Copy-editing and proof-correcting, eighteenth-century style

It has ever been the pursuit of Eminent Printers to merit that character, by their particular care that the effects of their profession should appear without faults and errors, not only with respect to false letters and wrong spelling, but chiefly in regard to their correcting and illustrating such words and passages as are not fully explained or expressed by Authors and Translators: which shews, that the office of a Corrector is not to be transfered upon one that has a tolerable judgment of his mother-tongue only; but who is a person of greater capacity, and has a knowledge of such languages, at least, as make a considerable figure in Printing; such as Latin, French, Italian, and Spanish. And because Greek and Hebrew is interspersed in most Works of learning, a Corrector ought not to be a stranger to either. To have a competent knowledge of what has been recited, besides a quick and discerning eye, are the proper accomplishments by which a Corrector may raise his own and his Master’s credit: for it is a maxim with Booksellers, to give the first edition of a work to be done by such Printers whom they know to be either able Correctors themselves, or that employ fit persons, tho’ not of Unversal learning, and who know the fundamentals of every Art and Science that may fall under their examination. … If therefore a Corrector suspects Copy to want revising, he is not to postpone it, but to make his emendations in the Manuscript before it is wanted by the Compositor, that he may not be hindered in the pursuit of his business; or prejudiced by alterations in the proof, especially if they are of no real signification; such as far-fetch’d spelling of Words, changing and thrusting in Points, Capitals, or any thing else that has nothing but fancy and (perhaps pettish) humour for its authority and foundation.

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Of Correcting in the Metal

By Correcting we understand here the rectifying of such Faults, Omissions, and Repetitions as are made by the Compositor, either thro’ inadvertency, or else thro’ carelesness. And tho’ the term of Corrections is equally given to the Alterations that are made by Authors, it would be more proper to distinguish them by the name of Emendations; notwithstanding it often happens, that after repeatedly mending the matter, the first conceptions are at last recalled: for the truth whereof none can be better vouchers than Compositors, who often suffer by fickle Authors that know no end of making Alterations, and at last doubt whether they are right or wrong; whereby the work is retarded, and the workman greatly prejudiced in his endeavours; especially where he is not sufficiently satisfied for spending his time in humouring whimsical Authors.

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The First Proof being corrected, a Perfect sheet is pulled clean, to be sent to the Author, or to the person by him authorized; either of whom, if they understand the nature of Printing, will not defer reading the sheet, but return it without any alterations perhaps, to be made ready for the Press. But because such good Authors are very scarce, Compositors are despirited every time they send a Proof-sheet away, as not knowing when and how it may be returned, and how many times more it will be wanted to be seen again, before the Author is tired, or rather, ashamed, of altering more.

John Smith (fl. 1755)

from The Printer’s Grammar (1755)


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