classes.
115 des secondes classes.
178 des troisièmes classes.
206 hommes d’équipage.
4 officiers.
Le total des morts est de 1,635.

Naufrage du « Titanic »

La rencontre d’une banquise est assez fréquente en ces parages, mais l’état de la mer y est en ce moment particulièrement dangereux.

Le paquebot anglais géant lé Titanic, l’un des deux plus grands navires du monde, a heurte une banquise en faisant route sur New-York ; suivant les premières dépêches, il avait réussi à se maintenir à flot. En dernière heure, on annonçait que le bateau était coulé. Mais, heureusement, ses 1,600 passagers sont sains et saufs. Ils ont été recueillis à bord de plusieurs bateaux venus à leur secours. Ils sont attendus à Halifax aujour d’hui.

C’est par un radiotélégramme parvenu hier soir, à 10 h. 25, à Cape Race Terre-Neuve), que le Titanic a fait savoir qu’il avait heurté un banc de glace par 41° 46′ de latitude Nord et 60° 14′ de longitude Ouest, et qu’il avait besoin de secours immédiats.

Une demi-heure plus tard, on a reçu une nouvelle dépêche annonçant que le Titanic coulait par l’avant.

Le vapeur Virginian, qui avait reçu un pareil message du Titanic, s’étaitimmédiatement porté à son secours. Le Parisian, le Carpathian, le Baltic et l’Olympic coopérèrent également au sauvetage et au transbordement des passagers qui furent recueillis à bord du Carpathian. A trois heures et demie du matin, d’après une. autre dépèche, tous les passagers avaient quitté le Titanic qui, au moyen de ses propres machinies, s’avançait lentement vers Halifax.

D’après des nouvelles ultérieures, le Titanic, bien qu’ayant tous ses compartiments d’avant remplis d’èau, se dirigeait vers Halifax où l’on espérait qu’il arriveraen sûreté. La collision n’a causé aucun accident de personne.

Dans les milieux spéciaux, cet accident ne causait aucune inquiétude, car l’on considérait que ce steamer ne pouvait couler quoi qu’il arrivât. Une fois de plus, la télégraphie sans fil aurajoué le premier rôle dans le sauvetage d’un grand paquebot.

La rencontre d’une banquise est assez fréquente en ces parages, mais l’état de la mer y est en ce moment particulièrement dangereux.

L’armateur Welsford, qui a traversé plus de cetit fois l’Atlantique a débarqué hier du Carmania, à New-York, déclarait que jamais il na vu les glaces descendre aussi loin au sud et en aussi grandes masses que pendant son dernier voyage.

Ces glaces constituaient de véritables petites montagnes. Quand le brouillard se levait, par intervalles, M. Welsford constatait que le bateau naviguait avec dès banquises a babord et à tribord ; quelques ayant fondu peu à peu, dépassaient à peiné la surface de la mer.

Premier voyage

Le Titanic effectuait son premier voyage d’Europe à New-York. Il avait été en effet, lancé l’année dernière, à Belfast, par la Compagnie de la White Star Line et, lors de sa mise à l’eau, on avait l’envi célébré la hardiesse et l’habileté des constructeurs qui étaient arrivés à édifier une masse aussi considérable que celle de ce navire et de son frère, l’Olympic.

Leur tonnage est de 47,000 tonnes, leur longueur de 265 mètres, leur largeur de 27 m. 75 et leur hauteur dé 28 m. 20. Ces dimensions inusitées faisaient de ces navires les deux plus grands de toutes les flottes com merciales. Leur construction n’avait pas coûté moins de 40 millions de francs. Très luxueux avec cela, ces deux paquebots étaient destinés à être, par excellence, recherchés par les milliardaires. Certaines cabines d’apparat avec salons et tout le confort moderne ne pouvaient être louées qu’à raison de 21,500 francs pour un seul voyage pendant la saison d’été, celle où l’affluence est la plus grande.

Quelques détails suffiront à donner une idée de ce que’c’est qu’un paquebot de cette taille, véritable ville llottante, capable d emporter dans ses flancs plus dé 3,000 personnes. Il existe à bord une salle de restaurant à la carte, indépendante de la salle à manger des premières, où 554 personnes peuvent trouver place, en même temps. Il y a une salle de gymnase, une piscine où vingt personnes peuvent nager à leur aise, un emplacement pour le tennis, et jusqu’à un établissement de bains turcs et de bains électriques des plus complets et des plus perfectionnés.

Une sorte de fatalité semble avoir pesé sur ces deux navires de la White Star Line. Il y a six mois, le 27 septembre, l’Olympic en quittant Southampton, pour effectuer son quatrième voyage, entrait en collision avec le bâtiment de guerre anglais le Hawke et, ayant eu dans l’abordage son flanc crevé, le paquebot eut à subir un mois de réparations.

Hâtons-nous de dire que ces deux accidents, le choc du Titanic contre la banquise. la rencontre de l’Olympic avec le Hawke ne permettent pas d’incriminer la solidité de construction de ces deux géants de la mer.

Très longs, très larges, très imposants de dimensions, ils ont reçu des ingénieurs, qui les ont construits, toutes les consolidations nécessaires, lesquelles, combinées avec les matériaux de résistance supérieure que fournit l’industrie moderne, assurent aux paquebots les plus grands toute la solidité voulue. Et ces masses énormes ne sont, ou définitive, pas plus susceptibles que d’autres lorsqu’un heurt survient pour une cause quelconque. Malheureusement, leur longueur extrême a un défaut, celui de rendre leurs évolutions plus lentes et leurs manœuvres plusdifficiles quand un obstacle surgit. Et c’est là, en quelque manière, la rançon du progrès.

Yes, you could typeset a scientific paper in the Playfair 2·0 typeface family

You are looking at one. This document demonstrates how Playfair 2·0 can be employed to typeset a formal scientific paper. In this demonstration a paper first published 1960 in the American journal ‘Psychological Bulletin’.

Abstract

Though several serious objections to the null-hypothesis significance test method are raised, “its most basic error lies in mistaking the aim of a scientific investigation to be a decision, rather than a cognitive evaluation… . It is further argued that the proper application of statistics to scientific inference is irrevocably committed to extensive consideration of inverse probabilities, and to further this end, certain suggestions are offered.”

The Fallacy of the Null⁠-⁠Hypothesis Significance Test

William W. Rozeboom, St. Olaf College

Psychological Bulletin, 1960, Vol. 57, №⁠ ⁠5, pp. 416–428.

The theory of probability and statistical inference is various things to various people. To the mathematician, it is an intricate formal calculus, to be explored and developed with little professional concern for any empirical significance that might attach to the terms and propositions involved. To the philosopher, it is an embarrassing mystery whose justification and conceptual clarification have remained stubbornly refractory to philosophical insight. (A famous philosophical epigram has it that induction [⁠ ⁠a special case of statistical inference⁠ ⁠] is the glory of science and the scandal of philosophy.) To the experimental scientist, however, statistical inference is a research instrument, a processing device by which unwieldy masses of raw data may be refined into a product more suitable for assimilation into the corpus of science, and in this lies both strength and weakness. It is strength in that, as an ultimate consumer of statistical methods, the experimentalist is in position to demand that the techniques made available to him confirm to his actual needs. But it is also weakness in that, in his need for the tools constructed by a highly technical formal discipline, the experimentalist, who has specialized along other lines, seldom feels competent to extend criticisms or even comments; he is much more likely to make unquestioning application of procedures learned more or less by rote from persons assumed to be more knowledgeable of statistics than he. There is, of course, nothing surprising or reprehensible about this — one need not understand the principles of a complicated tool in order to make effective use of it, and the research scientist can no more be expected to have sophistication in the theory of statistical inference than he can be held responsible for the principles of the computers, signal generators, timers, and other complex modern instruments to which he may have recourse during an experiment. Nonetheless, this leaves him particularly vulnerable to misinterpretation of his aims by those who build his instruments, not to mention the ever present dangers of selecting an inappropriate or outmoded tool for the job at hand, misusing the proper tool, or improvising a tool of unknown adequacy to meet a problem not conforming to the simple theoretical situations in terms of which existent instruments have been analyzed. Further, since behaviors once exercised tend to crystallize into habits and eventually traditions, it should come as no surprise to find that the tribal rituals for data-processing passed along in graduate courses in experimental method should contain elements justified more by custom than by reason.

In this paper, I wish to examine a dogma of inferential procedure which, for psychologists at least, has attained the status of a religious conviction. The dogma to be scrutinized is the “null-hypothesis significance test” orthodoxy that passing statistical judgment on a scientific hypothesis by means of experimental observation is a decision procedure wherein one rejects or accepts a null hypothesis according to whether or not the value of a sample statistic yielded by an experiment falls within a certain predetermined “rejection region” of its possible values. The thesis to be advanced is that despite the awesome pre-eminence this method has attained in our experimental journals and textbooks of applied statistics, it is based upon a fundamental misunderstanding of the nature of rational inference, and is seldom if ever appropriate to the aims of scientific research. This is not a particularly original view — traditional null-hypothesis procedure has already been superceded in modern statistical theory by a variety of more satisfactory inferential techniques. But the perceptual defenses of psychologists are particularly efficient when dealing with matters of methodology, and so the statistical folkways of a more primitive past continue to dominate the local scene.


To examine the method in question in greater detail, and expose some of the discomfitures to which it gives rise, let us begin with a hypothetical case study:

A Case Study in Null⁠-⁠Hypothesis Procedure; or, A Quorum of Embarrassments

Suppose that according to the theory of behavior, T₀, held by most right-minded, respectable behaviorists, the extent to which a certain behavioral manipulation M facilitates learning in a certain complex learning situation C should be null. That is, if “f” designates the degree to which manipulation M facilitates the acquisition of habit H under circumstances C, it follows from the orthodox theory T₀ that f⁠ ⁠⁠ ⁠=⁠ ⁠⁠ ⁠0. Also suppose, however, that a few radicals have persistently advocated an alternative theory T₁ which entails, among other things, that the facilitation of H by M in circumstances C should be appreciably greater than zero, the precise extent being dependent upon the values of certain parameters in C. Finally, suppose that Igor Hopewell, graduate student in psychology, has staked his dissertation hopes on an experimental test of T₀ against T₁ on the basis of their differential predictions about the value of f.

Now, if Hopewell is to carry out his assessment of the comparative merits of T₀ and T₁ in this way, there is nothing for him to do but submit a number of Ss to manipulation M under circumstances C and compare their efficiency at acquiring habit H with that of comparable Ss who, under circumstances C, have not been exposed to manipulation M. The difference, Δ, between experimental and control Ss in average learning efficiency may then be taken as an operational measure of the degree, f, to which M influences acquisition of H in circumstances C. Unfortunately, however, as any experienced researcher knows to his sorrow, the interpretation of such an observed statistic is not quite so simple as that. For the observed dependent variable Δ, which is actually a performance measure, is a function not only of the extent to which M influences acquisition of H, but of many additional major and minor factors as well. Some of these, such as deprivations, species, age, laboratory conditions, etc., can be removed from consideration by holding them essentially constant. Others, however, are not so easily controlled, especially those customarily subsumed under the headings of “individual differences” and “errors of measurement.” To curtail a long mathematical story, it turns out that with suitable (possibly justified) assumptions about the distributions of values for these uncontrolled variables, the manner in which they influence the dependent variable, and the way in which experimental and control Ss were selected and manipulated, the observed sample statistic Δ may be regarded as the value of a normally distributed random variate whose average value is f and whose variance, which is independent of f, is unbiasedly estimated by the square of another sample statistic, s, computed from the data of the experiment.1

The import of these statistical considerations for Hopewell’s dissertation, of course, is that he will not be permitted to reason in any simple way from the observed Δ to a conclusion about the comparative merits of T₀ and T₁. T₀ conclude that T₀, rather than T₁, is correct, he must argue that f⁠ ⁠=⁠ ⁠0, rather than f⁠ ⁠>⁠ ⁠0. But the observed Δ, whatever its value, is logically compatible both with the hypothesis that f⁠ ⁠=⁠ ⁠0 and the hypothesis that f⁠ ⁠>⁠ ⁠0. How then, can Hopewell use his data to make a comparison of T₀ and T₁? As a well-trained student, what he does, of course, is to divide Δ by s to obtain what, under H₀, is a t statistic, consult a table of the t distributions under the appropriate degrees-of-freedom, and announce his experiment as disconfirming or supporting T₀, respectively, according to whether or not the discrepancy between Δ and the zero value expected under T₀ is “statistically significant” — i.⁠ ⁠e., whether or not the observed value of Δ/s falls outside of the interval between two extreme percentiles (usually the 2.5th and 97.5th) of the t distribution with that Δf. If asked by his dissertation committee to justify this behavior, Hopewell would rationalize something like the following (the more honest reply, that this is what he has been taught to do, not being considered appropriate to such occasions):

In deciding whether or not T₀ is correct, I can make two types of mistakes: I can reject T₀ when it is in fact correct [⁠ ⁠Type I error⁠ ⁠], or I can accept T₀ when in fact it is false [⁠ ⁠Type II error⁠ ⁠]. As a scientist, I have a professional obligation to be cautious, but a 5% chance of error is not unduly risky. Now if all my statistical background assumptions are correct, then, if it is really true that f⁠ ⁠=⁠ ⁠0 as T₀ says, there is only one chance in 20 that my observed statistic Δ/s will be smaller than t.025 or larger than t.975, where by the latter I mean, respectively, the 2.5th and 97.5th percentiles of the t distribution with the same degrees-of-freedom as in my experiment. Therefore, if I reject T₀ when Δ/s is smaller than t.025 or larger than t.975, and accept T₀ otherwise, there is only a 5% chance that I will reject T₀ incorrectly.

If asked about his Type II error, and why he did not choose some other rejection region, say between t.475 and t.525, which would yield the same probability of Type I error, Hopewell should reply that although he has no way to compute his probability of Type II error under the assumptions traditionally authorized by null-hypothesis procedure, it is presumably minimized by taking the rejection region at the extremes of the t distribution.

Let us suppose that for Hopewell’s data, Δ⁠ ⁠=⁠ ⁠8.50, s⁠ ⁠=⁠ ⁠5.00, and Δf⁠ ⁠=⁠ ⁠20. Then t.975⁠ ⁠=⁠ ⁠2.09 and the acceptance region for the null hypothesis f⁠ ⁠=⁠ ⁠0 is ⁠−⁠2.09 < Δ/s < 2.09, or ⁠−⁠10.45 < Δ < 10.45. Since Δ does fall within this region, standard null-hypothesis decision procedure, which I shall henceforth abbreviate “NHD,” dictates that the experiment is to be reported as supporting theory T₀. (Although many persons would like to conceive NHD testing to authorize only rejection of the hypothesis, not, in addition, its acceptance when the test statistic fails to fall in the rejection region, if failure to reject were not taken as grounds for acceptance, then NHD procedure would involve no Type II error, and no justification would be given for taking the rejection region at the extremes of the distribution, rather than in its middle.) But even as Hopewell reaffirms T₀ in his dissertation, he begins to feel uneasy. In fact, several disquieting thoughts occur to him:

  1. Although his test statistic falls within the orthodox acceptance region, a value this divergent from the expected zero should nonetheless be encountered less than once in 10. T₀ argue in favor of a hypothesis on the basis of data ascribed a p value no greater than .10 (i.⁠ ⁠e., 10%) by that hypothesis certainly does not seem to be one of the more impressive displays of scientific caution.
  2. After some belated reflection on the details of theory T₁, Hopewell observes that T₁ not only predicts that f⁠ ⁠>⁠ ⁠0, but with a few simplifying assumptions no more questionable than is par for this sort of course, the value that f should have can actually be computed. Suppose the value derived from T₁ in this way is f⁠ ⁠=⁠ ⁠10.0. Then, rather than taking f⁠ ⁠=⁠ ⁠0 as the null hypothesis, one might just as well take f⁠ ⁠=⁠ ⁠10.0; for under the latter, (Δ⁠ ⁠−⁠ ⁠10.0)/s is a 20 Δf t statistic, giving a two-tailed, 95% significance, acceptance region for (Δ⁠ ⁠−⁠ ⁠10.0)/s between ⁠−⁠.209 and 2.09. That is, if one lets T₁ provide the null hypothesis, it is accepted or rejected according to whether or not -.45⁠ ⁠<⁠ ⁠Δ⁠ ⁠<⁠ ⁠20.45, and by this latter test, therefore, Hopewell’s data must be taken to support T₁ — in fact, the likelihood under T₁ of obtaining a test statistic this divergent from the expected 10.0 is a most satisfactory three chances in four. Thus it occurs to Hopewell that had he chosen to cast his professional lot with the T₁-ists by selecting f⁠ ⁠=⁠ ⁠10.0 as his null hypothesis, he could have made a strong argument in favor of T₁ by precisely the same line of statistical reasoning he has used to support T₀ under f⁠ ⁠=⁠ ⁠0 as the null hypothesis. That is, he could have made an argument that persons partial to T₁ would regard as strong. For behaviorists who are already convinced that T₀ is correct would howl that since T₀ is the dominant theory, only f⁠ ⁠=⁠ ⁠0 is a legitimate null hypothesis. (And is it not strange that what constitutes a valid statistical argument should be dependent upon the majority opinion about behavior theory?)
  3. According to the NHD test of a hypothesis, only two possible final outcomes of the experiment are recognized — either the hypothesis is rejected or it is accepted. In Hopewell’s experiment, all possible values of Δ/s between ⁠−⁠2.09 and 2.09 have the same interpretive significance, namely, indicating that f⁠ ⁠=⁠ ⁠0, while conversely, all possible values of Δ/s greater than 2.09 are equally taken to signify that f⁠ ⁠¹0. But Hopewell finds this disturbing, for of the various possible values that Δ/s might have had, the significance of Δ/s⁠ ⁠=⁠ ⁠1.70 for the comparative merits of T₀ and T₁ should surely be more similar to that of, say, Δ/s⁠ ⁠=⁠ ⁠2.10 than to that of, say, Δ/s⁠ ⁠=⁠ ⁠−⁠1.70.
  4. In somewhat similar vein, it also occurs to Hopewell that had he opted for a somewhat riskier confidence level, say a I error of 10% rather than 5%, Δ/s would have fallen outside the region of acceptance and T₀ would have been rejected. Now surely the degree to which a datum corroborates or impugns a proposition should be independent of the datum-assessor’s personal temerity. Yet according to orthodox significance-test procedure, whether or not a given experimental outcome supports or disconfirms the hypothesis in question depends crucially upon the assessor’s tolerance for Type I risk.

