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- Proverbs 25:19chapter context similar meaning copy save
- Confidence in an unfaithful man in time of trouble is like a broken tooth, and a foot out of joint.
- Psalms 22:14chapter context similar meaning copy save
- I am poured out like water, and all my bones are out of joint: my heart is like wax; it is melted in the midst of my bowels.
- Romans 8:17chapter context similar meaning copy save
- And if children, then heirs; heirs of God, and joint-heirs with Christ; if so be that we suffer with him, that we may be also glorified together.
- Genesis 32:25chapter context similar meaning copy save
- And when he saw that he prevailed not against him, he touched the hollow of his thigh; and the hollow of Jacob's thigh was out of joint, as he wrestled with him.
- Ephesians 4:16chapter context similar meaning copy save
- From whom the whole body fitly joined together and compacted by that which every joint supplieth, according to the effectual working in the measure of every part, maketh increase of the body unto the edifying of itself in love.
Melissa Gilbert
Melissa Gilbert | |
---|---|
26th President of the Screen Actors Guild | |
In office October 15, 2001 – February 22, 2005 | |
Preceded by | William Daniels |
Succeeded by | Alan Rosenberg |
Personal details | |
Born | Melissa Ellen Gilbert May 8, 1964 Los Angeles, California, U.S. |
Political party | Democratic Party |
Spouse(s) | Bo Brinkman (m. 1988; div. 1992) |
Children | 2 |
Parent |
|
Relatives | Jonathan Gilbert (brother) Sara Gilbert (half sister) |
Known for | Little House on the Prairie The Miracle Worker |
Occupation |
|
Years active | 1967–present |
Melissa Ellen Gilbert (born May 8, 1964)[1][2] is an American actress, television director, producer, politician, and former president of the Screen Actors Guild.
Gilbert began her career as a child actress in the late 1960s, appearing in numerous commercials and guest starring roles on television. From 1974 to 1983, she starred as Laura Ingalls Wilder, the second oldest daughter of Charles Ingalls (played by Michael Landon) on the NBC series Little House on the Prairie. During the run of Little House, Gilbert appeared in several television films, including The Diary of Anne Frank and The Miracle Worker.
As an adult, she continued her career mainly in television films. Gilbert has also continued with guest starring roles on television and has done voice work for animation such as Batman: The Animated Series as Barbara Gordon / Batgirl. From 2009 to 2010, Gilbert appeared as Caroline "Ma" Ingalls in the touring production of Little House on the Prairie, the Musical. In 2012, she was a contestant on season fourteen of the popular reality dance competition show Dancing with the Stars on ABC.
Gilbert served as the President of the Screen Actors Guild from 2001 to 2005.[3] In 2009, her autobiography Prairie Tale: A Memoir, was released. In 2014, she wrote a short story for children, called Daisy and Josephine[4] as well as My Prairie Cookbook: Memories and Frontier Food from My Little House to Yours.[5]
In 2016, Gilbert ran for U.S. Congress as a Democrat in Michigan's 8th congressional district and she won the Democratic primary. She later dropped out because of health issues stemming from a 2012 accident.[6]
Early life and family[edit]
Gilbert was born in Los Angeles, California, on May 8, 1964, to a newly engaged couple, Kathy Wood and David Darlington, and placed for adoption immediately after birth.[1] She was adopted one day later by actor and comedian Paul Gilbert[7] and his wife, dancer and actress Barbara Crane, the daughter of The Honeymooners creator Harry Crane. They later adopted a son, Jonathan, who co-starred on Little House on the Prairie.
Gilbert's parents divorced when she was 8 years old. Her mother then married attorney Harold Abeles, and together they had biological daughter Sara Rebecca Abeles (the actress known professionally as Sara Gilbert) on January 29, 1975.
On February 13, 1976, Paul Gilbert died. Although 11-year-old Melissa was told that he had suffered a stroke, she found out years later that he had been a VA patient who dealt with constant pain and that he had taken his own life. The marriage of Barbara and Harold Abeles later ended in divorce.[8] According to her biography, Gilbert was raised in her adoptive mother's Jewish religion,[9] but did not have any formal religious education or conversion ceremony.[10]
Career[edit]
Early years[edit]
Gilbert's earliest television appearances were in dozens of commercials, including one for Alpo dog food with Lorne Greene(Michael Landon's television father on Bonanza). She also attended school with Landon's daughter, Leslie Landon. It was Leslie who informed her that she had won the role of Laura Ingalls on Little House on the Prairie, beating out over 500 child actresses for the part. The pilot was shot in 1973 and was a ratings success. Almost a year later, Gilbert began filming the series. Gilbert became extremely close to the Landon family after her adoptive father died. However, a rift developed between Michael Landon and Gilbert after the revelation of Landon's affair with Little House's young makeup artist, Cindy Clerico.[11]
Gilbert had limited contact with Landon after Little House ended during the 1983–84 season. Seven years later, she was contacted by Landon's family and upon news of his condition, paid him a heartfelt visit following his May 9, 1991, appearance on The Tonight Show Starring Johnny Carson where he discussed his pancreatic cancer. She visited Landon at his Malibu home where he was, by then, bedridden, and they spent the afternoon together. Landon died one week later. When Gilbert gave birth to her son with second husband Bruce Boxleitner on October 6, 1995, they named him Michael, in honor of Landon.[12]
Career after Little House[edit]
Gilbert has continued to work regularly, mainly in television. She starred as Jean Donovan in the biopic Choices of the Heart(1983), and as Anna Sheridan in three episodes of Babylon 5 with then-husband Boxleitner in 1996. She also provided the voice of Batgirl on the 1990s Batman: The Animated Series, though she would be replaced by voice actress Tara Strong for the series' follow-up The New Batman Adventures.