Despite his inexperience, Igor Hopewell is a sound experimentalist at heart, and the more he reflects on these statistics, the more dissatisfied with his conclusions he becomes. So while the exigencies of graduate circumstances and publication requirements urge that his dissertation be written as a confirmation of T₀, he nonetheless resolves to keep an open mind on the issue, even carrying out further research if opportunity permits. And reading his experimental report, so of course would we — has any responsible scientist ever made up his mind about such a matter on the basis of a single experiment? Yet in this obvious way we reveal how little our actual inferential behavior corresponds to the statistical procedure to which we pay lip-service. For if we did, in fact, accept or reject the null hypothesis according to whether the sample statistic falls in the acceptance or in the rejection region, then there would be no replications of experimental designs, no multiplicity of experimental approaches to an important hypothesis — a single experiment would, by definition of the method, make up our mind about the hypothesis in question. And the fact that in actual practice, a single finding seldom even tempts us to such closure of judgment reveals how little the conventional model of hypothesis testing fits our actual evaluative behavior.

Decisions vs. Degrees of Belief

By now, is should be obvious that something is radically amiss with the traditional NHD assessment of an experiment’s theoretical import. Actually, one does not have to look far in order to find the trouble — it is simply a basic misconception about the purpose of a scientific experiment. The null-hypothesis significance test treats acceptance or rejection of a hypothesis as though these were decisions one makes on the basis of the experimental data — i.⁠ ⁠e., that we elect to adopt one belief, rather than another, as a result of an experimental outcome. But the primary aim of a scientific experiment is not to precipitate decisions, but to make an appropriate adjustment in the degree to which one accepts, or believes, the hypothesis or hypotheses being tested. And even if the purpose of the experiment were to reach a decision, it could not be a decision to accept or reject the hypothesis, for decisions are voluntary commitments to action — i.⁠ ⁠e., are motor sets — whereas acceptance or rejection of a hypothesis is a cognitive state which may provide the basis for rational decisions, but is not itself arrived at by such a decision (except perhaps indirectly in that a decision may initiate further experiences which influence the belief).

The situation, in other words, is as follows: As scientists, it is our professional obligation to reason from available data to explanations and generalities — i.⁠ ⁠e., beliefs — which are supported by these data. But belief in (i.⁠ ⁠e., acceptance of) a proposition is not an all-or-none affair; rather, it is a matter of degree, and the extent to which a person believes or accepts a proposition translates pragmatically into the extent to which he is willing to commit himself to the behavioral adjustments prescribed for him by the meaning of that proposition. For example, if that inveterate gambler, Unfortunate Q. Smith, has complete confidence that War Biscuit will win the fifth race at Belmont, he will be willing to accept any odds to place a bet on War Biscuit to win; for if he is absolutely certain that War Biscuit will win, then odds are irrelevant — it is simply a matter of arranging to collect some winnings after the race. On the other hand, the more that Smith has doubts about War Biscuit’s prospects, the higher the odds he will demand before betting. That is, the extent to which Smith accepts or rejects the hypothesis that War Biscuit will win the fifth at Belmont is an important determinant of his betting decisions for that race.

Now, although a scientist’s data supply evidence for the conclusions he draws from them, only in the unlikely case where the conclusions are logically deducible from or logically incompatible with the data do the data warrant that the conclusions be entirely accepted or rejected. Thus, e. g., the fact that War Biscuit has won all 16 of his previous starts is strong evidence in favor of his winning the fifth at Belmont, but by no means warrants the unreserved acceptance of this hypothesis. More generally, the data available confer upon the conclusions a certain appropriate degree of belief, and it is the inferential task of the scientist to pass from the data of his experiment to whatever extent of belief these and other available information justify in the hypothesis under investigation. In particular, the proper inferential procedure is not (except in the deductive case) a matter of deciding to accept (without qualification) or reject (without qualification) the hypothesis: even if adoption of a belief were a matter of voluntary action — which it is not — neither such extremes of belief or disbelief are appropriate to the data at hand. As an example of the disastrous consequences of an inferential procedure which yields only two judgment values, acceptance and rejection, consider how sad the plight of Smith would be if, whenever weighing the prospects for a given race, he always worked himself into either supreme confidence or utter disbelief that a certain horse will win. Smith would rapidly impoverish himself by accepting excessively low odds on horses he is certain will win, and failing to accept highly favorable odds on horses he is sure will lose. In fact, Smith’s two judgment values need not be extreme acceptance and rejection in order for his inferential procedure to be maladaptive. All that is required is that the degree of belief arrived at be in general inappropriate to the likelihood conferred on the hypothesis by the data.

Now, the notion of “degree of belief appropriate to the data at hand” has an unpleasantly vague, subjective feel about it which makes it unpalatable for inclusion in a formalized theory of inference. Fortunately, a little reflection about this phrase reveals it to be intimately connected with another concept relating conclusion to evidence which, though likewise in serious need of conceptual clarification, has the virtues both of intellectual respectability and statistical familiarity. I refer, of course, to the likelihood, or probability, conferred upon a hypothesis by available evidence. Why should not Smith feel certain, in view of the data available, that War Biscuit will win the fifth at Belmont? Because it is not certain that War Biscuit will win. More generally, what determines how strongly we should accept or reject a proposition is the probability given to this hypothesis by the information at hand. For while our voluntary actions (i.⁠ ⁠e., decisions) are determined by our intensities of belief in the relevant propositions, not by their actual probabilities, expected utility is maximized when the cognitive weights given to potential but not yet known-for-certain pay-off events are represented in the decision procedure by the probabilities of these events. We may thus relinquish the concept of “appropriate degree of belief” in favor of “probability of the hypothesis,” and our earlier contention about the nature of data-processing may be rephrased to say that the proper inferential task of the experimental scientist is not a simple acceptance or rejection of the tested hypothesis, but determination of the probability conferred upon it by the experimental outcome. This likelihood of the hypothesis relative to whatever data are available at the moment will be an important determinant for decisions which must currently be made, but is not itself such a decision and is entirely subject to revision in the light of additional information.

In brief, what is being argued is that the scientist, whose task is not to prescribe actions but to establish rational beliefs upon which to base them, is fundamentally and inescapably committed to an explicit concern with the problem of inverse probability. What he wants to know is how plausible are his hypotheses, and he is interested in the probability ascribed by a hypothesis to an observed experimental outcome only to the extent he is able to reason backwards to the likelihood of the hypothesis, given this outcome. Put crudely, no matter how improbable an observation may be under the hypothesis (and when there are an infinite number of possible outcomes, the probability of any particular one of these is, usually, infinitely small — the familiar p value for an observed statistic under a hypothesis H is not actually the probability of that outcome under H, but a partial integral of the probability-density function of possible outcomes under H), it is still confirmatory (or at least nondisconfirmatory, if one argues from the data to rejection of the background assumptions) so long as the likelihood of the observation is even smaller under the alternative hypotheses. To be sure, the theory of hypothesis-likelihood and inverse probability is as yet far from the level of development at which it can furnish the research scientist with inferential tools he can apply mechanically to obtain a definite likelihood estimate. But to the extent a statistical method does not at least move in the direction of computing the probability of the hypothesis, given the observation, that method is not truly a method of inference, and is unsuited for the scientist’s cognitive ends.

The Methodological Status of the Null⁠-⁠Hypothesis Significance Test

The preceding arguments have, in one form or another, raised several doubts about the appropriateness of conventional significance-test decision procedure for the aims it is supposed to achieve. It is now time to bring these changes together in an explicit bill of indictment.

  1. The null-hypothesis significance test treats “acceptance” or “rejection” of a hypothesis as though these were decisions one makes. But a hypothesis is not something, like a piece of pie offered for dessert, which can be accepted or rejected by a voluntary physical action. Acceptance or rejection of a hypothesis is a cognitive process, a degree of believing or disbelieving which, if rational, is not a matter of choice but determined solely by how likely it is, given the evidence, that the hypothesis is true.
  2. It might be argued that the NHD test may nonetheless be regarded as a legitimate decision procedure if we translate “acceptance (rejection) of the hypothesis” as meaning “acting as though the hypothesis were true (false).” And to be sure, there are many occasions on which one must base a course of action on the credibility of a scientific hypothesis. (Should these data be published? Should I devote my research resources to and become identified professionally with this theory? Can we test this new Z bomb without exterminating all life on earth?) But such a move to salvage the traditional procedure only raises two further objections. (a) While the scientist — i.⁠ ⁠e., the person — must indeed make decisions, his science is a systematized body of (probable) knowledge, not an accumulation of decisions. The end product of a scientific investigation is a degree of confidence in some set of propositions, which then constitutes a basis for decisions. (b) Decision theory shows the NHD test to be woefully inadequate as a decision procedure. In order to decide most effectively when or when not to act as though a hypothesis is correct, one must know both the probability of the hypothesis under the data available and the utilities of the various decision outcomes (i.⁠ ⁠e., the values of accepting the hypothesis when it is true, of accepting it when it is false, of rejecting it when it is true, and of rejecting it when it is false). But traditional NHD procedure pays no attention to utilities at all, and considers the probability of the hypothesis, given the data — i.⁠ ⁠e., the inverse probability — only in the most rudimentary way (by taking the rejection region at the extremes of the distribution rather than in its middle). Failure of the traditional significance test to deal with inverse probabilities invalidates it not only as a method of rational inference, but also as a useful decision procedure.
  3. The traditional NHD test unrealistically limits the significance of an experimental outcome to a mere two alternatives, confirmation or disconfirmation of the null hypothesis. Moreover, the transition from confirmation to disconfirmation as a function of the data is discontinuous — an arbitrarily small difference in the value of the test statistic can change its significance from confirmatory to disconfirmatory. Finally, the point at which this transition occurs is entirely gratuitous. There is absolutely no reason (at least provided by the method) why the point of statistical “significance” should be set at the 95% level, rather than, say the 94% or 96% level. Nor does the fact that we sometimes select a 99% level of significance, rather than the usual 95% level mitigate this objection — one is as arbitrary as the other.
  4. The null-hypothesis significance test introduces a strong bias in favor of one out of what may be a large number of reasonable alternatives. When sampling a distribution of unknown mean μ, different assumptions about the value of μ furnish an infinite number of alternate null hypotheses by which we might assess the sample mean, and whichever hypothesis is selected is thereby given an enormous, in some cases almost insurmountable, advantage over its competitors. That is, NHD procedure involves an inferential double standard — the favored hypothesis is held innocent unless proved guilty, while any alternative is held guilty until no choice remains but to judge it innocent. What is objectionable here is not that some hypotheses are held more resistant to experimental extinction than others, but that the differential weighing is an all-or-none side effect of a personal choice, and especially, that the method necessitates one hypothesis being favored over all the others. In the classical theory of inverse probability, on the other hand, all hypotheses are treated on a par, each receiving a weight (i.⁠ ⁠e., its “a priori” probability) which reflects the credibility of that hypothesis on grounds other than the data being assessed.
  5. Finally, if anything can reveal the practical irrelevance of the conventional significance test, it should be its failure to see genuine application to the inferential behavior of the research scientist. Who has ever given up a hypothesis just because one experiment yielded a test statistic in the rejection region? And what scientist in his right mind would ever feel there to be an appreciable difference between the interpretive significance of data, say, for which one-tailed p = .04 and that of data for which p = .06, even though the point of “significance” has been set at p = .05? In fact, the reader may well feel undisturbed by the charges raised here against traditional NHD procedure precisely because, without perhaps realizing it, he has never taken the method seriously anyway. Paradoxically, it is often the most firmly institutionalized tenet of faith that is most susceptible to untroubled disregard — in our culture, one must early learn to live with sacrosanct verbal formulas whose import for practical behavior is seldom heeded. I suspect that the primary reasons why null-hypothesis significance testing has attained its current ritualistic status are (a) the surcease of methodological insecurity afforded by having an inferential algorithm on the books, and (b) the fact that a by-product of the algorithm is so useful, and its end product so obviously inappropriate, that the latter can be ignored without even noticing that this has, in fact, been done. What has given the traditional method its spurious feel of usefulness is that the first, and by far most laborious, step in the procedure, namely, estimating the probability of the experimental outcome under the assumption that a certain hypothesis is correct, is also a crucial first step toward what one is genuinely concerned with, namely, an idea of the likelihood of that hypothesis, given this experimental outcome. Having obtained this most valuable statistical information under pretext of carrying through a conventional significance test, it is then tempting, though of course quite inappropriate, to heap honor and gratitude upon the method while overlooking that its actual result, namely, a decision to accept or reject, is not used at all.

Toward a More Realistic Appraisal of Experimental Data

So far, my arguments have tended to be aggressively critical — one can hardly avoid polemics when butchering sacred cows. But my purpose is not just to be contentious, but to help clear the way for more realistic techniques of data assessment, and the time has now arrived for some constructive suggestions. Little of what follows pretends to any originality; I merely urge that ongoing developments along these lines should receive maximal encouragement.

For the statistical theoretician, the following problems would seem to be eminently worthy of research:

  1. Of supreme importance for the theory of probability is analysis of what we mean by a proposition’s “probability,” relative to the evidence provided. Most serious students of the philosophical foundations of probability and statistics agree (cf. Braithwaite, pp. 119f.) that the probability of a proposition (e. g., the probability that the General Theory of Relativity is correct) does not, prima facie, seem to be the same sort of thing as the probability of an event-class (e. g., the probability of getting a head when this coin is tossed). Do the statistical concepts and formulas which have been developed for probabilities of the latter kind also apply to hypothesis likelihoods? In particular, are the probabilities of hypotheses quantifiable at all, and for the theory of inverse probability, do Bayes’ theorem and its probability-density refinements apply to hypothesis probabilities? These and similar questions are urgently in need of clarification.
  2. If we are willing to assume that Bayes’ theorem, or something like it, holds for hypothesis probabilities, there is much that can be done to develop the classical theory of inverse probability. While computation of inverse probabilities turns essentially upon the parametric a priori probability function, which states the probability of each alternative hypothesis in the set under consideration prior to the outcome of the experiment, it should be possible to develop theorems which are invariant over important subclasses of a priori probability functions. In particular, the difference between the a priori probability function and the “a posteriori” probability function (i.⁠ ⁠e., the probabilities of the alternative hypotheses after the experiment), perhaps analyzed as a difference in “information,” should be a potentially fruitful source of concepts with which to explore such matters as the “power” or “efficiency” of various statistics, the acquisition of inductive knowledge through repeated experimentation, etc. Another problem which seems to me to have considerable import, though not one about which I am sanguine, is whether inverse-probability theory can significantly be extended to hypothesis-probabilities, given knowledge which is only probabilistic. That is, can a theory of sentences of form “The probability of hypothesis H, given that E is the case, is p,” be generalized to a theory of sentences of form “The probability of hypothesis H, given that the probability of E is q, is p”? Such a theory would seem to be necessary, e. g., if we are to cope adequately with the uncertainty attached to the background assumptions which always acc−mpany a statistical analysis.
  3. My suggestions for applied statistical analysis turn on the fact that while what is desired is the a posteriori probabilities of the various alternative hypotheses under consideration, computation of these by classical theory necessitates the corresponding a priori probability distribution, and in the more immediate future, at least, information about this will exist only as a subjective feel, differing from one person to the next, about the credibilities of the various hypotheses.
  4. Whenever possible, the basic statistical report should be in the form of a confidence interval. Briefly, a confidence interval is a subset of the alternative hypotheses computed from the experimental data in such a way that for a selected confidence level a, the probability that the true hypothesis is included in a set so obtained is a. Typically, an a-level confidence interval consists of those hypotheses under which the p value for the experimental outcome is larger than 1 − a (a feature of confidence intervals which is sometimes confused with their definition), in which case the confidence-interval report is similar to a simultaneous null-hypothesis significance test of each hypothesis in the total set of alternatives. Confidence intervals are the closest we can at present come to quantitative assessment of hypothesis-probabilities (see technical note, below), and are currently our most effective way to eliminate hypotheses from practical consideration — if we choose to act as though none of the hypotheses not included in a 95% confidence interval are correct, we stand only a 5% chance of error. (Note, moreover, that this probability of error pertains to the incorrect simultaneous “rejection” of a major part of the total set of alternative hypotheses, not just to the incorrect rejection of one as in the NHD method, and is a total likelihood of error, not just of Type I error.) The confidence interval is also a simple and effective way to convey that all-important statistical datum, the conditional probability (or probability density) function — i.⁠ ⁠e., the probability (probability density) of the observed outcome under each alternative hypothesis — since for a given kind of observed statistic and method of confidence-interval determination, there will be a fixed relation between the parameters of the confidence interval and those of the conditional probability (probability density) function, with the end-points of the confidence interval typically marking the points at which the conditional probability (probability density) function sinks below a certain small value related to the parameter a. The confidence-interval report is not biased toward some favored hypothesis, as is the null-hypothesis significance test, but makes an impartial simultaneous evaluation of all the alternatives under consideration. Nor does the confidence interval involve an arbitrary decision as does the NHD test. Although one person may prefer to report, say, 95% confidence intervals while another favors 99% confidence intervals, there is no conflict here, for these are simply two ways to convey the same information. An experimental report can, with complete consistency and some benefit, simultaneously present several confidence intervals for the parameter being estimated. On the other hand, different choices of significance level in the NHD method is a clash of incompatible decisions, as attested by the fact that an NHD analysis which simultaneously presented two different significance levels would yield a logically inconsistent conclusion when the observed statistic has a value in the acceptance region of one significance level and in the rejection region of the other.
  5. While a confidence-interval analysis treats all the alternative hypotheses with glacial impartiality, it nonetheless frequently occurs that our interest is focused on a certain selection from the set of possibilities. In such case, the statistical analysis should also report, when computable, the precise p value of the experimental outcome, or better, though less familiarly, the probability density at that outcome, under each of the major hypotheses; for these figures will permit an immediate judgment as to which of the hypotheses is most favored by the data. In fact, an even more interesting assessment of the postexperimental credibilities of the hypotheses is then possible through use of “likelihood ratios” if one is willing to put his pre-experimental feelings about their relative likelihoods into a quantitative estimate. For let Pr (HΔ), Pr (ΔH), and Pr (H) be, respectively, the probability of a hypothesis H in light of the experimental data Δ (added to the information already available), the probability of data Δ under hypothesis H, and the pre-experimental (i.⁠ ⁠e., a priori) probability of H. Then for two alternative hypotheses H₀ and H₁, it follows by classical theory that
Pr (H₀, Δ) =
Pr (H₀) ×
Pr (Δ, H₀) [ 1 ]2
Pr (H₁, Δ) Pr (H₁) Pr (Δ, H₁)

Therefore, if the experimental report includes the probability (or probability density) of the data under H₀ and H₁, respectively, and its reader can quantify his feelings about the relative pre-experimental merits of H₀ and H₁ (i.⁠ ⁠e., Pr (H₀) / Pr (H₁)), he can then determine the judgment he should make about the relative merits of H₀ and H₁ in light of these new data.

  1. Finally, experimental journals should allow the researcher much more latitude in publishing his statistics in whichever form seems most insightful, especially those forms developed by the modern theory of estimates. In particular, the stranglehold that conventional null-hypothesis significance testing has clamped on publication standards must be broken. Currently justifiable inferential algorithm carries us only through computation of conditional probabilities; from there, it is for everyman’s clinical judgment and methodological conscience to see him through to a final appraisal. Insistence that published data must have the biases of the NHD method built into the report, thus seducing the unwary reader into a perhaps highly inappropriate interpretation of the data, is a professional disservice of the first magnitude.

Summary

The traditional null-hypothesis significance-test method, more appropriately called “null-hypothesis decision [⁠ ⁠NHD⁠ ⁠] procedure,” of statistical analysis is here vigorously excoriated for its inappropriateness as a method of inference. While a number of serious objections to the method are raised, its most basic error lies in mistaking the aim of a scientific investigation to be a decision, rather than a cognitive evaluation of propositions. It is further argued that the proper application of statistics to scientific inference is irrevocably committed to extensive consideration of inverse probabilities, and to further this end, certain suggestions are offered, both for the development of statistical theory and for more illuminating application of statistical analysis to empirical data.


( Received June 30, 1959 )

Footnotes

  1. s is here the estimate of the standard error of the difference in means, not the estimate of the individual SD.

  2. When the numbers of alternative hypotheses and possible experimental outcomes are transfinite, Pr⁠ ⁠(Δ, H)⁠ ⁠=⁠ ⁠Pr⁠ ⁠(H, Δ)⁠ ⁠=⁠ ⁠Pr⁠ ⁠(H)⁠ ⁠=⁠ ⁠0 in most cases. If so, the probability ratios in Formula 1 are replaced with the corresponding probabilistic-density ratios. It should be mentioned that this formula rather idealistically presupposes there to be no doubt about the correctness of the background statistical assumptions.

Technical note: One of the more important problems now confronting theoretical statistics is exploration and clarification of the relationships among inverse probabilities derived from confidence-interval theory, fiducial-probability theory (a special case of the former in which the estimator is a sufficient statistic), and classical (i.⁠ ⁠e., Bayes’) inverse-probability theory. While the interpretation of confidence intervals is tricky, it would be a mistake to conclude, as the cautionary remarks usually accompanying discussions of confidence intervals sometimes seem to imply, that the confidence-level a of a given confidence interval I should not really be construed as a probability that the true hypothesis, H, belongs to the set I. Nonetheless, if I is an a-level confidence interval, the probability that H belongs to I as computed by Bayes’ theorem given an a priori probability distribution will, in general, not be equal to a, nor is the difference necessarily a small one — it is easy to construct examples where the a posteriori probability that H belongs to I is either 0 or 1. Obviously, when different techniques for computing the probability that H belongs to I yield such different answers, a reconciliation is demanded. In this instance, however, the apparent disagreement is largely if not entirely spurious, resulting from differences in the evidence relative to which the probability that H belongs to I is computed. And if this is, in fact, the correct explanation, then fiducial probability furnishes a partial solution to an outstanding difficulty in the Bayes’ approach. A major weakness of the latter has always been the problem of what to assume for the a priori distribution when no pre-experimental information is available other than that supporting the background assumptions which delimit the set of hypotheses under consideration. The traditional assumption (made hesitantly by Bayes, less hesitantly by his successors) has been the “principle of insufficient reason,” namely, that given no knowledge at all, all alternatives are equally likely. But not only is it difficult to give a convincing argument for this assumption, it does not even yield a unique a priori probability distribution over a continuum of alternative hypotheses, since there are many ways to express such a continuous set, and what is an equilikelihood a priori distribution under one of these does not necessarily transform into the same under another. Now, a fiducial probability distribution determined over a set of alternative hypotheses by an experimental observation is a measure of the likelihoods of these hypotheses relative to all the information contained in the experimental data, but based on no pre-experimental information beyond the background assumptions restricting the possibilities of this particular set of hypotheses. Therefore, it seems reasonable to postulate that the no-knowledge a priori distribution in classical inverse probability theory should be that distribution which, when experimental data capable of yielding a fiducial argument are now given, results in an a posteriori distribution identical with the corresponding fiducial distribution.

Reference

Braithwaite, R. B. Scientific explanation. Cambridge, England: Cambridge Univer. Press, 1953.

Citing this document

Rozeboom, W. W. (1960). The fallacy of the null-hypothesis significance test. Psychological Bulletin, 57(5), 416–428. https://doi.org/10.1037/h0042040

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T.

T (tē), the twentieth letter of the English alphabet, is a nonvocal consonant. With the letter h it forms the digraph th, which has two distinct sounds, as in thin, then. See Guide to Pronunciation, §§ 262-264, and also §§ 153, 156, 169, 172, 176, 178-180.

The letter derives its name and form from the Latin, the form of the Latin letter being further derived through the Greek from the Phœnician. The ultimate origin is probably Egyptian. It is etymologically most nearly related to d, s, th; as in tug, duke; two, dual, L. duo; resin, L. resina, tent, tense, a., tenuous, thin; nostril, thrill. See D, S.

T bandage (Surg.), a bandage shaped like the letter T, and used principally for application to the groin, or perineum. — T cart, a kind of fashionable two seated wagon for pleasure driving. — T iron. (a) A rod with a short crosspiece at the end, — used as a hook. (b) Iron in bars, having a cross section formed like the letter T, — used in structures. — T rail, a kind of rail for railroad tracks, having no flange at the bottom so that a section resembles the letter T. — T square, a ruler having a crosspiece or head at one end, for the purpose of making parallel lines; — so called from its shape. It is laid on a drawing board and guided by the crosspiece, which is pressed against the straight edge of the board. Sometimes the head is arranged to be set at different angles. — To a T, exactly, perfectly; as, to suit to a T. [Colloq.]

Ta (tā), v. t. To take. [Obs. or Scot.] Cursor Mundi. Used by Chaucer to represent a peculiarity of the Northern dialect.

Taas (tāās), n. A heap. See Tas. [Obs.] Chaucer.

Tab (tȧb), n. [Etymol. uncertain.] 1. The flap or latchet of a shoe fastened with a string or a buckle.

2. A tag. See Tag, 2.

3. A loop for pulling or lifting something.

4. A border of lace or other material, worn on the inner front edge of ladies’ bonnets.

5. A loose pendent part of a lady’s garment; esp., one of a series of pendent squares forming an edge or border.

Ta-bacʹco (tȧ-băkʹkō), n. Tobacco. [Obs.] B. Jonson.

|| Ta-baʹnus (tȧ-bāʹnŭs), n. [L., horsefly.] (Zoöl.) A genus of blood sucking flies, including the horseflies.

Tabʹard (tăbʹẽrd), n. [OF. tabard, tabart; cf. Sp. & Pg. tabardo, It. tabarro, W. tabar, LL. tabardum.] A sort of tunic or mantle formerly worn for protection from the weather. When worn over the armor it was commonly emblazoned with the arms of the wearer, and from this the name was given to the garment adopted for heralds. [Spelt also taberd.]

In a tabard he [the Plowman] rode upon a mare. Chaucer.

Tabʹard-er (-ẽr), n. 1. One who wears a tabard.

2. A scholar on the foundation of Queen’s College, Oxford, England, whose original dress was a tabard. Nares.

Tabʹa-ret (-ȧ-rĕt), n. [Cf. Tabby.] A stout silk having satin stripes, — used for furniture.

Tabʹa-sheerʹ (tăbʹȧ-shērʹ), n. [Per. tabshr: cf. Skr. tvakkshr, tvakshr.] A concretion in the joints of the bamboo, which consists largely or chiefly of pure silica. It is highly valued in the East Indies as a medicine for the cure of bilious vomitings, bloody flux, piles, and various other diseases.

Tabʹbi-net (tăbʹbĭ-nĕt), n. [Cf. Tabby.] A fabric like poplin, with a watered surface. [Written also tabinet.]

Tabʹby (-by̆), n.; pl. Tabbies (-bĭz). [F. tabis (cf. It. tabì, Sp. & Pg. tabí, LL. attabi), fr. Ar. ’attābī, properly the name of a quarter of Bagdad where it was made, the quarter being named from the prince Attab, great grandson of Omeyya. Cf. Tobine.] 1. A kind of waved silk, usually called watered silk, manufactured like taffeta, but thicker and stronger. The watering is given to it by calendering.

2. A mixture of lime with shells, gravel, or stones, in equal proportions, with an equal proportion of water. When dry, this becomes as hard as rock. Weale.

3. A brindled cat; hence, popularly, any cat.

4. An old maid or gossip. [Colloq.] Byron.

Tabʹby (taʹby̆), a. 1. Having a wavy or watered appearance; as, a tabby waistcoat. Pepys.

2. Brindled; diversified in color; as, a tabby cat.

Tabby moth (Zoöl.), the grease moth. See under Grease.

Tabʹby, v. t. [imp. & p. p. Tabbied (-bĭd); p. pr. & vb. n. Tabbying (-bĭ-ĭng).] To water; to cause to look wavy, by the process of calendering; to calender; as, to tabby silk, mohair, ribbon, etc.

Tabʹe-facʹtion (tăbʹē-făkʹshŭn), n. [See Tabefy.] A wasting away; a gradual losing of flesh by disease.

Tabʹe-fy (tăbʹe-fī), v. t. [imp. & p. p. Tabefied (-fīd); p. pr. & vb. n. Tabefying (-fīʹĭng).] [L. tabere to waste away + -fy: cf. L. tabefacere to melt.] To cause to waste gradually, to emaciate. [R.] Harvey.

Ta-belʹlion (tȧ-bĕlʹyŭn), n. [L. tabellio, fr. tabella a tablet, a writing, document, dim. of tabula a board: cf. F. tabellion. See Table.] A secretary or notary under the Roman empire; also, a similar officer in France during the old monarchy.

Taʹber (tāʹbẽr), v. i. Same as Tabor. Nahum ii. 7.

Tabʹerd (tābʹẽrd), n. See Tabard.

Tabʹer-na-cle (tăbʹẽr-nȧ-k’l ; 277), n. [F., fr. L. tabernaculum, dim. of taberna nut. See Tabern.] 1. A slightly built or temporary habitation; especially, a tent.

Dwelling in tabernacles with Isaac and Jacob. Heb. xi. 9.

Orange trees planted in the ground, and secured in winter with a wooden tabernacle and stoves. Evelyn.

2. (Jewish Antiq.) A portable structure of wooden framework covered with curtains, which was carried through the wilderness in the Israelitish exodus, as a place of sacrifice and worship. Ex. xxvi.

3. Hence, the Jewish temple; sometimes, any other place for worship. Acts xv. 16.

4. Figuratively: The human body, as the temporary abode of the soul.

Shortly I must put off this my tabernacle. 2 Pet. i. I4.

5. Any small cell, or like place, in which some holy or precious things was deposited or kept. Specifically: —

(a) The ornamental receptacle for the pyx, or for the consecrated elements, whether a part of a building or movable.

(b) A niche for the image of a saint, or for any sacred painting or sculpture.

(c) Hence, a work of art of sacred subject, having a partially architectural character, as a solid frame resting on a bracket, or the like.

(d) A tryptich for sacred imagery.

(e) A seat or stall in a choir, with its canopy.

6. (Naut.) A boxlike step for a mast with the after side open, so that the mast can be lowered to pass under bridges, etc.

Feast of Tabernacles (Jewish Antiq.), one of the three principal festivals of the Jews, lasting seven days, during which the people dwelt in booths formed of the boughs of trees, in commemoration of the habitation of their ancestors in similar dwellings during their pilgrimage in the wilderness. — Tabernacle work, rich canopy work like that over the head of niches, used over seats or stalls, or over sepulchral monuments. Oxf. Gloss.

Tabʹer-na-cle, v. i. [imp. & p. p. Tabernacled (-k’ld); p. pr. & vb. n. Tabernacling (-klĭng).] To dwell or reside for a time; to be temporary housed.

He assumed our nature, and tabernacled among us in the flesh. Dr. J. Scott.

Tabʹer-nacʹu-lar (-năkʹū-lẽr), a. 1. Of or pertaining to a tabernacle, especially the Jewish tabernacle.

2. Formed in latticework; latticed. T. Warton.

3. Of or pertaining to huts or booths; hence, common; low. “Horribly tabernacular.” De Quincey.

|| Taʹbes (tāʹbēz), n. [L., a wasting disease.] (Med.) Progressive emaciation of the body, accompanied with hectic fever, with no well-marked local symptoms.

|| Tabes dorsalis (dôr-sāʹlĭs) [NL., tabes of the back], locomotor ataxia; — sometimes called simply tabes. — || Tabes mesenterica (mĕsʹĕn-tĕrʹĭ-kȧ) [NL., mesenteric tabes], a wasting disease of childhood characterized by chronic inflammation of the lymphatic glands of the mesentery, attended with caseous degeneration.

Ta-besʹcent (tȧ-bĕsʹsent), a. [L. tabescens wasting, p. pr. of tabescere.] Withering, or wasting away.

Ta-betʹic (tȧ-bĕtʹĭk), a. (Med.) Of or pertaining to tabes; of the nature of tabes; affected with tabes; tabid. — n. One affected with tabes.

Tabʹid (tăbʹĭd), a. [L. tabidus: cf. F. tabide. See Tabes.] (Med.) Affected by tabes; tabetic.

In tabid persons, milk is the best restorative. Arbuthnot.

— Tabʹid-ly, adv.Tabʹid-ness, n.

Ta-bifʹic (ta-bĭfʹĭk), Ta-bifʹic-al (-ĭ-kal), a. [Tabes + L. facere to make.] (Med.) Producing tabes; wasting; tabefying.

Tabʹinet (tăbʹĭ-nĕt), n. See Tabbinet. Thackeray.

Tabʹla-ture (-lȧ-tūr ; 135), n. [Cf. F. tablature ancient mode of musical notation. See Table.] 1. (Paint.) A painting on a wall or ceiling; a single piece comprehended in one view, and formed according to one design; hence, a picture in general. Shaftesbury.

2. (Mus.) An ancient mode of indicating musical sounds by letters and other signs instead of by notes.

The chimes of bells are so rarely managed that I went up to that of Sir Nicholas, where I found who played all sorts of compositions from the tablature before him as if he had fingered an organ. Evelyn.

3. (Anat.) Division into plates or tables with intervening spaces; as, the tablature of the cranial bones.

Taʹble (tāʹb’l), n. [F., fr. L. tabula a board, tablet, a painting. Cf. Tabular, Taffrail, Tavern.] 1. A smooth, flat surface, like the side of a board; a thin, flat, smooth piece of anything; a slab.

A bagnio paved with fair tables of marble. Sandys.

2. A thin, flat piece of wood, stone, metal, or other material, on which anything is cut, traced, written, or painted; a tablet; pl. a memorandum book. “The names … written on his tables.” Chaucer.

And the Lord said unto Moses, Hew thee two tables of stone like unto the first, and I will write upon these tables the words that were in the first tables, which thou brakest. Ex. xxxiv. 1.

And stand there with your tables to glean
The golden sentences. Beau. & Fl.

3. Any smooth, flat surface upon which an inscription, a drawing, or the like, may be produced. “Painted in a table plain.” Spenser.

The opposite walls are painted by Rubens, which, with that other of the Infanta taking leave of Don Philip, is a most incomparable table. Evelyn.

St. Antony has a table that hangs up to him from a poor peasant. Addison.

4. Hence, in a great variety of applications: A condensed statement which may be comprehended by the eye in a single view; a methodical or systematic synopsis; the presentation of many items or particulars in one group; a scheme; a schedule. Specifically: —

(a) (Bibliog.) A view of the contents of a work; a statement of the principal topics discussed; an index; a syllabus; a synopsis; as, a table of contents.

(b) (Chem.) A list of substances and their properties; especially, a list of the elementary substances with their atomic weights, densities, symbols, etc.

(c) (Math.) Any collection and arrangement in a condensed form of many particulars or values, for ready reference, as of weights, measures, currency, specific gravities, etc.; also, a series of numbers following some law, and expressing particular values corresponding to certain other numbers on which they depend, and by means of which they are taken out for use in computations; as, tables of logarithms, sines, tangents, squares, cubes, etc.; annuity tables; interest tables; astronomical tables, etc.

(d) (Palmistry) The arrangement or disposition of the lines which appear on the inside of the hand.

Mistress of a fairer table
Hath not history for fable. B. Jonson.

5. An article of furniture, consisting of a flat slab, board, or the like, having a smooth surface, fixed horizontally on legs, and used for a great variety of purposes, as in eating, writing, or working.

We may again
Give to our tables meat. Shak.

The nymph the table spread. Pope.

6. Hence, food placed on a table to be partaken of; fare; entertainment; as, to set a good table.

7. The company assembled round a table.

I drink the general joy of the whole table. Shak.

8. (Anat.) One of the two, external and internal, layers of compact bone, separated by diploë, in the walls of the cranium.

9. (Arch.) A stringcourse which includes an offset; esp., a band of stone, or the like, set where an offset is required, so as to make it decorative. See Water table.

10. (Games) (a) The board on the opposite sides of which backgammon and draughts are played. (b) One of the divisions of a backgammon board; as, to play into the right-hand table. (c) pl. The games of backgammon and of draughts. [Obs.] Chaucer.

This is the ape of form, monsieur the nice,
That, when he plays at tables, chides the dice. Shak.

11. (Glass Manuf.) A circular plate of crown glass.

A circular plate or table of about five feet diameter weighs on an average nine pounds. Ure.

12. (Jewelry) The upper flat surface of a diamond or other precious stone, the sides of which are cut in angles.

13. (Persp.) A plane surface, supposed to be transparent and perpendicular to the horizon; — called also perspective plane.

14. (Mach.) The part of a machine tool on which the work rests and is fastened.

Bench table, Card table, Communion table, Lord’s table, etc. See under Bench, Card, etc. — Raised table (Arch. & Sculp.), a raised or projecting member of a flat surface, large in proportion to the projection, and usually rectangular, — especially intended to receive an inscription or the like. — Roller table (Horology), a flat disk on the arbor of the balance of a watch, holding the jewel which rolls in and out of the fork at the end of the lever of the escapement. — Round table. See Dictionary of Noted Names in Fiction. — Table anvil, a small anvil to be fastened to a table for use in making slight repairs. — Table base. (Arch.) Same as Water table. — Table bed, a bed in the form of a table. — Table beer, beer for table, or for common use; small beer. — Table bell, a small bell to be used at table for calling servants. — Table cover, a cloth for covering a table, especially at other than mealtimes. — Table diamond, a thin diamond cut with a flat upper surface. — Table linen, linen tablecloth, napkins, and the like. — Table money (Mil. or Naut.), an allowance sometimes made to officers over and above their pay, for table expenses. — Table rent (O. Eng. Law), rent paid to a bishop or religious, reserved or appropriated to his table or housekeeping. Burrill.Table shore (Naut.), a low, level shore. — Table talk, conversation at table, or at meals. — Table talker, one who talks at table. — Table tipping, Table turning, certain movements of tables, etc., attributed by some to the agency of departed spirits, and by others to the development of latent vital or spriritual forces, but more commonly ascribed to the muscular force of persons in connection with the objects moved, or to physical force applied otherwise. — Tables of a girder or chord (Engin.), the upper and lower horizontal members. — To lay on the table, in parliamentary usage, to lay, as a report, motion, etc., on the table of the presiding officer, — that is, to postpone the consideration of, by a vote. — To serve tables (Script.), to provide for the poor, or to distribute provisions for their wants. Acts vi. 2.To turn the tables, to change the condition or fortune of contending parties; — a metaphorical expression taken from the vicissitudes of fortune in gaming. — Twelve tables (Rom. Antiq.), a celebrated body of Roman laws, framed by decemvirs appointed 450 years before Christ, on the return of deputies or commissioners who had been sent to Greece to examine into foreign laws and institutions. They consisted partly of laws transcribed from the institutions of other nations, partly of such as were altered and accommodated to the manners of the Romans, partly of new provisions, and mainly, perhaps, of laws and usages under their ancient kings. Burrill.

Taʹble (tāʹb’l), v. t. [imp. & p. p. Tableed (tāʹb’ld); p. pr. & vb. n. Tabling (-blĭng).] 1. To form into a table or catalogue; to tabulate; as, to table fines.

2. To delineate, as on a table; to represent, as in a picture. [Obs.]

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SCENE I. — Verona. A public Place.11Act I. Scene I. ] No marking of Acts and Scenes in Q; none except here in F. 1Act I. Scene I. ] No marking of Acts and Scenes in Q; none except here in F.

Enter Gregory, of the house of Capulet, with swords and bucklers.

Sam.

Gregory, on22on ] Q, A F, o’ Capell. my word, we’ll not carry coals submit to menials’ work, and so to humiliation or insult. New Eng. Dict. quotes J. Hooker, Girald. Ireland, in Holinshed (1586), ii. 105: “This gentleman was … one that in an upright quarrell would beare no coles.” 2on ] Q, A F, o’ Capell. carry coals submit to menials’ work, and so to humiliation or insult. New Eng. Dict. quotes J. Hooker, Girald. Ireland, in Holinshed (1586), ii. 105: “This gentleman was … one that in an upright quarrell would beare no coles.”

Gre.

No, for then we should be colliers New Eng. Dict.: “Often used with allusion to the dirtiness of the trade in coal, or the evil repute of the collier for cheating: cf. Greene’s Coosnage of Colliers (1591).” See Twelfth Night III. iv. 130.. colliers New Eng. Dict.: “Often used with allusion to the dirtiness of the trade in coal, or the evil repute of the collier for cheating: cf. Greene’s Coosnage of Colliers (1591).” See Twelfth Night III. iv. 130.

Sam.

I mean, an33an ] Theobald, and Q, if F. we be in choler The play on “choler,” “collar,” and “draw” occurs in Jonson’s Every Man in his Humour, III. ii. (dialogue between Cob and Cash)., we’ll draw. 3an ] Theobald, and Q, if F. choler The play on “choler,” “collar,” and “draw” occurs in Jonson’s Every Man in his Humour, III. ii. (dialogue between Cob and Cash).

Gre.

Ay, while you live, draw your neck out o’ the44o’ the ] F, of Q. collar. 4o’ the ] F, of Q.

Sam.

I strike quickly, being moved.

Gre.

But thou art not quickly moved to strike.

Sam.

A dog of the house of Montague moves me.

Gre.

To move is to stir, and to be valiant is to stand;55stand ] Q1 has “stand to it.” therefore, if thou art moved, thou runn’st away. 5stand ] Q1 has “stand to it.”

Sam.

A dog of that house shall move me to stand: I will take the wall of any man or maid of Montague’s.

Gre.

That shows thee a weak slave; for the weakest … wall A proverbial saying; so Machin, Dumb Knight: “The weakest must to the wall still.” A play of 1600 had the proverb for its title. See “The Tragedy of Romeo and Juliet (Dowden), Act 3, Scene 4” III. iv. 12 (note).. weakest … wall A proverbial saying; so Machin, Dumb Knight: “The weakest must to the wall still.” A play of 1600 had the proverb for its title. See “The Tragedy of Romeo and Juliet (Dowden), Act 3, Scene 4” III. iv. 12 (note).

Sam.

’Tis true;66’Tis true ] Q, True F. and therefore women, being the weaker vessels, are ever thrust to the wall: therefore I will push Montague’s men from the wall and thrust his maids to the wall. 6’Tis true ] Q, True F.

Gre.

The quarrel … men Martley’s conjecture, “not us their men,” is unhappy. Gregory means that masters and men, but not women, are included in the quarrel.. The quarrel … men Martley’s conjecture, “not us their men,” is unhappy. Gregory means that masters and men, but not women, are included in the quarrel.

Sam.

’Tis all one, I will show myself a tyrant: when I have fought with the men, I will be cruel Possibly civil is right, a tyrant’s civility to maids showing itself, as Sampson indicates, in a seeming paradox.77cruel ] Qq 4, 5; civil Q, F; with the maids; I will cut88I will cut ] Q, and cut F. off their heads. cruel Possibly civil is right, a tyrant’s civility to maids showing itself, as Sampson indicates, in a seeming paradox. 7cruel ] Qq 4, 5; civil Q, F; 8I will cut ] Q, and cut F.

Gre.

The heads of the maids?99maids? ] Q. 9maids? ] Q.

Sam.

Ay, the heads of the maids, or their maiden-heads; take it in what sense thou wilt.

Gre.

They must take it in1010in ] Q1, F; omitted Q. sense that feel it. 10in ] Q1, F; omitted Q.

Sam.

Me they shall feel while I am able to stand; and ’tis known I am a pretty piece of flesh The same expression occurs in Much Ado, iv. ii. 85, and Love’s Cure, III. iv. 16.pretty piece of flesh The same expression occurs in Much Ado, iv. ii. 85, and Love’s Cure, III. iv. 16.

Gre.

Tis well thou art not fish; if thou hadst, thou hadst been poor John hake, dried and salted, poor and coarse eating; Massinger, Renegado, i. i.: “To feed upon poor John when I see pheasants And partridges on the table.. Draw thy tool; here comes two1111two ] Q1; omitted Q, F; of the house of the1212house of the ] F, house of Q. Montagues. poor John hake, dried and salted, poor and coarse eating; Massinger, Renegado, i. i.: “To feed upon poor John when I see pheasants And partridges on the table. 11two ] Q1; omitted Q, F; 12house of the ] F, house of Q.

Enter … Abraham In Q, F, “Enter two other serving men.” Abraham’s name can be inferred from the prefix to his speeches. His silent fellow was named by Rowe, Balthasar being Romeo’s man. and Balthasar1313Enter …] Rowe; Enter two other serving men Q, F. Enter … Abraham In Q, F, “Enter two other serving men.” Abraham’s name can be inferred from the prefix to his speeches. His silent fellow was named by Rowe, Balthasar being Romeo’s man. 13Enter …] Rowe; Enter two other serving men Q, F.

Sam.

My naked weapon is out: quarrel; I will back thee.

Gre.

How! turn thy back and run?1414run? ] Q, run. F. 14run? ] Q, run. F.

Sam.

Fear me not.

Gre.

No, marry; I fear thee!

Sam.

Let us take the law of our sides; let them begin.

Gre.

I will frown as I pass by, and let them take it as they list.

Sam.

Nay, as they dare. I will bite my thumb Singer quotes from Cotgrave a description of this mode of insult: “Faire la nique … to threaten or defie, by putting the “thumb nail into the mouth, and with a jerke (from the upper teeth) make it to knacke.” at them; which is a1515a ] omitted Q (alone). disgrace to them, if they bear it. bite my thumb Singer quotes from Cotgrave a description of this mode of insult: “Faire la nique … to threaten or defie, by putting the “thumb nail into the mouth, and with a jerke (from the upper teeth) make it to knacke.” 15a ] omitted Q (alone).

Abr.

Do you bite your thumb at us, sir?

Sam.

I do bite my thumb, sir.

Abr.

Do you bite your thumb at us, sir?

Sam.

[ Aside to Gre. ] Is the law of our side if I say ay?

Gre.

No.

Sam.

No, sir, I do not bite my thumb at you, sir; but I bite my thumb, sir.

Gre.

Do you quarrel, sir?

Abr.

Quarrel, sir! no,1616sir! no ] Dyce; sir, no Q; sir? no F. sir. 16sir! no ] Dyce; sir, no Q; sir? no F.

Sam.

If1717If ] F, But if Q. you do, sir, I am for you: I serve as good a man as you. 17If ] F, But if Q.

Abr.

No better.18 18better. ] Q, better? F.

Sam.

Well, sir.

Enter Benvolio.

Gre.

[ Aside to Sam. ] Say “better”: here comes one of my . one of my master’s kinsmen Tybalt is meant, who is seen approaching.

Sam.

Yes, better, sir.19 19sir ] Q, omitted F.

Abr.

You lie.

Sam.

Draw, if you be men. Gregory, remember thy swashing Jonson in his Staple of News, v. i., has “I do confess a swashing blow”; and in As You Like It, i. iii. 122, we have “a swashing and a martial outside.” But the washing of F, Q is possible. Daniel (who reads swashing) quotes Rich. Harvey, Plaine Percevall (1589): “A washing blow of this [a quarter-staff] is as good as a Laundresse.” Baret, Alvearie, has “to swash or to make a noise with swordes against tergats.”2020swashing ] Qq 4, 5; washing Q, F. blow. swashing Jonson in his Staple of News, v. i., has “I do confess a swashing blow”; and in As You Like It, i. iii. 122, we have “a swashing and a martial outside.” But the washing of F, Q is possible. Daniel (who reads swashing) quotes Rich. Harvey, Plaine Percevall (1589): “A washing blow of this [a quarter-staff] is as good as a Laundresse.” Baret, Alvearie, has “to swash or to make a noise with swordes against tergats.” 20swashing ] Qq 4, 5; washing Q, F.

[ They fight.

Ben.

Part, fools!

[ Beating down their weapons.

Put up your swords; you know not what you do.

Enter Tybalt.

Tyb.

What, art thou drawn among these heartless heartless hinds A play here on both words; hind, a menial, hind, a female deer; so with a play on hart and heart in Drayton, Polyolbion, v. 228, “heartless deer.”? Turn thee, Benvolio, look upon thy death. heartless hinds A play here on both words; hind, a menial, hind, a female deer; so with a play on hart and heart in Drayton, Polyolbion, v. 228, “heartless deer.”

Ben.

I do but keep the peace: put up thy sword, or manage it to part these men with me.

Tyb.

What, drawn2121drawn ] Q, draw F and several editors., and talk of peace! I hate the word, as I hate hell, all Montagues, and thee: Have at thee, coward! 21drawn ] Q, draw F and several editors.

[ They fight.

Enter several of both houses, who join the fray; then enter Citizens and Peace-officers, with clubs.22 22Enter … clubs ] Capell, substantially; Enter three or foure Citizens with Clubs or partysons Q; so F, omitting “or partisans.”

First Off.