For her contribution to the television industry, Gilbert received a star on the Hollywood Walk of Fame at 6429 Hollywood Blvd in 1985.[13] Her then-fiancé, Rob Lowe, was present with her when her star was unveiled during the ceremony.[14]
In 1998, she was inducted into the Western Performers Hall of Fame at the National Cowboy & Western Heritage Museum in Oklahoma City, Oklahoma. In 2006, Gilbert appeared as Shari Noble, a patient looking to reconstruct her nipples after committing zoophilia with her dog in a season four episode of Nip/Tuck.
In 2008 and through 2009, Gilbert played Caroline "Ma" Ingalls in the musical adaptation of Little House on the Prairie. This world premiere production at the Guthrie Theater in Minneapolis was directed by Francesca Zambello and also starred Kara Lindsay as Laura. The show ran through October 19 and was on a US National tour for 2009–10.[15][16] The tour ended in June 2010 at Starlight Theatre in Kansas City, Missouri.
In March and April 2018, Gilbert starred in an Off-Off-Broadway, limited-run production of Geraldine Aron's 2001 one-woman play 2001 My Brilliant Divorce.[17]
Dancing with the Stars[edit]
In March 2012, Gilbert joined the cast of celebrity contestants on season 14 of Dancing with the Stars. She was paired with Maksim Chmerkovskiy. During week four's show, while dancing the Paso Doble, she fell and hit her head on Maksim's leg and suffered a mild concussion and was taken to a hospital. She went home to recuperate, but returned to continue in the competition.[18] In week eight of competition, she was eliminated, finishing in fifth place.
Screen Actors Guild presidency[edit]
Gilbert was elected president of the Screen Actors Guild in 2001 after a contentious candidacy, in which she ultimately beat her opponent, Rhoda actress Valerie Harper, 21,351 votes to 12,613 votes after a second vote was taken. In 2003, she was re-elected, defeating Kent McCord with 50% of the vote to his 42%.[19] In July 2005, she announced that she would not seek a third term. She was succeeded by Alan Rosenberg, who assumed the guild presidency on September 25.
2016 congressional campaign[edit]
On August 10, 2015, Gilbert announced her campaign for Michigan's 8th congressional district in the 2016 elections to the United States House of Representatives.[20][21][22] Gilbert, who was the presumptive Democratic nominee in the district, dropped out of the race in May 2016, citing health issues.[6]
Personal life[edit]
Relationships[edit]
After her relationship with Rob Lowe ended, Gilbert left for New York City to star in the play A Shayna Maidel. Gilbert was set up with actor Bo Brinkman, a cousin of actors Randy Quaid and Dennis Quaid. The couple married on February 22, 1988, seven weeks after her split from Lowe. Their son was born on May 1, 1989. The couple divorced in 1992.[citation needed]
Weeks after Gilbert's divorce filing, actor Bruce Boxleitner's former wife set him up with Gilbert. Gilbert had met Boxleitner as a teenager when they both were on Battle of the Network Stars; he was her teenage crush. After reconnecting, they dated on and off for over a year. They were engaged twice and both engagements were ended by Boxleitner. After reuniting for a third time, they married on January 1, 1995, in her mother's living room.[23] Gilbert gave birth to their son on October 6, 1995. Gilbert was stepmother to Boxleitner's two sons. On March 1, 2011, Gilbert announced that she and Boxleitner had separated.[12] On August 22, 2011, Gilbert filed for divorce from Boxleitner.[24]
In January 2013, Gilbert's representative confirmed her engagement to actor Timothy Busfield.[25] They married on April 24, 2013,[26] lived in Howell, Michigan, from 2013 to 2018,[27] and moved to New York City late in 2018.[28] Also in 2018, the couple purchased a cottage in the Catskill Mountains of Upstate New York. Gilbert and Busfield have been renovating the cottage and intend to live there permanently. [29]
Tax issues[edit]
Following her announcement as a candidate for U.S. Representative from Michigan, a spokesperson for her opponent's campaign referred to Gilbert as a "tax cheat". Gilbert owed $360,000 in back federal taxes and $112,000 in California state taxes.[30] Gilbert has stated the tax debt is an outgrowth of a stalled acting career, the economy, and divorce.[31] She has negotiated a repayment plan with the IRS.[30]
Health issues[edit]
Gilbert has battled alcoholism and drug abuse, which she wrote about in her 2009 autobiography.[32]
While playing the role of Caroline "Ma" Ingalls in the touring musical Little House on the Prairie, a visit to the doctor revealed that Gilbert had been working with a broken back for months. On July 22, 2010, Gilbert underwent surgery to replace a disc as well as fuse a vertebra in her lower spine. The surgery was described as a complete success.[33]
In January 2015, Gilbert decided to have her breast implants removed for health reasons.[34]
Filmography[edit]
Film[edit]
Year | Title | Role | Notes |
---|---|---|---|
1967 | The Reluctant Astronaut | Niece | |
1979 | Nutcracker Fantasy | Clara | Voice |
1985 | Sylvester | Charlie | |
1986 | Drug Free Kids: A Parent's Guide | Video | |
1987 | Blood Vows: The Story of a Mafia Wife | Marian (Wife) | Film |
1989 | Ice House | Kay | Shattered Trust |
2007 | Safe Harbour | Ophelia MacKenzie | Video |
2015 | One Smart Fellow | Ellen | Short film |
2019 | Guest Artist | Producer | |
2019 | When We Last Spoke | Ruby |
Television[edit]
Year | Title | Role | Notes |
---|---|---|---|
1968 | The Dean Martin Comedy Hour | Girl on Santa's Lap | Episode: "1968 Christmas Show" |
1972 | Gunsmoke | Spratt's Child | Episode: "The Judgement" |
1972 | Emergency! | Jenny | Episode: "Dinner Date" |
1973 | Tenafly | Suzie's sister | Episode: "The Cash and Carry Caper" |
1974–83 | Little House on the Prairie | Laura Ingalls | Main role (191 episodes) |
1977 | Christmas Miracle in Caufield, U.S.A. | Kelly Sullivan | Television film |
1978 | The Love Boat | Rosemary 'Rocky' Simpson | Episode: "Rocky" |
1978 | The Hanna-Barbera Happy Hour | Herself (Guest Star) | Episode 1.2 |
1979 | The Miracle Worker | Helen Keller | Television film |
1979 | The Little House Years | Laura Ingalls | Television film |
1980 | The Diary of Anne Frank | Anne Frank | Television film |
1981 | Splendor in the Grass | Wilma Dean 'Deanie' Loomis | Television film |
1983 | Choices of the Heart | Jean Donovan | Television film |
1983 | Little House: Look Back to Yesterday | Laura Ingalls Wilder | Television film |
1984 | Little House: The Last Farewell | Laura Ingalls Wilder | Television film |
1984 | Family Secrets | Sara Calloway | Television film |
1984 | Little House: Bless All the Dear Children | Laura Ingalls Wilder | Television film |
1985 | Faerie Tale Theatre | Gerda | Episode: "The Snow Queen" |
1986 | Choices | Terry Granger | Television film |
1986 | Penalty Phase | Leah Furman | Television film |
1987 | Blood Vows: The Story of a Mafia Wife | Marian | Television film |
1988 | Killer Instinct | Dr. Lisa DaVito | Television film |
1989 | Ice House | Kay | Television film |
1989 | Chameleons | Television film | |
1990 | Without Her Consent | Emily Briggs | Television film |
1990 | Forbidden Nights | Judith Shapiro | Television film |
1990 | Joshua's Heart | Claudia | Television film |
1990 | Donor | Dr. Kristine Lipton | Television film |
1990 | The Lookalike | Gina / Jennifer | Television film |
1991 | The Hidden Room | Episode: "Spirit Cabinet" | |
1992 | Stand by Your Man | Rochelle Dunphy | Main role (8 episodes) |
1992 | With a Vengeance | Jenna King / Valerie Tanner | Television film |
1992–94 | Batman: The Animated Series | Barbara Gordon / Batgirl | Voice, 6 episodes |
1993 | Family of Strangers | Julie Lawson | Television film |
1993 | With Hostile Intent | Miranda Berkley | Television film |
1993 | Shattered Trust: The Shari Karney Story | Shari Karney | Television film |
1993 | House of Secrets | Marion Ravinel | Television film |
1993 | Dying to Remember | Lynn Matthews | Television film |
1994 | The Babymaker: The Dr. Cecil Jacobson Story | Mary Bennett | Television film |
1994 | Against Her Will: The Carrie Buck Story | Melissa Prentice | Television film |
1994 | Asbestos in Obstetrics | Fire Captain | Television film |
1994 | Cries from the Heart | Karen Barth | Television film |
1994–95 | Sweet Justice | Kate Delacroy | Main role (22 episodes) |
1995 | Zoya | Zoya Ossipov | Television film |
1996 | Babylon 5 | Anna Sheridan | 3 episodes |
1996 | A Holiday for Love | Emma Murphy | Television film |
1997 | Seduction in a Small Town | Sarah Jenks | Television film |
1997 | Childhood Sweetheart? | Karen Carlson | Television film |
1998 | The Outer Limits | Teresa Janovitch | Episode: "Relativity Theory" |
1998 | Murder at 75 Birch | Gwen Todson | Television film |
1998 | Her Own Rules | Meredith Sanders | Television film |
1998 | Touched by an Angel | Michelle Tanner | Episode: "The Peacemaker" |
1999 | The Soul Collector | Rebecca | Television film |
1999 | Mistaken Identity | Sarah Barlow | Television film |
2000 | A Vision of Murder: The Story of Donielle | Donielle | Television film |
2001 | Sanctuary | Jo Ellen Hathaway | Television film |
2002 | Providence | Lorna Berlin | Episode: "Smoke and Mirrors" |
2002 | Presidio Med | Grace Bennett | Episode: "Once Upon a Family" |
2003 | Then Came Jones | Devon Jones-Thomas | Television film |
2003 | Storyline Online | Herself | Episode: "My Rotten Redheaded Older Brother" |
2003 | Hollywood Wives: The New Generation | Taylor Singer | Television film |
2004 | Heart of the Storm | Cassie Broadbeck | Television film |
2005 | Thicker than Water | Natalie Travers | Television film |
2005 | Fat Actress | Herself | Episode: "Charlie's Angels or Too Pooped to Pop" |
2005 | 7th Heaven | Marie Wagner | Episode: "Honor Thy Mother" |
2006 | Nip/Tuck | Shari Noble | Episode: "Shari Noble" |
2007 | Sacrifices of the Heart | Kate Weston / Anne Weston | Television film |
2011 | The Christmas Pageant | Vera Parks | Television film |
2012 | Dancing with the Stars | Herself (Contestant) | 14 episodes |
2015 | The Night Shift | Lindsay | Episode: "Hold On" |
2015 | Secrets and Lies | Lisa Daly | 5 episodes |
2017 | Tenure | Tilly Masters | Television film |
2018 | Hometown Christmas | Mary Russell | Television film |
Awards and nominations[edit]
Year | Award | Category | Title of work | Result |
---|---|---|---|---|
1980 | Primetime Emmy Awards | Outstanding Lead Actress in a Limited Series or a Special | The Miracle Worker | Nominated |
1980 | Young Artist Award | Best Juvenile Actress in a TV Series or Special | Little House on the Prairie | Nominated |
1981 | Golden Globe Award | Best Actress – Television Series Drama | Little House on the Prairie | Nominated |
1982 | Young Artist Award | Best Young Actress in a Television Special | Splendor in the Grass | Nominated |
1983 | Young Artist Award | Best Young Actress in a Drama Series | Little House on the Prairie | Won |
1984 | Young Artist Award | Best Young Actress in a Drama Series | Little House on the Prairie | Won |
2000 | Golden Boot Awards | Golden Boot | – | Won |
2006 | TV Land Awards | Most Memorable Kiss | Little House on the Prairie | Won |
Punctuation
Punctuation marks are marks indicating how a piece of written text should be read (silently or aloud) and, consequently, understood.[1] The oldest known examples of punctuation marks were found in the Mesha Stele from 9th century BC, consisting of points between the words and horizontal strokes between sections.[2][further explanation needed] The alphabet-based writing began with no spaces, no capitalization, no vowels (see abjad), and with only a few punctuation marks, as it was mostly aimed at recording business transactions. Only with the Greek playwrights (such as Euripides and Aristophanes) ends of sentences began to be marked to help actors know when to make a pause during performances. Punctuation includes space between words and the other, historically or currently used, signs.