Clubs Dyce: “Originally the cry to call forth the London apprentices, who employed their clubs to preserve the public peace.” Compare Henry VIII. v. iv. 53 and Titus And. II. i. 37., bills a kind of pike or halbert used by constables of the watch, and by foot-soldiers. See Much Ado, III. iii. 44., and partisans Fairholt: “A sharp two-edged sword placed on the summit of a staff.” See Hamlet, i, i, 140.! strike! beat them down!2323First Off. ] Offi. Q, F; Cit. Steevens; 1 Cit. Malone; Citizens Dyce. Down with the Capulets! down with the Montagues! Clubs Dyce: “Originally the cry to call forth the London apprentices, who employed their clubs to preserve the public peace.” Compare Henry VIII. v. iv. 53 and Titus And. II. i. 37. bills a kind of pike or halbert used by constables of the watch, and by foot-soldiers. See Much Ado, III. iii. 44. partisans Fairholt: “A sharp two-edged sword placed on the summit of a staff.” See Hamlet, i, i, 140. 23First Off. ] Offi. Q, F; Cit. Steevens; 1 Cit. Malone; Citizens Dyce.

Enter old Capulet in his gown, and Lady Capulet.

Cap.

What noise is this? Give me my long sword, ho!

Lady Cap.

A crutch, a crutch! why call you for a sword?

Cap.

My sword, I say! Old Montague is come, and flourishes his blade . in spite of me in despite (scornful defiance) of me. See New Eng. Dict. “despite,” 5.

Enter old Montague and Lady Montague.

Mon.

Thou villain Capulet! — Hold me not; let me go.

Lady Mon.

Thou shalt not stir one24 foot to seek a foe. 24one ] Q, a F.

Enter Prince Escalus25, with his Train. 25Escalus] Cambridge; Eskales Q, F.

Prince.

Rebellious subjects, enemies to peace, profaners of this neighbour-stained steel2626steel ] Q, F; soil, —  Daniel conjec. Hudson., — Will they not hear? What, ho! you men, you beasts, that quench the fire of your pernicious rage With purple fountains issuing from your veins, on pain of torture, from those bloody hands. Throw your mistemper’d wrathful, or perhaps, as Schmidt explains, tempered to an ill end. weapons to the ground, and hear the sentence of your moved prince Three civil brawls2727brawls ] Q, Broyles F, broils Rowe and others., bred of an airy word, by thee, old Capulet, and Montague, have thrice disturb’d the quiet of our streets, and made Verona’s ancient citizens Cast by their grave beseeming Walker would insert hyphen: grave-beseeming, i. e. beseeming gravity; but in 1 Henry VI. v. i. 54, we find “grave ornaments.”, to wield old partisans, in hands as old, Canker’d … hate The first canker’d means corroded. Compare Bible, James v. 3: “Your gold and silver is cankered,” The second means malignant, as in King John, II. i. 194: “A canker’d grandam’s will!”: If ever you disturb our streets again Your lives shall pay the forfeit of the peace. For this time, all the rest depart away: You, Capulet, shall go along with me; and, Montague, come you this afternoon to know our farther2828farther ] Q, further Q5, Fathers Q3, F. pleasure in this case, to old Free-town This in Brooke’s Romeus and Juliet is the name of Capilet’s castle; it corresponds to Villa Franca of the Italian story., our common judgment-place. Once more, on pain of death, all men depart. 26steel ] Q, F; soil, —  Daniel conjec. Hudson. mistemper’d wrathful, or perhaps, as Schmidt explains, tempered to an ill end. 27brawls ] Q, Broyles F, broils Rowe and others. grave beseeming Walker would insert hyphen: grave-beseeming, i. e. beseeming gravity; but in 1 Henry VI. v. i. 54, we find “grave ornaments.” Canker’d … hate The first canker’d means corroded. Compare Bible, James v. 3: “Your gold and silver is cankered,” The second means malignant, as in King John, II. i. 194: “A canker’d grandam’s will!” 28farther ] Q, further Q5, Fathers Q3, F. Free-town This in Brooke’s Romeus and Juliet is the name of Capilet’s castle; it corresponds to Villa Franca of the Italian story.

[ Exeunt all but Montague, Lady Montague, and Benvolio.

Mon.2929Mon. ] Q, F; M: wife Q1.

Who set this ancient quarrel new abroach? Speak, nephew, were you by when it began? 29Mon. ] Q, F; M: wife Q1.

Ben.

Here were the servants of your adversary and yours close fighting ere I did approach: I drew to part them; in the instant came The fiery Tybalt, with his prepared so “prepared sword,” Lear, II. i. 53., which, as he breathed defiance to my ears, he swung about his head, and cut the winds, who, nothing hurt withal, hiss’d him in scorn: While we were interchanging thrusts and blows, came more and more, and fought on part and part, till the prince came, who parted either part. prepared so “prepared sword,” Lear, II. i. 53.

Lady Mon.

O, where is Romeo? saw you him to-day? Right glad I am3030I am ] Q, am I F. he was not at this fray. 30I am ] Q, am I F.

Ben.

Madam, an hour before the worshipp’d sun Peer’d … east Q1 has Peept for Peer’d. An echo is noted by Holt White in Summa Totalis, 1607: “Peepes through the purple windowes of the East.”, a troubled mind drave The Q drive = drave is retained by Mommsen, and examples from Spenser and Jonson are cited. See Daniel’s revised ed. of Q. Here Q1 reads, “A troubled thought drew me from companie.”3131drave ] F, drive Q. 126. me to walk abroad; Where, underneath the grove of sycamore In Desdemona’s song, Othello, iv. iii. 41, the deserted lover sits “sighing by a sycamore tree.” Furness quotes W. Westmacott’s Scripture Herbal: “Astrologers regard it as one of Venus her trees.” That westward rooteth from the city’s3232the city’s ] Q1, Malone; this city Q, F. side, so early walking did I see your son: Towards him I made; but he was ware of me, and stole into the covert of the wood: I, measuring his affections by my own, Which … found Pope and several editors substitute for lines 131, 132, the line (from Q1): “That most are busied, when they’re most alone.” The meaning of line 131 is Which then sought in chief that place where there was least resort of people. Professor G. Allen conjectures “where more might not be found.” “Shakespeare,” he says “was not the man (in Romeo and Juliet at least) to let slip the chance of running through the Degrees of Comparison, many, more, most.”, being one too many by my weary self, pursued my humour3333humour ] Q, honour F., not pursuing his Theobald adopted Thirlby’s conjecture him., and gladly shunn’d who gladly fled from me. Peer’d … east Q1 has Peept for Peer’d. An echo is noted by Holt White in Summa Totalis, 1607: “Peepes through the purple windowes of the East.” drave The Q drive = drave is retained by Mommsen, and examples from Spenser and Jonson are cited. See Daniel’s revised ed. of Q. Here Q1 reads, “A troubled thought drew me from companie.” 31drave ] F, drive Q. 126. sycamore In Desdemona’s song, Othello, iv. iii. 41, the deserted lover sits “sighing by a sycamore tree.” Furness quotes W. Westmacott’s Scripture Herbal: “Astrologers regard it as one of Venus her trees.” 32the city’s ] Q1, Malone; this city Q, F. Which … found Pope and several editors substitute for lines 131, 132, the line (from Q1): “That most are busied, when they’re most alone.” The meaning of line 131 is Which then sought in chief that place where there was least resort of people. Professor G. Allen conjectures “where more might not be found.” “Shakespeare,” he says “was not the man (in Romeo and Juliet at least) to let slip the chance of running through the Degrees of Comparison, many, more, most.” 33humour ] Q, honour F. his Theobald adopted Thirlby’s conjecture him.

Mon.

Many a morning hath he there been seen, with tears augmenting the fresh morning’s dew, adding to clouds more clouds with his deep sighs: But all so soon as the all-cheering sun Should in the farthest east begin to draw The shady curtains from Aurora’s bed, away from light steals home my heavy son A play on sun, line 138, and son is probably intended, “heavy” being opposed to “all-cheering.”, and private in his chamber pens himself, shuts up his windows, locks fair daylight out, and makes himself an artificial night. Black and portentous must this humour prove unless good counsel may the cause remove. son A play on sun, line 138, and son is probably intended, “heavy” being opposed to “all-cheering.”

Ben.

My noble uncle, do you know the cause?

Mon.

I neither know it nor can learn of him.

Ben.

Have you importuned him by any means?

Mon.

Both by myself and many other friends Knight, inserting a comma in text of F, reads others, friends. Daniel observes that Knight’s punctuation may be right, but other — frequently used as a plural — would agree with it as well as others.3434other ] Q, others F.: But he, his own affections’ counsellor, Is to himself — I will not say how true — But to himself so secret and so close, so far from sounding and discovery, as is the bud bit with an envious malignant, spiteful, as often. The image of the worm and bud occurs with like significance in Twelfth Night, II. iv, 114. worm, ere he can spread his sweet leaves to the air, or dedicate his beauty to the sun Theobald’s emendation has won its way against the reading of Qq, Ff, by virtue of its beauty. Malone, who prints the same in his text, as “a mode of expression not uncommon in Shakespeare’s time,” supports the sun by a parallel from Daniel’s Sonnets: And whilst thou spread’st unto the rising sunne the fairest flower that ever saw the light, now joy thy time, before thy sweet be done.”3535(Theobald); same Q, F.. Could we but learn from whence his sorrows grow, we would as willingly give cure as know. other friends Knight, inserting a comma in text of F, reads others, friends. Daniel observes that Knight’s punctuation may be right, but other — frequently used as a plural — would agree with it as well as others. 34other ] Q, others F. envious malignant, spiteful, as often. The image of the worm and bud occurs with like significance in Twelfth Night, II. iv, 114. the sun Theobald’s emendation has won its way against the reading of Qq, Ff, by virtue of its beauty. Malone, who prints the same in his text, as “a mode of expression not uncommon in Shakespeare’s time,” supports the sun by a parallel from Daniel’s Sonnets: And whilst thou spread’st unto the rising sunne the fairest flower that ever saw the light, now joy thy time, before thy sweet be done.” 35(Theobald); same Q, F.

Enter Romeo.

Ben.

See where he comes: so please you, step aside; I’ll know his grievance, or be much denied.

Mon.

I would thou wert so happy by thy stay, to hear true shrift. Come, madam, let’s away.

[ Exeunt Montague and Lady.

Ben.

Good morrow, cousin.

Rom.

Is the day so young?

Ben.

But new struck nine.

Rom.

Was that my father that went hence so fast?

Ben.

It was. What sadness lengthens Romeo’s hours?

Rom.

Not having that, which, having, makes them short.

Ben.

In love?36 36In love? ] Q5, In love. The rest.

Rom.

Out — 37 37Out —  ] Rowe; Out. Q, F.

Ben.

Of love?38 38Of love? ] Q5, Of love. The rest.

Rom.

Out of her favour, where I am in love.

Ben.

Alas, that love, so gentle in his view, should be so tyrannous and rough in proof!

Rom.

Alas, that love, whose view is muffled still, Should … will Romeo laments that love, though blindfolded, should see how to reach the lover’s heart. Staunton needlessly conjectures “set pathways to our will,” i. e. prescribe to us our passion. Q1 reads, “Should without lawes give pathwaies to our will,” i. e. lawless himself should rule our passions. Where shall we dine? A lover, of course, could not seriously think of his dinner, Romeo wishes to turn aside Benvolio’s inquiries. O me! What fray was here? Yet tell me not, for I have heard it all. Here’s much to do … with love Rosaline is of the Capulet family; see The Tragedy of Romeo and Juliet (Dowden), Act 1, Scene 2. I. ii. 70. A lover, of course, could not seriously think of his dinner, Romeo wishes to turn aside Benvolio’s inquiries.: Why then, O brawling love! This conventional characterisation of love by the identity of contradictories could be illustrated endlessly from Elizabethan sonnetteers and earlier poets English and foreign. Romeo speaks otherwise when his heart is deeply moved by Juliet. O any thing, of nothing first created Perhaps the rhyming create of Q1 is right.3939created ] Q, F; create Q1, Ff 2–4, and many editors. ! O heavy lightness! serious vanity! Misshapen chaos of well-seeming40402–4; well-seeing The rest; best seeming things Q1. forms! Feather of lead, bright smoke, cold fire, sick health! Still-waking constantly waking. sleep, that is not what it is! This love feel I, that feel no love in this. Dost thou not laugh? Should … will Romeo laments that love, though blindfolded, should see how to reach the lover’s heart. Staunton needlessly conjectures “set pathways to our will,” i. e. prescribe to us our passion. Q1 reads, “Should without lawes give pathwaies to our will,” i. e. lawless himself should rule our passions. dine? A lover, of course, could not seriously think of his dinner, Romeo wishes to turn aside Benvolio’s inquiries. much to do … with love Rosaline is of the Capulet family; see The Tragedy of Romeo and Juliet (Dowden), Act 1, Scene 2. I. ii. 70. This conventional characterisation of love by the identity of contradictories could be illustrated endlessly from Elizabethan sonnetteers and earlier poets English and foreign. Romeo speaks otherwise when his heart is deeply moved by Juliet. created Perhaps the rhyming create of Q1 is right. 39created ] Q, F; create Q1, Ff 2–4, and many editors. 402–4; well-seeing The rest; best seeming things Q1. Still-waking constantly waking.

Ben.

No, coz, I rather weep.

Rom.

Good heart, at what?

Ben.

At thy good heart’s oppression.

Rom.

Why … transgression The short line is variously eked out by editors. Collier (MS.) reads, “Why such, Benvolio, is.”. Griefs of mine own lie heavy in my breast, Which thou wilt propagate to have it4141it ] Q, F; them Q1. prest The word has reference to Benvolio’s word oppression, line 188. Might we read to have’t oppressed? Q1, which in line 190 reads at my hart, has wouldst propagate to have them prest.. With more of thine: this love Q1 reads this griefe probably, says Daniel, the better reading. that thou hast shown Doth add more grief to too much of mine own. Love is a smoke raised4242raised ] Q1 and many editors; made Q, F. with the fume of sighs; Being purged love purified from the smoke. Johnson plausibly suggested urged; “to urge the fire is a technical term,” which occurs in Chapman’s Iliad, xxi. Collier (MS.) has puff’d. White fancies a scriptural allusion (Bible, King James, Matthew. Matt. iii. 12) to the fan purging the floor., a fire sparkling in lovers’ eyes; being vex’d, a sea nourish’d with lovers’4343lovers’ ] a lovers Q1; lovers Pope; loving Q, F.a sea … tears Q1 reads “a sea raging with a lover’s teares.”; What is it else? A madness most discreet, a choking gall, and a preserving The line means that love kills and keeps alive, is a bane and an antidote. Hazlitt’s persevering misses the point. sweet. Farewell, my coz. Why … transgression The short line is variously eked out by editors. Collier (MS.) reads, “Why such, Benvolio, is.” 41it ] Q, F; them Q1. prest The word has reference to Benvolio’s word oppression, line 188. Might we read to have’t oppressed? Q1, which in line 190 reads at my hart, has wouldst propagate to have them prest. this love Q1 reads this griefe probably, says Daniel, the better reading. 42raised ] Q1 and many editors; made Q, F. purged love purified from the smoke. Johnson plausibly suggested urged; “to urge the fire is a technical term,” which occurs in Chapman’s Iliad, xxi. Collier (MS.) has puff’d. White fancies a scriptural allusion (Bible, King James, Matthew. Matt. iii. 12) to the fan purging the floor. 43lovers’ ] a lovers Q1; lovers Pope; loving Q, F. a sea … tears Q1 reads “a sea raging with a lover’s teares.” preserving The line means that love kills and keeps alive, is a bane and an antidote. Hazlitt’s persevering misses the point.

Ben.

Soft! I will go along; An4444An ] Hanmer; And Q, F. if you leave me so, you do me wrong. 44An ] Hanmer; And Q, F.

Rom.

Tut, I have lost I am much inclined to agree with Daniel that Allen’s conjecture left is the true reading, but all the old editions have lost. With the long s the words were easily mistaken for each other. Allen notes that in Coriolanus, I. iv. 54, “Thou art left, Marcius,” we should probably read “lost.” Daniel adds that in Hamlet, III. i. 99, “their perfume lost” (Qq) is misprinted left in Ff. myself; I am not here; This is not Romeo, he’s some other where. lost I am much inclined to agree with Daniel that Allen’s conjecture left is the true reading, but all the old editions have lost. With the long s the words were easily mistaken for each other. Allen notes that in Coriolanus, I. iv. 54, “Thou art left, Marcius,” we should probably read “lost.” Daniel adds that in Hamlet, III. i. 99, “their perfume lost” (Qq) is misprinted left in Ff.

Ben.

Tell me in sadness seriousness, as often in Shakespeare. In Romeo’s groan plays upon the meaning “grief.” Q1 reads, “whome she is you love,” altered by editors to who., who is Daniel, retaining from Q, F the note of interrogation after love, reads is’t. that you love. sadness seriousness, as often in Shakespeare. In Romeo’s groan plays upon the meaning “grief.” Q1 reads, “whome she is you love,” altered by editors to who. is Daniel, retaining from Q, F the note of interrogation after love, reads is’t.

Rom.

What, shall I groan and tell thee?

Ben.

Groan! why, no; But sadly tell me who.

Rom.