By the 19th century, the punctuation marks were used hierarchically in terms of their weight.[3] Six marks, proposed in 1966 by the French author Hervé Bazin, could be seen as predecessors of emoticons and emojis.[4]
Meaning of a text can be changed substantially, although in rare cases, with different punctuation, such as in "woman, without her man, is nothing" (emphasizing the importance of men to women), when written "woman: without her, man is nothing" (emphasizing the importance of women to men), instead.[5] Similar change in meaning can be achieved in spoken forms of most languages by using various elements of speech; such as, suprasegmentals. The rules of punctuation vary with language, location, register, and time. Most recently, in online chat and text messages punctuation is used only tachygraphically.
History[edit]
Punctuation marks, especially spacing, were not needed in logographic or syllabic (such as Chinese and Mayan script) texts because disambiguation and emphasis could be communicated by employing a separate written form distinct from the spoken form of the language. Ancient Chinese classical texts were transmitted without punctuation. However, many Warring States period bamboo texts contain the symbols ⟨└⟩ and ⟨▄⟩ indicating the end of a chapter and full stop, respectively.[6] By the Song dynasty, addition of punctuation to texts by scholars to aid comprehension became common.[7]
Western Antiquity[edit]
Most texts were still written in scriptura continua, that is without any separation between words. However, the Greeks were sporadically using punctuation marks consisting of vertically arranged dots—usually two (dicolon) or three (tricolon)—in around the 5th century BC as an aid in the oral delivery of texts. After 200 BC, the Greeks used Aristophanes of Byzantium's system (called théseis) of a single dot (punctus) placed at varying heights to mark up speeches at rhetorical divisions:
- hypostigmḗ – a low punctus on the baseline to mark off a komma (unit smaller than a clause);
- stigmḕ mésē – a punctus at midheight to mark off a clause (kōlon); and
- stigmḕ teleía – a high punctus to mark off a sentence (periodos).[8]
In addition, the Greeks used the paragraphos (or gamma) to mark the beginning of sentences, marginal diples to mark quotations, and a koronis to indicate the end of major sections.
The Romans (c. 1st century BC) also occasionally used symbols to indicate pauses, but the Greek théseis—under the name distinctiones[9]—prevailed by the 4th century AD as reported by Aelius Donatus and Isidore of Seville (7th century). Also, texts were sometimes laid out per capitula, where every sentence had its own separate line. Diples were used, but by the late period these often degenerated into comma-shaped marks.
Lynn Truss, Eats, Shoots and Leaves.[10]
Medieval[edit]
Punctuation developed dramatically when large numbers of copies of the Bible started to be produced. These were designed to be read aloud, so the copyists began to introduce a range of marks to aid the reader, including indentation, various punctuation marks (diple, paragraphos, simplex ductus), and an early version of initial capitals (litterae notabiliores). Jerome and his colleagues, who made a translation of the Bible into Latin, the Vulgate (c. AD 400), employed a layout system based on established practices for teaching the speeches of Demosthenes and Cicero. Under his layout per cola et commata every sense-unit was indented and given its own line. This layout was solely used for biblical manuscripts during the 5th–9th centuries but was abandoned in favor of punctuation.
In the 7th–8th centuries Irish and Anglo-Saxon scribes, whose native languages were not derived from Latin, added more visual cues to render texts more intelligible. Irish scribes introduced the practice of word separation.[11] Likewise, insular scribes adopted the distinctiones system while adapting it for minuscule script (so as to be more prominent) by using not differing height but rather a differing number of marks—aligned horizontally (or sometimes triangularly)—to signify a pause's value: one mark for a minor pause, two for a medium one, and three for a major. Most common were the punctus, a comma-shaped mark, and a 7-shaped mark (comma positura), often used in combination. The same marks could be used in the margin to mark off quotations.
In the late 8th century a different system emerged in France under the Carolingian dynasty. Originally indicating how the voice should be modulated when chanting the liturgy, the positurae migrated into any text meant to be read aloud, and then to all manuscripts. Positurae first reached England in the late 10th century, probably during the Benedictine reform movement, but was not adopted until after the Norman conquest. The original positurae were the punctus, punctus elevatus,[12] punctus versus, and punctus interrogativus, but a fifth symbol, the punctus flexus, was added in the 10th century to indicate a pause of a value between the punctus and punctus elevatus. In the late 11th/early 12th century the punctus versus disappeared and was taken over by the simple punctus (now with two distinct values).[13]
The late Middle Ages saw the addition of the virgula suspensiva (slash or slash with a midpoint dot) which was often used in conjunction with the punctusfor different types of pauses. Direct quotations were marked with marginal diples, as in Antiquity, but from at least the 12th century scribes also began entering diples (sometimes double) within the column of text.
Printing-press era[edit]
The amount of printed material and its readership began to increase after the invention of moveable type in Europe in the 1450s. Martin Luther's German bible translation was one of the first mass printed works, he used only virgule, full stop and less than one percent question marks as punctuation. The focus of punctuation still was rhetorical, to aid reading aloud.[14] As explained by writer and editor Lynne Truss, "The rise of printing in the 14th and 15th centuries meant that a standard system of punctuation was urgently required."[15] Printed books, whose letters were uniform, could be read much more rapidly than manuscripts. Rapid reading, or reading aloud, did not allow time to analyze sentence structures. This increased speed led to the greater use and finally standardization of punctuation, which showed the relationships of words with each other: where one sentence ends and another begins, for example.
The introduction of a standard system of punctuation has also been attributed to the Venetian printers Aldus Manutius and his grandson. They have been credited with popularizing the practice of ending sentences with the colon or full stop (period), inventing the semicolon, making occasional use of parentheses, and creating the modern comma by lowering the virgule. By 1566, Aldus Manutius the Younger was able to state that the main object of punctuation was the clarification of syntax.[16]
By the 19th century, punctuation in the western world had evolved "to classify the marks hierarchically, in terms of weight".[17] Cecil Hartley's poem identifies their relative values:
The stop point out, with truth, the time of pause
A sentence doth require at ev'ry clause.
At ev'ry comma, stop while one you count;
At semicolon, two is the amount;
A colon doth require the time of three;
The period four, as learned men agree.[18]
The use of punctuation was not standardised until after the invention of printing. According to the 1885 edition of The American Printer, the importance of punctuation was noted in various sayings by children such as
Charles the First walked and talked
Half an hour after his head was cut off.
With a semi-colon and a comma added, it reads as follows:
Charles the First walked and talked;
Half an hour after, his head was cut off.[19]
In a 19th-century manual of typography, Thomas MacKellar writes:
Typewriters and electronic communication[edit]
The introduction of electrical telegraphy with a limited set of transmission codes[21] and typewriters with a limited set of keys influenced punctuation subtly. For example, curved quotes and apostrophes were all collapsed into two characters (' and "). The hyphen, minus sign, and dashes of various widths have been collapsed into a single character (-), sometimes repeated to represent a long dash. The spaces of different widths available to professional typesetters were generally replaced by a single full-character width space, with typefaces monospaced. In some cases a typewriter keyboard didn't include an exclamation point (!) but this was constructed by the overstrike of an apostrophe and a period; the original Morse code did not have an exclamation point.
These simplifications have been carried forward into digital writing, with teleprinters and the ASCII character set essentially supporting the same characters as typewriters. Treatment of whitespace in HTML discouraged the practice (in English prose) of putting two full spaces after a full stop, since a single or double space would appear the same on the screen. (Some style guides now discourage double spaces, and some electronic writing tools, including Wikipedia's software, automatically collapse double spaces to single.) The full traditional set of typesetting tools became available with the advent of desktop publishing and more sophisticated word processors. Despite the widespread adoption of character sets like Unicode that support the punctuation of traditional typesetting, writing forms like text messages tend to use the simplified ASCII style of punctuation, with the addition of new non-text characters like emoji. Informal text speak tends to drop punctuation when not needed, including some ways that would be considered errors in more formal writing.
In the computer era, punctuation characters were recycled for use in programming languages and URLs. Due to its use in email and Twitter handles, the at sign (@) has gone from an obscure character mostly used by sellers of bulk commodities (10 pounds @$2.00 per pound), to a very common character in common use for both technical routing and an abbreviation for "at". The tilde (~), in moveable type only used in combination with vowels, for mechanical reasons ended up as a separate key on mechanical typewriters, and like @ it has been put to completely new uses.
In English[edit]
There are two major styles of punctuation in English: British or American. These two styles differ mainly in the way in which they handle quotation marks, particularly in conjunction with other punctuation marks. In British English, punctuation marks such as full stops and commas are placed inside the quotation mark only if they are part of what is being quoted, and placed outside the closing quotation mark if part of the containing sentence. In American English, however, such punctuation is generally placed inside the closing quotation mark regardless. This rule varies for other punctuation marks; for example, American English follows the British English rule when it comes to semicolons, colons, question marks, and exclamation points.[22][further explanation needed] The serial comma is used much more often in the United States than in England.
Other languages[edit]
This section needs additional citations for verification. (November 2020) |
Other languages of Europe use much the same punctuation as English. The similarity is so strong that the few variations may confuse a native English reader. Quotation marks are particularly variable across European languages. For example, in French and Russian, quotes would appear as: «Je suis fatigué.» (in French, each "double punctuation", as the guillemet, requires a non-breaking space; in Russian it does not).
In French of France and Belgium, the signs : ; ? and ! are always preceded by a thin non-breaking space. In Canadian French, this is only the case for :.[23][24]
In Greek, the question mark is written as the English semicolon, while the functions of the colon and semicolon are performed by a raised point ⟨·⟩, known as the ano teleia (άνω τελεία).