Bid a sick man in sadness make4545Bid … make ] Qq 1, 4, 5; A sicke … makes Qq 2, 3, F; later Ff emend F by inserting good before sadness. his will: Ah, word4646Ah, word ] Q1, Malone, and other editors; A word Q, F, and several editors; O, word Ff 2–4. ill urged to one that is so ill! In sadness, cousin, I do love a woman. 45Bid … make ] Qq 1, 4, 5; A sicke … makes Qq 2, 3, F; later Ff emend F by inserting good before sadness. 46Ah, word ] Q1, Malone, and other editors; A word Q, F, and several editors; O, word Ff 2–4.

Ben.

I aim’d so near when I supposed you loved.

Rom.

A right good mark-man! And she’s fair I love.

Ben.

A right fair mark Compare Lyly, Gallathea, v. iii.: “But beautie is a faire marke to hit.”, fair coz, is soonest hit. mark Compare Lyly, Gallathea, v. iii.: “But beautie is a faire marke to hit.”

Rom.

Well4747Well ] Q, F; But Q1., in that hit you miss: she’ll not be hit With Cupid’s arrow; she hath Dian’s wit; And, in strong proof armour of proof, impenetrable armour, as in Coriolanus, I. iv. 25. of chastity well arm’d, From love’s weak childish bow she lives unharm’d Collier (MS.) has encharmed, meaning protected by a charm, as a correction of Q, F uncharmd. Steevens supposed that a compliment to Queen Elizabeth was designed. Q1, from which unharm’d is taken, reads ’Gainst Cupid’s childish bow.4848unharm’d ] Q1; uncharmd Q, F.. She will not stay the siege of loving terms, Nor bide4949bide ] Q, bid F. the encounter of assailing eyes, Nor ope5050ope ] Q, open F. her lap to saint-seducing gold: O, she is rich in beauty; only poor That, when she dies, with … store I think her store means beauty’s store. Rosaline is the possessor of beauty and also of beauty’s store, i. e. the reserve of beauty (in posterity) or the propagating power of beauty. Compare Sonnets, xi., and especially the lines: “Let those whom Nature hath not made for store, Harsh featureless and rude, barrenly perish.” If Rosaline dies wedded, beauty indeed dies; but if she dies single, beauty dies and also beauty’s store. Theobald read, “with her dies Beauty’s store”; but it is not required. Compare also Sonnets, xiv.: “Truth and beauty shall together thrive, If from thyself to store thou wouldst convert,” i. e. if you would propagate children.. 47Well ] Q, F; But Q1. proof armour of proof, impenetrable armour, as in Coriolanus, I. iv. 25. unharm’d Collier (MS.) has encharmed, meaning protected by a charm, as a correction of Q, F uncharmd. Steevens supposed that a compliment to Queen Elizabeth was designed. Q1, from which unharm’d is taken, reads ’Gainst Cupid’s childish bow. 48unharm’d ] Q1; uncharmd Q, F. 49bide ] Q, bid F. 50ope ] Q, open F. with … store I think her store means beauty’s store. Rosaline is the possessor of beauty and also of beauty’s store, i. e. the reserve of beauty (in posterity) or the propagating power of beauty. Compare Sonnets, xi., and especially the lines: “Let those whom Nature hath not made for store, Harsh featureless and rude, barrenly perish.” If Rosaline dies wedded, beauty indeed dies; but if she dies single, beauty dies and also beauty’s store. Theobald read, “with her dies Beauty’s store”; but it is not required. Compare also Sonnets, xiv.: “Truth and beauty shall together thrive, If from thyself to store thou wouldst convert,” i. e. if you would propagate children.

Ben.

Then she hath sworn that she will still live chaste?

Rom.

She hath, and in that sparing makes5151makes ] Q4; make Q, F. She … waste Compare Sonnets, i., for the same idea: “And, tender churl, makest waste in niggarding.”; For beauty, starved Singer supposes sterv’d (so spelled in Q, F) to mean, as it certainly may, perished, dead. with her severity, Cuts beauty off from all posterity. She is too fair, too wise, wisely too fair Johnson accepts Hanmer’s reading too wisely fair., To merit bliss by making me despair: She hath forsworn to love; and in that vow Do I live dead, that live to tell it now. 51makes ] Q4; make Q, F. She … waste Compare Sonnets, i., for the same idea: “And, tender churl, makest waste in niggarding.” starved Singer supposes sterv’d (so spelled in Q, F) to mean, as it certainly may, perished, dead. wisely too fair Johnson accepts Hanmer’s reading too wisely fair.

Ben.

Be ruled by me; forget to think of her.

Rom.

O, teach me how I should forget to think.

Ben.

By giving liberty unto thine eyes: Examine other beauties.

Rom.

’Tis the way To call … more Exquisite in Q, F is in marks of parenthesis. The meaning seems to be, To call her beauty, which is exquisite, yet more, being challenged and put to the test. Malone, taking question to mean conversation (as it often did), explains: “To make her unparalleled beauty more the subject of thought and conversation.”. These happy masks not (as has been suggested) masks worn by ladies at the theatre, but, generally, the masks (of our day). that kiss fair ladies’ brows, Being black, put5252put ] Q5; puts Q, F. us in mind they hide the fair; He that is strucken blind cannot forget The precious treasure of his eyesight lost: Show me a mistress that is passing fair, What doth her beauty serve but as a note Where I may read who pass’d that passing fair? Farewell: thou canst not teach me to forget. To call … more Exquisite in Q, F is in marks of parenthesis. The meaning seems to be, To call her beauty, which is exquisite, yet more, being challenged and put to the test. Malone, taking question to mean conversation (as it often did), explains: “To make her unparalleled beauty more the subject of thought and conversation.” These happy masks not (as has been suggested) masks worn by ladies at the theatre, but, generally, the masks (of our day). 52put ] Q5; puts Q, F.

Ben.

I’ll pay that doctrine deliver that piece of instruction., or else die in debt. pay that doctrine deliver that piece of instruction.

[ Exeunt.

Yes, you could typeset the Open Font License 1·1 in the Playfair 2·0 typeface family

You are looking at it. This document typesets the Playfair Open Font License agreement and frequently asked questions in Playfair 2·0

Copyright 2005–2023 The Playfair Project Authors https://github.com/clauseggers/Playfair. This Font Software is licensed under the SIL Open Font License, Version 1·1. This license is copied below, and is also available with a FAQ at: http://scripts.sil.org/­OFL

SIL OPEN FONT LICENSE

Version 1.1 of 26 February 2007

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  2. Original or Modified Versions of the Font Software may be bundled, redistributed and/or sold with any software, provided that each copy contains the above copyright notice and this license. These can be included either as stand-alone text files, human-readable headers or in the appropriate machine-readable metadata fields within text or binary files as long as those fields can be easily viewed by the user.
  3. No Modified Version of the Font Software may use the Reserved Font Name(s) unless explicit written permission is granted by the corresponding Copyright Holder. This restriction only applies to the primary font name as presented to the users.
  4. The name(s) of the Copyright Holder(s) or the Author(s) of the Font Software shall not be used to promote, endorse or advertise any Modified Version, except to acknowledge the contribution(s) of the Copyright Holder(s) and the Author(s) or with their explicit written permission.
  5. The Font Software, modified or unmodified, in part or in whole, must be distributed entirely under this license, and must not be distributed under any other license. The requirement for fonts to remain under this license does not apply to any document created using the Font Software.
TERMINATION

This license becomes null and void if any of the above conditions are not met.

DISCLAIMER

THE FONT SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM OTHER DEALINGS IN THE FONT SOFTWARE.


OFL FAQ

Frequently Asked Questions about the SIL Open Font License (OFL)

Version 1.1-update6 – December 2020. The OFL FAQ is copyright © 2005–2020 SIL International. Everyone is permitted to copy and distribute verbatim copies of this license document, but changing it is not allowed. (See http://scripts.sil.org/OFL for updates)

1
USING AND DISTRIBUTING FONTS LICENSED UNDER THE OFL
1.1

Can I use the fonts for a book or other print publication, to create logos or other graphics or even to manufacture objects based on their outlines?

Yes. You are very welcome to do so. Authors of fonts released under the OFL allow you to use their font software as such for any kind of design work. No additional license or permission is required, unlike with some other licenses. Some examples of these uses are: logos, posters, business cards, stationery, video titling, signage, t-shirts, personalised fabric, 3D-printed/laser-cut shapes, sculptures, rubber stamps, cookie cutters and lead type.

1.1.1

Does that restrict the license or distribution of that artwork?

No. You remain the author and copyright holder of that newly derived graphic or object. You are simply using an open font in the design process. It is only when you redistribute, bundle or modify the font itself that other conditions of the license have to be respected (see below for more details).

1.1.2

Is any kind of acknowledgement required?

No. Font authors may appreciate being mentioned in your artwork’s acknowledgements alongside the name of the font, possibly with a link to their website, but that is not required.

1.2

Can the fonts be included with Free/­Libre and Open Source Software collections such as GNU/Linux and BSD distributions and repositories?

Yes! Fonts licensed under the OFL can be freely included alongside other software under FLOSS (Free/Libre and Open Source Software) licenses. Since fonts are typically aggregated with, not merged into, existing software, there is little need to be concerned about incompatibility with existing software licenses. You may also repackage the fonts and the accompanying components in a .rpm or .deb package (or other similar package formats or installers) and include them in distribution CD/DVDs and online repositories. (Also see section 5.9 about rebuilding from source.)

1.3

I want to distribute the fonts with my program. Does this mean my program also has to be Free/Libre and Open Source Software?

No. Only the portions based on the Font Software are required to be released under the OFL. The intent of the license is to allow aggregation or bundling with software under restricted licensing as well.

1.4

Can I sell a software package that includes these fonts?

Yes, you can do this with both the Original Version and a Modified Version of the fonts. Examples of bundling made possible by the OFL would include: word processors, design and publishing applications, training and educational software, games and entertainment software, mobile device applications, etc.

1.5

Can I include the fonts on a CD of freeware or commercial fonts?

Yes, as long some other font or software is also on the disk, so the OFL font is not sold by itself.

1.6

Why won’t the OFL let me sell the fonts alone?

The intent is to keep people from making money by simply redistributing the fonts. The only people who ought to profit directly from the fonts should be the original authors, and those authors have kindly given up potential direct income to distribute their fonts under the OFL. Please honour and respect their contribution!

1.7

What about sharing OFL fonts with friends on a CD, DVD or USB stick?

You are very welcome to share open fonts with friends, family and colleagues through removable media. Just remember to include the full font package, including any copyright notices and licensing information as available in OFL.txt. In the case where you sell the font, it has to come bundled with software.

1.8

Can I host the fonts on a web site for others to use?

Yes, as long as you make the full font package available. In most cases it may be best to point users to the main site that distributes the Original Version so they always get the most recent stable and complete version. See also discussion of web fonts in Section 2.

1.9

Can I host the fonts on a server for use over our internal network?

Yes. If the fonts are transferred from the server to the client computer by means that allow them to be used even if the computer is no longer attached to the network, the full package (copyright notices, licensing information, etc.) should be included.

1.10

Does the full OFL license text always need to accompany the font?

The only situation in which an OFL font can be distributed without the text of the OFL (either in a separate file or in font metadata), is when a font is embedded in a document or bundled within a program. In the case of metadata included within a font, it is legally sufficient to include only a link to the text of the OFL on http://scripts.sil.org/­OFL, but we strongly recommend against this. Most modern font formats include metadata fields that will accept the full OFL text, and full inclusion increases the likelihood that users will understand and properly apply the license.

1.11

What do you mean by ‘embedding’? How does that differ from other means of distribution?

By ‘embedding’ we mean inclusion of the font in a document or file in a way that makes extraction (and redistribution) difficult or clearly discouraged. In many cases the names of embedded fonts might also not be obvious to those reading the document, the font data format might be altered, and only a subset of the font – only the glyphs required for the text – might be included. Any other means of delivering a font to another person is considered ‘distribution’, and needs to be accompanied by any copyright notices and licensing information available in OFL.txt.

1.12

So can I embed OFL fonts in my document?

Yes, either in full or a subset. The restrictions regarding font modification and redistribution do not apply, as the font is not intended for use outside the document.

1.13

Does embedding alter the license of the document itself?

No. Referencing or embedding an OFL font in any document does not change the license of the document itself. The requirement for fonts to remain under the OFL does not apply to any document created using the fonts and their derivatives. Similarly, creating any kind of graphic using a font under OFL does not make the resulting artwork subject to the OFL.

1.14

If OFL fonts are extracted from a document in which they are embedded (such as a PDF file), what can be done with them? Is this a risk to author(s)?

The few utilities that can extract fonts embedded in a PDF will typically output limited amounts of outlines – not a complete font. To create a working font from this method is much more difficult and time consuming than finding the source of the original OFL font. So there is little chance that an OFL font would be extracted and redistributed inappropriately through this method. Even so, copyright laws address any misrepresentation of authorship. All Font Software released under the OFL and marked as such by the author(s) is intended to remain under this license regardless of the distribution method, and cannot be redistributed under any other license. We strongly discourage any font extraction – we recommend directly using the font sources instead – but if you extract font outlines from a document, please be considerate: respect the work of the author(s) and the licensing model.

1.15

What about distributing fonts with a document? Within a compressed folder structure? Is it distribution, bundling or embedding?

Certain document formats may allow the inclusion of an unmodified font within their file structure which may consist of a compressed folder containing the various resources forming the document (such as pictures and thumbnails). Including fonts within such a structure is understood as being different from embedding but rather similar to bundling (or mere aggregation) which the license explicitly allows. In this case the font is conveyed unchanged whereas embedding a font usually transforms it from the original format. The OFL does not allow anyone to extract the font from such a structure to then redistribute it under another license. The explicit permission to redistribute and embed does not cancel the requirement for the Font Software to remain under the license chosen by its author(s). Even if the font travels inside the document as one of its assets, it should not lose its authorship information and licensing.

1.16

What about ebooks shipping with open fonts?

The requirements differ depending on whether the fonts are linked, embedded or distributed (bundled or aggregated). Some ebook formats use web technologies to do font linking via @font-face, others are designed for font embedding, some use fonts distributed with the document or reading software, and a few rely solely on the fonts already present on the target system. The license requirements depend on the type of inclusion as discussed in 1.15.

1.17

Can Font Software released under the OFL be subject to URL-based access restrictions methods or DRM (Digital Rights Management) mechanisms?

Yes, but these issues are out-of-scope for the OFL. The license itself neither encourages their use nor prohibits them since such mechanisms are not implemented in the components of the Font Software but through external software. Such restrictions are put in place for many different purposes corresponding to various usage scenarios. One common example is to limit potentially dangerous cross-site scripting attacks. However, in the spirit of libre/open fonts and unrestricted writing systems, we strongly encourage open sharing and reuse of OFL fonts, and the establishment of an environment where such restrictions are unnecessary. Note that whether you wish to use such mechanisms or you prefer not to, you must still abide by the rules set forth by the OFL when using fonts released by their authors under this license. Derivative fonts must be licensed under the OFL, even if they are part of a service for which you charge fees and/or for which access to source code is restricted. You may not sell the fonts on their own – they must be part of a larger software package, bundle or subscription plan. For example, even if the OFL font is distributed in a software package or via an online service using a DRM mechanism, the user would still have the right to extract that font, use, study, modify and redistribute it under the OFL.

1.18

I’ve come across a font released under the OFL. How can I easily get more information about the Original Version? How can I know where it stands compared to the Original Version or other Modified Versions?

Consult the copyright statement(s) in the license for ways to contact the original authors. Consult the FONTLOG (see section 6 for more details and examples) for information on how the font differs from the Original Version, and get in touch with the various contributors via the information in the acknowledgement section. Please consider using the Original Versions of the fonts whenever possible.

1.19

What do you mean in condition 4 of the OFL’s permissions and conditions? Can you provide examples of abusive promotion / endorsement / advertisement vs. normal acknowledgement?

The intent is that the goodwill and reputation of the author(s) should not be used in a way that makes it sound like the original author(s) endorse or approve of a specific Modified Version or software bundle. For example, it would not be right to advertise a word processor by naming the author(s) in a listing of software features, or to promote a Modified Version on a web site by saying “designed by …”. However, it would be appropriate to acknowledge the author(s) if your software package has a list of people who deserve thanks. We realize that this can seem to be a grey area, but the standard used to judge an acknowledgement is that if the acknowledgement benefits the author(s) it is allowed, but if it primarily benefits other parties, or could reflect poorly on the author(s), then it is not.

1.20

I’m writing a small app for mobile platforms, do I need to include the whole package? The themes or templates? Can I sell the whole package?

If you bundle a font under the OFL with your mobile app you must comply with the terms of the license. At a minimum you must include the copyright statement, the license notice and the license text. A mention of this information in your About box or Changelog, with a link to where the font package is from, is good practice, and the extra space needed to carry these items is very small. You do not, however, need to include the full contents of the font package – only the fonts you use and the copyright and license that apply to them. For example, if you only use the regular weight in your app, you do not need to include the italic and bold versions.

1.21

What about including OFL fonts by default in my firmware or dedicated operating system? The themes or templates? Can I sell the whole package?