In Georgian, three dots, ⟨჻⟩, were formerly used as a sentence or paragraph divider. It is still sometimes used in calligraphy.
Spanish and Asturian (both of them Romance languages used in Spain) use an inverted question mark ⟨¿⟩ at the beginning of a question and the normal question mark at the end, as well as an inverted exclamation mark ⟨¡⟩ at the beginning of an exclamation and the normal exclamation mark at the end.[25]
Armenian uses several punctuation marks of its own. The full stop is represented by a colon, and vice versa; the exclamation mark is represented by a diagonal similar to a tilde ⟨~⟩, while the question mark ⟨՞⟩ resembles an unclosed circle placed after the last vowel of the word.
Arabic, Urdu, and Persian—written from right to left—use a reversed question mark: ⟨؟⟩, and a reversed comma: ⟨،⟩. This is a modern innovation; pre-modern Arabic did not use punctuation. Hebrew, which is also written from right to left, uses the same characters as in English, ⟨,⟩ and ⟨?⟩.[26]
Originally, Sanskrit had no punctuation. In the 17th century, Sanskrit and Marathi, both written using Devanagari, started using the vertical bar ⟨।⟩ to end a line of prose and double vertical bars ⟨॥⟩ in verse.
Punctuation was not used in Chinese, Japanese, Korean and Vietnamese Chu Nom writing until the adoption of punctuation from the West in the late 19th and early 20th century. In unpunctuated texts, the grammatical structure of sentences in classical writing is inferred from context.[27] Most punctuation marks in modern Chinese, Japanese, and Korean have similar functions to their English counterparts; however, they often look different and have different customary rules.
In the Indian subcontinent, ⟨:-⟩ is sometimes used in place of colon or after a subheading. Its origin is unclear, but could be a remnant of the British Raj. Another punctuation common in the Indian Subcontinent for writing monetary amounts is the use of ⟨/-⟩ or ⟨/=⟩ after the number. For example, Rs. 20/- or Rs. 20/= implies 20 rupees whole.
Thai, Khmer, Lao and Burmese did not use punctuation until the adoption of punctuation from the West in the 20th century. Blank spaces are more frequent than full stops or commas.
Novel punctuation marks[edit]
Interrobang[edit]
In 1962, American advertising executive Martin K. Speckter proposed the interrobang (‽), a combination of the question mark and exclamation point, to mark rhetorical questions or questions stated in a tone of disbelief. Although the new punctuation mark was widely discussed in the 1960s, it failed to achieve widespread use.[28] Nevertheless, it and its inverted form were given code points in Unicode: U+203D ‽ INTERROBANG, U+2E18 ⸘ INVERTED INTERROBANG.
Predecessors of emoticons and emojis[edit]
The six additional punctuation marks proposed in 1966 by the French author Hervé Bazin in his book Plumons l'Oiseau ("Let's pluck the bird", 1966)[29]could be seen as predecessors of emoticons and emojis.
These were:[30]
- the "irony point" or "irony mark" (point d'ironie: )
- the "love point" (point d'amour: )
- the "conviction point" (point de conviction: )
- the "authority point" (point d'autorité: )
- the "acclamation point" (point d'acclamation: )
- the "doubt point" (point de doute: )
"Question comma", "exclamation comma"[edit]
An international patent application was filed, and published in 1992 under World Intellectual Property Organization (WIPO) number WO9219458,[31] for two new punctuation marks: the "question comma" and the "exclamation comma". The question comma has a comma instead of the dot at the bottom of a question mark, while the exclamation comma has a comma in place of the point at the bottom of an exclamation mark. These were intended for use as question and exclamation marks within a sentence, a function for which normal question and exclamation marks can also be used, but which may be considered obsolescent. The patent application entered into the national phase only in Canada. It was advertised as lapsing in Australia on 27 January 1994[32] and in Canada on 6 November 1995.[33]
Others[edit]
Other proposed punctuation marks include:[34]
- Snark mark, indicating an ironic statement by putting a tilde next to terminal punctuation: .~ for dry sarcasm, !~ for enthusiastic sarcasm, and ?~ for sarcastic questions
- Rhetorical question mark:
- SarcMark for sarcasm
Punctuation marks in Unicode[edit]
By Unicode General Category 'P' |
§ Pd, dash |
§ Ps-Pe, start–end (open–close brackets) |
§ Pi-Pf, initial–final quote |
§ Pc, connector |
§ Po, other |
Mark | Name | Code point | General Category | Script | |
---|---|---|---|---|---|
Pd, dash | |||||
- | HYPHEN-MINUS | U+002D | Pd, dash | Common | |
‐ | HYPHEN | U+2010 | Pd, dash | Common | |
‑ | NON-BREAKING HYPHEN | U+2011 | Pd, dash | Common | |
‒ | FIGURE DASH | U+2012 | Pd, dash | Common | |
– | EN DASH | U+2013 | Pd, dash | Common | |
— | EM DASH | U+2014 | Pd, dash | Common | |
― | HORIZONTAL BAR | U+2015 | Pd, dash | Common | |
⸗ | DOUBLE OBLIQUE HYPHEN | U+2E17 | Pd, dash | Common | |
⸚ | HYPHEN WITH DIAERESIS | U+2E1A | Pd, dash | Common | |
⸺ | TWO-EM DASH | U+2E3A | Pd, dash | Common | |
⸻ | THREE-EM DASH | U+2E3B | Pd, dash | Common | |
⹀ | DOUBLE HYPHEN | U+2E40 | Pd, dash | Common | |
〜 | WAVE DASH | U+301C | Pd, dash | Common | |
〰 | WAVY DASH | U+3030 | Pd, dash | Common | |
゠ | KATAKANA-HIRAGANA DOUBLE HYPHEN | U+30A0 | Pd, dash | Common | |
︱ | PRESENTATION FORM FOR VERTICAL EM DASH | U+FE31 | Pd, dash | Common | |
︲ | PRESENTATION FORM FOR VERTICAL EN DASH | U+FE32 | Pd, dash | Common | |
﹘ | SMALL EM DASH | U+FE58 | Pd, dash | Common | |
﹣ | SMALL HYPHEN-MINUS | U+FE63 | Pd, dash | Common | |
- | FULLWIDTH HYPHEN-MINUS | U+FF0D | Pd, dash | Common | |
֊ | ARMENIAN HYPHEN | U+058A | Pd, dash | Armenian | |
᐀ | CANADIAN SYLLABICS HYPHEN | U+1400 | Pd, dash | Canadian Aboriginal | |
־ | HEBREW PUNCTUATION MAQAF | U+05BE | Pd, dash | Hebrew | |
᠆ | MONGOLIAN TODO SOFT HYPHEN | U+1806 | Pd, dash | Mongolian | |
𐺭 | YEZIDI HYPHENATION MARK | U+10EAD | Pd, dash | Yezidi | |
Pi-Pf, initial–final quote | |||||
« » |
|
|
| Common | |
‘ ’ |
|
|
| Common | |
‛ | SINGLE HIGH-REVERSED-9 QUOTATION MARK | U+201B | Pi, initial quote | Common | |
“ ” |
|
|
| Common | |
‟ | DOUBLE HIGH-REVERSED-9 QUOTATION MARK | U+201F | Pi, initial quote | Common | |
‹ › |
|
|
| Common | |
⸂ ⸃ |
|
|
| Common | |
⸄ ⸅ |
|
|
| Common | |
⸉ ⸊ |
|
|
| Common | |
⸌ ⸍ |
|
|
| Common | |
⸜ ⸝ |
|
|
| Common | |
⸠ ⸡ |
|
|
| Common | |
Ps-Pe, open–close (brackets) | |||||
( ) |
|
|
| Common | |
[ ] |
|
|
| Common | |
{ } |
|
|
| Common | |
‚ | SINGLE LOW-9 QUOTATION MARK | U+201A | Ps, open | Common | |
„ | DOUBLE LOW-9 QUOTATION MARK | U+201E | Ps, open | Common | |
⁅ ⁆ |
|
|
| Common | |
⁽ ⁾ |
|
|
| Common | |
₍ ₎ |
|
|
| Common | |
⌈ ⌉ |
|
|
| Common | |
⌊ ⌋ |
|
|
| Common | |
〈 〉 |
|
|
| Common | |
❨ ❩ |
|
|
| Common | |
❪ ❫ |
|
|
| Common | |
❬ ❭ |
|
|
| Common | |
❮ ❯ |
|
|
| Common | |
❰ ❱ |
|
|
| Common | |
❲ ❳ |
|
|
| Common | |
❴ ❵ |
|
|
| Common | |
⟅ ⟆ |
|
|
| Common | |
⟦ ⟧ |
|
|
| Common | |
⟨ ⟩ |
|
|
| Common | |
⟪ ⟫ |
|
|
| Common | |
⟬ ⟭ |
|
|
| Common | |
⟮ ⟯ |
|
|
| Common | |
⦃ ⦄ |
|
|
| Common | |
⦅ ⦆ |
|
|
| Common | |
⦇ ⦈ |
|
|
| Common | |
⦉ ⦊ |
|
|
| Common | |
⦋ ⦌ |
|
|
| Common | |
⦍ ⦎ |
|
|
| Common | |
⦏ ⦐ |
|
|
| Common | |
⦑ ⦒ |
|
|
| Common | |
⦓ ⦔ |
|
|
| Common | |
⦕ ⦖ |
|
|
| Common | |
⦗ ⦘ |
|
|
| Common | |
⧘ ⧙ |
|
|
| Common | |
⧚ ⧛ |
|
|
| Common | |
⧼ ⧽ |
|
|
| Common | |
⸢ ⸣ |
|
|
| Common | |
⸤ ⸥ |
|
|
| Common | |
⸦ ⸧ |
|
|
| Common | |
⸨ ⸩ |
|
|
| Common | |
⹂ | DOUBLE LOW-REVERSED-9 QUOTATION MARK | U+2E42 | Ps, open | Common | |
〈 〉 |
|
|
| Common | |
《 》 |
|
|
| Common | |
「 」 |
|
|
| Common | |
『 』 |
|
|
| Common | |
【 】 |
|
|
| Common | |
〔 〕 |
|
|
| Common | |
〖 〗 |
|
|
| Common | |
〘 〙 |
|
|
| Common | |
〚 〛 |
|
|
| Common | |
〝 〞 |
|
|
| Common | |
〟 | LOW DOUBLE PRIME QUOTATION MARK | U+301F | Pe, close | Common | |
﴿ | ORNATE RIGHT PARENTHESIS | U+FD3F | Ps, open | Common | |
︗ ︘ |
|
|
| Common | |
︵ ︶ |
|
|
| Common | |
︷ ︸ |
|
|