Many such systems are restricted and turned into appliances so that users cannot study or modify them. Using open fonts to increase quality and language coverage is a great idea, but you need to be aware that if there is a way for users to extract fonts you cannot legally prevent them from doing that. The fonts themselves, including any changes you make to them, must be distributed under the OFL even if your firmware has a more restrictive license. If you do transform the fonts and change their formats when you include them in your firmware you must respect any names reserved by the font authors via the RFN mechanism and pick your own font name. Alternatively if you directly add a font under the OFL to the font folder of your firmware without modifying or optimizing it you are simply bundling the font like with any other software collection, and do not need to make any further changes.

1.22

Can I make and publish CMS themes or templates that use OFL fonts? Can I include the fonts themselves in the themes or templates? Can I sell the whole package?

Yes, you are very welcome to integrate open fonts into themes and templates for your preferred CMS and make them more widely available. Remember that you can only sell the fonts and your CMS add-on as part of a software bundle. (See 1.4 for details and examples about selling bundles).

1.23

Can OFL fonts be included in services that deliver fonts to the desktop from remote repositories? Even if they contain both OFL and non-OFL fonts?

Yes. Some foundries have set up services to deliver fonts to subscribers directly to desktops from their online repositories; similarly, plugins are available to preview and use fonts directly in your design tool or publishing suite. These services may mix open and restricted fonts in the same channel, however they should make a clear distinction between them to users. These services should also not hinder users (such as through DRM or obfuscation mechanisms) from extracting and using the OFL fonts in other environments, or continuing to use OFL fonts after subscription terms have ended, as those uses are specifically allowed by the OFL.

1.24

Can services that provide or distribute OFL fonts restrict my use of them?

No. The terms of use of such services cannot replace or restrict the terms of the OFL, as that would be the same as distributing the fonts under a different license, which is not allowed. You are still entitled to use, modify and redistribute them as the original authors have intended outside of the sole control of that particular distribution channel. Note, however, that the fonts provided by these services may differ from the Original Versions.

2
USING OFL FONTS FOR WEBPAGES AND ONLINE WEB FONT SERVICES

NOTE: This section often refers to a separate paper on ‘Web Fonts & RFNs’. This is available at http://scripts.sil.org/­OFL_web_fonts_and_RFNs

2.1

Can I make webpages using these fonts?

Yes! Go ahead! Using CSS (Cascading Style Sheets) is recommended. Your three best options are:

  • referring directly in your stylesheet to open fonts which may be available on the user’s system
  • providing links to download the full package of the font – either from your own website or from elsewhere – so users can install it themselves
  • using @font-face to distribute the font directly to browsers. This is recommended and explicitly allowed by the licensing model because it is distribution. The font file itself is distributed with other components of the webpage. It is not embedded in the webpage but referenced through a web address which will cause the browser to retrieve and use the corresponding font to render the webpage (see 1.11 and 1.15 for details related to embedding fonts into documents). As you take advantage of the @font-face cross-platform standard, be aware that web fonts are often tuned for a web environment and not intended for installation and use outside a browser. The reasons in favour of using web fonts are to allow design of dynamic text elements instead of static graphics, to make it easier for content to be localized and translated, indexed and searched, and all this with cross-platform open standards without depending on restricted extensions or plugins. You should check the CSS cascade (the order in which fonts are being called or delivered to your users) when testing.
2.2

Can I make and use WOFF (Web Open Font Format) versions of OFL fonts?

Yes, but you need to be careful. A change in font format normally is considered modification, and Reserved Font Names (RFNs) cannot be used. Because of the design of the WOFF format, however, it is possible to create a WOFF version that is not considered modification, and so would not require a name change. You are allowed to create, use and distribute a WOFF version of an OFL font without changing the font name, but only if:

  • the original font data remains unchanged except for WOFF compression, and
  • WOFF-specific metadata is either omitted altogether or present and includes, unaltered, the contents of all equivalent metadata in the original font.

If the original font data or metadata is changed, or the WOFF-specific metadata is incomplete, the font must be considered a Modified Version, the OFL restrictions would apply and the name of the font must be changed: any RFNs cannot be used and copyright notices and licensing information must be included and cannot be deleted or modified. You must come up with a unique name – we recommend one corresponding to your domain or your particular web application. Be aware that only the original author(s) can use RFNs. This is to prevent collisions between a derivative tuned to your audience and the original upstream version and so to reduce confusion.

Please note that most WOFF conversion tools and online services do not meet the two requirements listed above, and so their output must be considered a Modified Version. So be very careful and check to be sure that the tool or service you’re using is compressing unchanged data and completely and accurately reflecting the original font metadata.

2.3

What about other web font formats such as EOT/­EOTLite/­CWT/etc.?

In most cases these formats alter the original font data more than WOFF, and do not completely support appropriate metadata, so their use must be considered modification and RFNs may not be used. However, there may be certain formats or usage scenarios that may allow the use of RFNs. See http://scripts.sil.org/­OFL_web_fonts_and_RFNs

2.4

Can I make OFL fonts available through web font online services?

Yes, you are welcome to include OFL fonts in online web font services as long as you properly meet all the conditions of the license. The origin and open status of the font should be clear among the other fonts you are hosting. Authorship, copyright notices and license information must be sufficiently visible to your users or subscribers so they know where the font comes from and the rights granted by the author(s). Make sure the font file contains the needed copyright notice(s) and licensing information in its metadata. Please double-check the accuracy of every field to prevent contradictory information. Other font formats, including EOT/EOTLite/CWT and superior alternatives like WOFF, already provide fields for this information. Remember that if you modify the font within your library or convert it to another format for any reason the OFL restrictions apply and you need to change the names accordingly. Please respect the author’s wishes as expressed in the OFL and do not misrepresent original designers and their work. Don’t lump quality open fonts together with dubious freeware or public domain fonts. Consider how you can best work with the original designers and foundries, support their efforts and generate goodwill that will benefit your service. (See 1.17 for details related to URL-based access restrictions methods or DRM mechanisms).

2.5

Some web font formats and services provide ways of “optimizing” the font for a particular website or web application; is that allowed?

Yes, it is permitted, but remember that these optimized versions are Modified Versions and so must follow OFL requirements like appropriate renaming. Also you need to bear in mind the other important parameters beyond compression, speed and responsiveness: you need to consider the audience of your particular website or web application, as choosing some optimization parameters may turn out to be less than ideal for them. Subsetting by removing certain glyphs or features may seriously limit functionality of the font in various languages that your users expect. It may also introduce degradation of quality in the rendering or specific bugs on the various target platforms compared to the original font from upstream. In other words, remember that one person’s optimized font may be another person’s missing feature. Various advanced typographic features (OpenType, Graphite or AAT) are also available through CSS and may provide the desired effects without the need to modify the font.

2.6

Is subsetting a web font considered modification?

Yes. Removing any parts of the font when delivering a web font to a browser, including unused glyphs and smart font code, is considered modification. This is permitted by the OFL but would not normally allow the use of RFNs. Some newer subsetting technologies may be able to subset in a way that allows users to effectively have access to the complete font, including smart font behaviour. See 2.8 and http://scripts.sil.org/­OFL_web_fonts_and_RFNs

2.7

Are there any situations in which a modified web font could use RFNs?

Yes. If a web font is optimized only in ways that preserve Functional Equivalence (see 2.8), then it may use RFNs, as it reasonably represents the Original Version and respects the intentions of the author(s) and the main purposes of the RFN mechanism (avoids collisions, protects authors, minimizes support, encourages derivatives). However this is technically very difficult and often impractical, so a much better scenario is for the web font service or provider to sign a separate agreement with the author(s) that allows the use of RFNs for Modified Versions.

2.8

How do you know if an optimization to a web font preserves Functional Equivalence?

Functional Equivalence is described in full in the ‘Web fonts and RFNs’ paper at http://scripts.sil.org/­OFL_web_fonts_and_RFNs, in general, an optimized font is deemed to be Functionally Equivalent (FE) to the Original Version if it:

  • Supports the same full character inventory. If a character can be properly displayed using the Original Version, then that same character, encoded correctly on a web page, will display properly.
  • Provides the same smart font behavior. Any dynamic shaping behavior that works with the Original Version should work when optimized, unless the browser or environment does not support it. There does not need to be guaranteed support in the client, but there should be no forced degradation of smart font or shaping behavior, such as the removal or obfuscation of OpenType, Graphite or AAT tables.
  • Presents text with no obvious degradation in visual quality. The lettershapes should be equally (or more) readable, within limits of the rendering platform.
  • Preserves original author, project and license metadata. At a minimum, this should include: Copyright and authorship; The license as stated in the Original Version, whether that is the full text of the OFL or a link to the web version; Any RFN declarations; Information already present in the font or documentation that points back to the Original Version, such as a link to the project or the author’s website.

If an optimized font meets these requirements, and so is considered to be FE, then it’s very likely that the original author would feel that the optimized font is a good and reasonable equivalent. If it falls short of any of these requirements, the optimized font does not reasonably represent the Original Version, and so should be considered to be a Modified Version. Like other Modified Versions, it would not be allowed to use any RFNs and you simply need to pick your own font name.

2.9

Isn’t use of web fonts another form of embedding?

No. Unlike embedded fonts in a PDF, web fonts are not an integrated part of the document itself. They are not specific to a single document and are often applied to thousands of documents around the world. The font data is not stored alongside the document data and often originates from a different location. The ease by which the web fonts used by a document may be identified and downloaded for desktop use demonstrates that they are philosophically and technically separate from the web pages that specify them. See http://scripts.sil.org/­OFL_web_fonts_and_RFNs

2.10

So would it be better to not use RFNs at all if you want your font to be distributed by a web fonts service?

No. Although the OFL does not require authors to use RFNs, the RFN mechanism is an important part of the OFL model and completely compatible with web font services. If that web font service modifies the fonts, then the best solution is to sign a separate agreement for the use of any RFNs. It is perfectly valid for an author to not declare any RFNs, but before they do so they need to fully understand the benefits they are giving up, and the overall negative effect of allowing many different versions bearing the same name to be widely distributed. As a result, we don’t generally recommend it.

2.11

What should an agreement for the use of RFNs say? Are there any examples?

There is no prescribed format for this agreement, as legal systems vary, and no recommended examples. Authors may wish to add specific clauses to further restrict use, require author review of Modified Versions, establish user support mechanisms or provide terms for ending the agreement. Such agreements are usually not public, and apply only to the main parties. However, it would be very beneficial for web font services to clearly state when they have established such agreements, so that the public understands clearly that their service is operating appropriately.

See the separate paper on ‘Web Fonts & RFNs’ for in-depth discussion of issues related to the use of RFNs for web fonts. This is available at http://scripts.sil.org/­OFL_web_fonts_and_RFNs

3
MODIFYING OFL-LICENSED FONTS
3.1

Can I change the fonts? Are there any limitations to what things I can and cannot change?

You are allowed to change anything, as long as such changes do not violate the terms of the license. In other words, you are not allowed to remove the copyright statement(s) from the font, but you could put additional information into it that covers your contribution. See the placeholders in the OFL header template for recommendations on where to add your own statements. (Remember that, when authors have reserved names via the RFN mechanism, you need to change the internal names of the font to your own font name when making your modified version even if it is just a small change.)

3.2

I have a font that needs a few extra glyphs – can I take them from an OFL licensed font and copy them into mine?

Yes, but if you distribute that font to others it must be under the OFL, and include the information mentioned in condition 2 of the license.

3.3

Can I charge people for my additional work? In other words, if I add a bunch of special glyphs or OpenType/­Graphite/­AAT code, can I sell the enhanced font?

Not by itself. Derivative fonts must be released under the OFL and cannot be sold by themselves. It is permitted, however, to include them in a larger software package (such as text editors, office suites or operating systems), even if the larger package is sold. In that case, you are strongly encouraged, but not required, to also make that derived font easily and freely available outside of the larger package.

3.4

Can I pay someone to enhance the fonts for my use and distribution?

Yes. This is a good way to fund the further development of the fonts. Keep in mind, however, that if the font is distributed to others it must be under the OFL. You won’t be able to recover your investment by exclusively selling the font, but you will be making a valuable contribution to the community. Please remember how you have benefited from the contributions of others.

3.5

I need to make substantial revisions to the font to make it work with my program. It will be a lot of work, and a big investment, and I want to be sure that it can only be distributed with my program. Can I restrict its use?

No. If you redistribute a Modified Version of the font it must be under the OFL. You may not restrict it in any way beyond what the OFL permits and requires. This is intended to ensure that all released improvements to the fonts become available to everyone. But you will likely get an edge over competitors by being the first to distribute a bundle with the enhancements. Again, please remember how you have benefited from the contributions of others.

3.6

Do I have to make any derivative fonts (including extended source files, build scripts, documentation, etc.) publicly available?

No, but please consider sharing your improvements with others. You may find that you receive in return more than what you gave.

3.7

If a trademark is claimed in the OFL font, does that trademark need to remain in modified fonts?

Yes. Any trademark notices must remain in any derivative fonts to respect trademark laws, but you may add any additional trademarks you claim, officially registered or not. For example if an OFL font called “Foo” contains a notice that “Foo is a trademark of Acme”, then if you rename the font to “Bar” when creating a Modified Version, the new trademark notice could say “Foo is a trademark of Acme Inc. – Bar is a trademark of Roadrunner Technologies Ltd.”. Trademarks work alongside the OFL and are not subject to the terms of the licensing agreement. The OFL does not grant any rights under trademark law. Bear in mind that trademark law varies from country to country and that there are no international trademark conventions as there are for copyright. You may need to significantly invest in registering and defending a trademark for it to remain valid in the countries you are interested in. This may be costly for an individual independent designer.

3.8

If I commit changes to a font (or publish a branch in a DVCS) as part of a public open source software project, do I have to change the internal font names?

Only if there are declared RFNs. Making a public commit or publishing a public branch is effectively redistributing your modifications, so any change to the font will require that you do not use the RFNs. Even if there are no RFNs, it may be useful to change the name or add a suffix indicating that a particular version of the font is still in development and not released yet. This will clearly indicate to users and fellow designers that this particular font is not ready for release yet. See section 5 for more details.

4
LICENSING YOUR ORIGINAL FONTS UNDER THE OFL
4.1

Can I use the SIL OFL for my own fonts?

Yes! We heartily encourage everyone to use the OFL to distribute their own original fonts. It is a carefully constructed license that allows great freedom along with enough artistic integrity protection for the work of the authors as well as clear rules for other contributors and those who redistribute the fonts. The licensing model is used successfully by various organisations, both for-profit and not-for-profit, to release fonts of varying levels of scope and complexity.

4.2

What do I have to do to apply the OFL to my font?

If you want to release your fonts under the OFL, we recommend you do the following:

4.2.1

Put your copyright and Reserved Font Names information at the beginning of the main OFL.txt file in place of the dedicated placeholders (marked with the <> characters). Include this file in your release package.

4.2.2

Put your copyright and the OFL text with your chosen Reserved Font Name(s) into your font files (the copyright and license fields). A link to the OFL text on the OFL web site is an acceptable (but not recommended) alternative. Also add this information to any other components (build scripts, glyph databases, documentation, test files, etc). Accurate metadata in your font files is beneficial to you as an increasing number of applications are exposing this information to the user. For example, clickable links can bring users back to your website and let them know about other work you have done or services you provide. Depending on the format of your fonts and sources, you can use template human-readable headers or machine-readable metadata. You should also double-check that there is no conflicting metadata in the font itself contradicting the license, such as the fstype bits in the os2 table or fields in the name table.

4.2.3

Write an initial FONTLOG.txt for your font and include it in the release package (see Section 6 and Appendix A for details including a template).

4.2.4

Include the relevant practical documentation on the license by adding the current OFL-FAQ.txt file in your package.

4.2.5

If you wish you can use the OFL graphics (http://scripts.sil.org/­OFL_logo) on your website.

4.3

Will you make my font OFL for me?

We won’t do the work for you. We can, however, try to answer your questions, unfortunately we do not have the resources to review and check your font packages for correct use of the OFL. We recommend you turn to designers, foundries or consulting companies with experience in doing open font design to provide this service to you.

4.4

Will you distribute my OFL font for me?

No, although if the font is of sufficient quality and general interest we may include a link to it on our partial list of OFL fonts on the OFL web site. You may wish to consider other open font catalogs or hosting services, such as the Unifont Font Guide (http://unifont.org/­fontguide), The League of Movable Type (http://theleagueofmovabletype.com) or the Open Font Library (http://openfontlibrary.org/), which despite the name has no direct relationship to the OFL or SIL. We do not endorse any particular catalog or hosting service – it is your responsibility to determine if the service is right for you and if it treats authors with fairness.

4.5

Why should I use the OFL for my fonts?

  • to meet needs for fonts that can be modified to support lesser-known languages
  • to provide a legal and clear way for people to respect your work but still use it (and reduce piracy)
  • to involve others in your font project
  • to enable your fonts to be expanded with new weights and improved writing system/language support
  • to allow more technical font developers to add features to your design (such as OpenType, Graphite or AAT support)
  • to renew the life of an old font lying on your hard drive with no business model
  • to allow your font to be included in Libre Software operating
  • systems like Ubuntu
  • to give your font world status and wide, unrestricted distribution
  • to educate students about quality typeface and font design
  • to expand your test base and get more useful feedback
  • to extend your reach to new markets when users see your metadata and go to your website
  • to get your font more easily into one of the web font online services
  • to attract attention for your commercial fonts
  • to make money through web font services
  • to make money by bundling fonts with applications
  • to make money adjusting and extending existing open fonts
  • to get a better chance that foundations/­NGOs/­charities/­companies who commission fonts will pick you
  • to be part of a sharing design and development community
  • to give back and contribute to a growing body of font sources
5
CHOOSING RESERVED FONT NAMES
5.1

What are Reserved Font Names?

These are font names, or portions of font names, that the author has chosen to reserve for use only with the Original Version of the font, or for Modified Version(s) created by the original author.

5.2

Why can’t I use the Reserved Font Names in my derivative font names? I’d like people to know where the design came from.

The best way to acknowledge the source of the design is to thank the original authors and any other contributors in the files that are distributed with your revised font (although no acknowledgement is required). The FONTLOG is a natural place to do this. Reserved Font Names ensure that the only fonts that have the original names are the unmodified Original Versions. This allows designers to maintain artistic integrity while allowing collaboration to happen. It eliminates potential confusion and name conflicts. When choosing a name, be creative and avoid names that reuse almost all the same letters in the same order or sound like the original. It will help everyone if Original Versions and Modified Versions can easily be distinguished from one another and from other derivatives. Any substitution and matching mechanism is outside the scope of the license.

5.3

What do you mean by “primary name as presented to the user'? Are you referring to the font menu name?

Yes, this applies to the font menu name and other mechanisms that specify a font in a document. It would be fine, however, to keep a text reference to the original fonts in the description field, in your modified source file or in documentation provided alongside your derivative as long as no one could be confused that your modified source is the original. But you cannot use the Reserved Font Names in any way to identify the font to the user (unless the Copyright Holder(s) allow(s) it through a separate agreement). Users who install derivatives (Modified Versions) on their systems should not see any of the original Reserved Font Names in their font menus, for example. Again, this is to ensure that users are not confused and do not mistake one font for another and so expect features only another derivative or the Original Version can actually offer.

5.4

Am I not allowed to use any part of the Reserved Font Names?

You may not use individual words from the Reserved Font Names, but you would be allowed to use parts of words, as long as you do not use any word from the Reserved Font Names entirely. We do not recommend using parts of words because of potential confusion, but it is allowed. For example, if “Foobar” was a Reserved Font Name, you would be allowed to use “Foo” or “bar', although we would not recommend it. Such an unfortunate choice would confuse the users of your fonts as well as make it harder for other designers to contribute.

5.5

So what should I, as an author, identify as Reserved Font Names?

Original authors are encouraged to name their fonts using clear, distinct names, and only declare the unique parts of the name as Reserved Font Names. For example, the author of a font called “Foobar Sans” would declare “Foobar” as a Reserved Font Name, but not “Sans', as that is a common typographical term, and may be a useful word to use in a derivative font name. Reserved Font Names should also be single words for simplicity and legibility. A font called “Flowing River” should have Reserved Font Names “Flowing” and “River', not “Flowing River'. You also need to be very careful about reserving font names which are already linked to trademarks (whether registered or not) which you do not own.

5.6

Do I, as an author, have to identify any Reserved Font Names?

No. RFNs are optional and not required, but we encourage you to use them. This is primarily to avoid confusion between your work and Modified Versions. As an author you can release a font under the OFL and not declare any Reserved Font Names. There may be situations where you find that using no RFNs and letting your font be changed and modified – including any kind of modification – without having to change the original name is desirable. However you need to be fully aware of the consequences. There will be no direct way for end-users and other designers to distinguish your Original Version from many Modified Versions that may be created. You have to trust whoever is making the changes and the optimizations to not introduce problematic changes. The RFNs you choose for your own creation have value to you as an author because they allow you to maintain artistic integrity and keep some control over the distribution channel to your end-users. For discussion of RFNs and web fonts see section 2.

5.7

Are any names (such as the main font name) reserved by default?

No. That is a change to the license as of version 1.1. If you want any names to be Reserved Font Names, they must be specified after the copyright statement(s).

5.8

Is there any situation in which I can use Reserved Font Names for a Modified Version?

The Copyright Holder(s) can give certain trusted parties the right to use any of the Reserved Font Names through separate written agreements. For example, even if “Foobar” is a RFN, you could write up an agreement to give company “XYZ” the right to distribute a modified version with a name that includes “Foobar'. This allows for freedom without confusion. The existence of such an agreement should be made as clear as possible to downstream users and designers in the distribution package and the relevant documentation. They need to know if they are a party to the agreement or not and what they are practically allowed to do or not even if all the details of the agreement are not public.

5.9

Do font rebuilds require a name change? Do I have to change the name of the font when my packaging workflow includes a full rebuild from source?

Yes, all rebuilds which change the font data and the smart code are Modified Versions and the requirements of the OFL apply: you need to respect what the Author(s) have chosen in terms of Reserved Font Names. However if a package (or installer) is simply a wrapper or a compressed structure around the final font – leaving them intact on the inside – then no name change is required. Please get in touch with the author(s) and copyright holder(s) to inquire about the presence of font sources beyond the final font file(s) and the recommended build path. That build path may very well be non-trivial and hard to reproduce accurately by the maintainer. If a full font build path is made available by the upstream author(s) please be aware that any regressions and changes you may introduce when doing a rebuild for packaging purposes is your own responsibility as a package maintainer since you are effectively creating a separate branch. You should make it very clear to your users that your rebuilt version is not the canonical one from upstream.

5.10

Can I add other Reserved Font Names when making a derivative font?

Yes. List your additional Reserved Font Names after your additional copyright statement, as indicated with example placeholders at the top of the OFL.txt file. Be sure you do not remove any existing RFNs but only add your own. RFN statements should be placed next to the copyright statement of the relevant author as indicated in the OFL.txt template to make them visible to designers wishing to make their separate version.

6
ABOUT THE FONTLOG
6.1

What is this FONTLOG thing exactly?

It has three purposes: 1) to provide basic information on the font to users and other designers and developers, 2) to document changes that have been made to the font or accompanying files, either by the original authors or others, and 3) to provide a place to acknowledge authors and other contributors. Please use it!

6.2

Is the FONTLOG required?

It is not a requirement of the license, but we strongly recommend you have one.

6.3

Am I required to update the FONTLOG when making Modified Versions?

No, but users, designers and other developers might get very frustrated with you if you don’t. People need to know how derivative fonts differ from the original, and how to take advantage of the changes, or build on them. There are utilities that can help create and maintain a FONTLOG, such as the FONTLOG support in FontForge.

6.4

What should the FONTLOG look like?

It is typically a separate text file (FONTLOG.txt), but can take other formats. It commonly includes these four sections:

  • brief header describing the FONTLOG itself and name of the font family
  • Basic Font Information – description of the font family, purpose and breadth
  • ChangeLog – chronological listing of changes
  • Acknowledgements – list of authors and contributors with contact information

It could also include other sections, such as: where to find documentation, how to make contributions, information on contributing organizations, source code details, and a short design guide. See Appendix A for an example FONTLOG.

7
MAKING CONTRIBUTIONS TO OFL PROJECTS
7.1

Can I contribute work to OFL projects?

In many cases, yes. It is common for OFL fonts to be developed by a team of people who welcome contributions from the wider community. Contact the original authors for specific information on how to participate in their projects.

7.2

Why should I contribute my changes back to the original authors?

It would benefit many people if you contributed back in response to what you’ve received. Your contributions and improvements to the fonts and other components could be a tremendous help and would encourage others to contribute as well and ‘give back’. You will then benefit from other people’s contributions as well. Sometimes maintaining your own separate version takes more effort than merging back with the original. Be aware that any contributions, however, must be either your own original creation or work that you own, and you may be asked to affirm that clearly when you contribute.

7.3

I’ve made some very nice improvements to the font. Will you consider adopting them and putting them into future Original Versions?

Most authors would be very happy to receive such contributions. Keep in mind that it is unlikely that they would want to incorporate major changes that would require additional work on their end. Any contributions would likely need to be made for all the fonts in a family and match the overall design and style. Authors are encouraged to include a guide to the design with the fonts. It would also help to have contributions submitted as patches or clearly marked changes – the use of smart source revision control systems like subversion, mercurial, git or bzr is a good idea. Please follow the recommendations given by the author(s) in terms of preferred source formats and configuration parameters for sending contributions. If this is not indicated in a FONTLOG or other documentation of the font, consider asking them directly. Examples of useful contributions are bug fixes, additional glyphs, stylistic alternates (and the smart font code to access them) or improved hinting. Keep in mind that some kinds of changes (esp. hinting) may be technically difficult to integrate.

7.4

How can I financially support the development of OFL fonts?

It is likely that most authors of OFL fonts would accept financial contributions – contact them for instructions on how to do this. Such contributions would support future development. You can also pay for others to enhance the fonts and contribute the results back to the original authors for inclusion in the Original Version.

8
ABOUT THE LICENSE ITSELF
8.1

I see that this is version 1.1 of the license. Will there be later changes?

Version 1.1 is the first minor revision of the OFL. We are confident that version 1.1 will meet most needs, but are open to future improvements. Any revisions would be for future font releases, and previously existing licenses would remain in effect. No retroactive changes are possible, although the Copyright Holder(s) can re-release the font under a revised OFL. All versions will be available on our web site: http://scripts.sil.org/­OFL.

8.2

Does this license restrict the rights of the Copyright Holder(s)?

No. The Copyright Holder(s) still retain(s) all the rights to their creation; they are only releasing a portion of it for use in a specific way. For example, the Copyright Holder(s) may choose to release a ‘basic’ version of their font under the OFL, but sell a restricted ‘enhanced’ version under a different license. They may also choose to release the same font under both the OFL and some other license. Only the Copyright Holder(s) can do this, and doing so does not change the terms of the OFL as it applies to that font.

8.3

Is the OFL a contract or a license?

The OFL is a worldwide license based on international copyright agreements and conventions. It is not a contract and so does not require you to sign it to have legal validity. By using, modifying and redistributing components under the OFL you indicate that you accept the license.

8.4

I really like the terms of the OFL, but want to change it a little. Am I allowed to take ideas and actual wording from the OFL and put them into my own custom license for distributing my fonts?

We strongly recommend against creating your very own unique open licensing model. Using a modified or derivative license will likely cut you off – along with the font(s) under that license – from the community of designers using the OFL, potentially expose you and your users to legal liabilities, and possibly put your work and rights at risk. The OFL went though a community and legal review process that took years of effort, and that review is only applicable to an unmodified OFL. The text of the OFL has been written by SIL (with review and consultation from the community) and is copyright © 2005-2017 SIL International. You may re-use the ideas and wording (in part, not in whole) in another non-proprietary license provided that you call your license by another unambiguous name, that you do not use the preamble, that you do not mention SIL and that you clearly present your license as different from the OFL so as not to cause confusion by being too similar to the original. If you feel the OFL does not meet your needs for an open license, please contact us.

8.5

Can I quote from the OFL FAQ?

Yes, SIL gives permission to quote from the OFL FAQ (OFL-FAQ.txt), in whole or in part, provided that the quoted text is:

  • unmodified,
  • used to help explain the intent of the OFL, rather than cause misunderstanding, and
  • accompanied with the following attribution: “From the OFL FAQ (OFL-FAQ.txt), copyright © 2005-2020 SIL International. Used by permission. http://scripts.sil.org/­OFL-FAQ_web”.
8.6

Can I translate the license and the FAQ into other languages?

SIL certainly recognises the need for people who are not familiar with English to be able to understand the OFL and its use. Making the license very clear and readable has been a key goal for the OFL, but we know that people understand their own language best.

If you are an experienced translator, you are very welcome to translate the OFL and OFL-FAQ so that designers and users in your language community can understand the license better. But only the original English version of the license has legal value and has been approved by the community. Translations do not count as legal substitutes and should only serve as a way to explain the original license. SIL – as the author and steward of the license for the community at large – does not approve any translation of the OFL as legally valid because even small translation ambiguities could be abused and create problems.

SIL gives permission to publish unofficial translations into other languages provided that they comply with the following guidelines:

  • Put the following disclaimer in both English and the target language stating clearly that the translation is unofficial:

“This is an unofficial translation of the SIL Open Font License into <language_name>. It was not published by SIL International, and does not legally state the distribution terms for fonts that use the OFL. A release under the OFL is only valid when using the original English text. However, we recognize that this unofficial translation will help users and designers not familiar with English to better understand and use the OFL. We encourage designers who consider releasing their creation under the OFL to read the OFL-FAQ in their own language if it is available. Please go to http://scripts.sil.org/­OFL for the official version of the license and the accompanying OFL-FAQ.”

  • Keep your unofficial translation current and update it at our request if needed, for example if there is any ambiguity which could lead to confusion.

If you start such a unofficial translation effort of the OFL and OFL-FAQ please let us know.

8.7

Does the OFL have an explicit expiration term?

No, the implicit intent of the OFL is that the permissions granted are perpetual and irrevocable.

9
ABOUT SIL INTERNATIONAL
9.1

Who is SIL International and what do they do?

SIL serves language communities worldwide, building their capacity for sustainable language development, by means of research, translation, training and materials development. SIL makes its services available to all without regard to religious belief, political ideology, gender, race, or ethnic background. SIL’s members and volunteers share a Christian commitment.

9.2

What does this have to do with font licensing?

The ability to read, write, type and publish in one’s own language is one of the most critical needs for millions of people around the world. This requires fonts that are widely available and support lesser-known languages. SIL develops – and encourages others to develop – a complete stack of writing systems implementation components available under open licenses. This open stack includes input methods, smart fonts, smart rendering libraries and smart applications. There has been a need for a common open license that is specifically applicable to fonts and related software (a crucial component of this stack), so SIL developed the SIL Open Font License with the help of the Free/Libre and Open Source Software community.

9.3

How can I contact SIL?

Our main web site is: http://www.sil.org/ Our site about complex scripts is: http://scripts.sil.org/ Information about this license (and contact information) is at: http://scripts.sil.org/­OFL

10
APPENDIX A – FONTLOG EXAMPLE

Here is an example of the recommended format for a FONTLOG, although other formats are allowed.


FONTLOG for the GlobalFontFamily fonts

This file provides detailed information on the GlobalFontFamily Font Software. This information should be distributed along with the GlobalFontFamily fonts and any derivative works.

Basic Font Information

GlobalFontFamily is a Unicode typeface family that supports all languages that use the Latin script and its variants, and could be expanded to support other scripts.

NewWorldFontFamily is based on the GlobalFontFamily and also supports Greek, Hebrew, Cyrillic and Armenian.

More specifically, this release supports the following Unicode ranges… This release contains… Documentation can be found at… To contribute to the project…

ChangeLog

10 December 2010 (Fred Foobar) GlobalFontFamily-devel version 1.4

  • fix new build and testing system (bug #123456)

1 August 2008 (Tom Parker) GlobalFontFamily version 1.2.1

  • Tweaked the smart font code (Branch merged with trunk version)
  • Provided improved build and debugging environment for smart behaviours

7 February 2007 (Pat Johnson) NewWorldFontFamily Version 1.3

  • Added Greek and Cyrillic glyphs

7 March 2006 (Fred Foobar) NewWorldFontFamily Version 1.2

  • Tweaked contextual behaviours

1 Feb 2005 (Jane Doe) NewWorldFontFamily Version 1.1

  • Improved build script performance and verbosity
  • Extended the smart code documentation
  • Corrected minor typos in the documentation
  • Fixed position of combining inverted breve below (U+032F)
  • Added OpenType/Graphite smart code for Armenian
  • Added Armenian glyphs (U+0531 -> U+0587)
  • Released as “NewWorldFontFamily'

1 Jan 2005 (Joe Smith) GlobalFontFamily Version 1.0

  • Initial release
Acknowledgements

If you make modifications be sure to add your name (N), email (E), web-address (if you have one) (W) and description (D). This list is in alphabetical order.

N: Jane Doe

E: jane@university.edu

W: http://art.university.edu/projects/fonts

D: Contributor – Armenian glyphs and code

N: Fred Foobar

E: fred@foobar.org

W: http://foobar.org

D: Contributor – misc Graphite fixes

N: Pat Johnson

E: pat@fontstudio.org

W: http://pat.fontstudio.org

D: Designer – Greek & Cyrillic glyphs based on Roman design

N: Tom Parker

E: tom@company.com

W: http://www.company.com/tom/projects/fonts

D: Engineer – original smart font code

N: Joe Smith

E: joe@fontstudio.org

W: http://joe.fontstudio.org

D: Designer – original Roman glyphs

Fontstudio.org is an not-for-profit design group whose purpose is…

Foobar.org is a distributed community of developers…

Company.com is a small business who likes to support community designers…

University.edu is a renowned educational institution with a strong design department…