| Common | |
︹ ︺ |
|
|
| Common | |
︻ ︼ |
|
|
| Common | |
︽ ︾ |
|
|
| Common | |
︿ ﹀ |
|
|
| Common | |
﹁ ﹂ |
|
|
| Common | |
﹃ ﹄ |
|
|
| Common | |
﹇ ﹈ |
|
|
| Common | |
﹙ ﹚ |
|
|
| Common | |
﹛ ﹜ |
|
|
| Common | |
﹝ ﹞ |
|
|
| Common | |
( ) |
|
|
| Common | |
[ ] |
|
|
| Common | |
{ } |
|
|
| Common | |
⦅ ⦆ |
|
|
| Common | |
「 」 |
|
|
| Common | |
᚛ ᚜ |
|
|
| Ogham | |
༺ ༻ |
|
|
| Tibetan | |
༼ ༽ |
|
|
| Tibetan | |
Pc, connector | |||||
_ | LOW LINE | U+005F | Pc, connector | Common | |
‿ | UNDERTIE | U+203F | Pc, connector | Common | |
⁀ | CHARACTER TIE | U+2040 | Pc, connector | Common | |
⁔ | INVERTED UNDERTIE | U+2054 | Pc, connector | Common | |
︳ | PRESENTATION FORM FOR VERTICAL LOW LINE | U+FE33 | Pc, connector | Common | |
︴ | PRESENTATION FORM FOR VERTICAL WAVY LOW LINE | U+FE34 | Pc, connector | Common | |
﹍ | DASHED LOW LINE | U+FE4D | Pc, connector | Common | |
﹎ | CENTRELINE LOW LINE | U+FE4E | Pc, connector | Common | |
﹏ | WAVY LOW LINE | U+FE4F | Pc, connector | Common | |
_ | FULLWIDTH LOW LINE | U+FF3F | Pc, connector | Common | |
Po, other | |||||
! | EXCLAMATION MARK | U+0021 | Po, other | Common | |
" | QUOTATION MARK | U+0022 | Po, other | Common | |
# | NUMBER SIGN | U+0023 | Po, other | Common | |
% | PERCENT SIGN | U+0025 | Po, other | Common | |
& | AMPERSAND | U+0026 | Po, other | Common | |
' | APOSTROPHE | U+0027 | Po, other | Common | |
* | ASTERISK | U+002A | Po, other | Common | |
, | COMMA | U+002C | Po, other | Common | |
. | FULL STOP | U+002E | Po, other | Common | |
/ | SOLIDUS | U+002F | Po, other | Common | |
: | COLON | U+003A | Po, other | Common | |
; | SEMICOLON | U+003B | Po, other | Common | |
? | QUESTION MARK | U+003F | Po, other | Common | |
@ | COMMERCIAL AT | U+0040 | Po, other | Common | |
\ | REVERSE SOLIDUS | U+005C | Po, other | Common | |
¡ | INVERTED EXCLAMATION MARK | U+00A1 | Po, other | Common | |
§ | SECTION SIGN | U+00A7 | Po, other | Common | |
¶ | PILCROW SIGN | U+00B6 | Po, other | Common | |
· | MIDDLE DOT | U+00B7 | Po, other | Common | |
¿ | INVERTED QUESTION MARK | U+00BF | Po, other | Common | |
; | GREEK QUESTION MARK | U+037E | Po, other | Common | |
· | GREEK ANO TELEIA | U+0387 | Po, other | Common | |
، | ARABIC COMMA | U+060C | Po, other | Common | |
؛ | ARABIC SEMICOLON | U+061B | Po, other | Common | |
؟ | ARABIC QUESTION MARK | U+061F | Po, other | Common | |
। | DEVANAGARI DANDA | U+0964 | Po, other | Common | |
॥ | DEVANAGARI DOUBLE DANDA | U+0965 | Po, other | Common | |
჻ | GEORGIAN PARAGRAPH SEPARATOR | U+10FB | Po, other | Common | |
᛫ | RUNIC SINGLE PUNCTUATION | U+16EB | Po, other | Common | |
᛬ | RUNIC MULTIPLE PUNCTUATION | U+16EC | Po, other | Common | |
᛭ | RUNIC CROSS PUNCTUATION | U+16ED | Po, other | Common | |
᜵ | PHILIPPINE SINGLE PUNCTUATION | U+1735 | Po, other | Common | |
᜶ | PHILIPPINE DOUBLE PUNCTUATION | U+1736 | Po, other | Common | |
᠂ | MONGOLIAN COMMA | U+1802 | Po, other | Common | |
᠃ | MONGOLIAN FULL STOP | U+1803 | Po, other | Common | |
᠅ | MONGOLIAN FOUR DOTS | U+1805 | Po, other | Common | |
᳓ | VEDIC SIGN NIHSHVASA | U+1CD3 | Po, other | Common | |
‖ | DOUBLE VERTICAL LINE | U+2016 | Po, other | Common | |
‗ | DOUBLE LOW LINE | U+2017 | Po, other | Common | |
† | DAGGER | U+2020 | Po, other | Common | |
‡ | DOUBLE DAGGER | U+2021 | Po, other | Common | |
• | BULLET | U+2022 | Po, other | Common | |
‣ | TRIANGULAR BULLET | U+2023 | Po, other | Common | |
․ | ONE DOT LEADER | U+2024 | Po, other | Common | |
‥ | TWO DOT LEADER | U+2025 | Po, other | Common | |
… | HORIZONTAL ELLIPSIS | U+2026 | Po, other | Common | |
‧ | HYPHENATION POINT | U+2027 | Po, other | Common | |
‰ | PER MILLE SIGN | U+2030 | Po, other | Common | |
‱ | PER TEN THOUSAND SIGN | U+2031 | Po, other | Common | |
′ | PRIME | U+2032 | Po, other | Common | |
″ | DOUBLE PRIME | U+2033 | Po, other | Common | |
‴ | TRIPLE PRIME | U+2034 | Po, other | Common | |
‵ | REVERSED PRIME | U+2035 | Po, other | Common | |
‶ | REVERSED DOUBLE PRIME | U+2036 | Po, other | Common | |
‷ | REVERSED TRIPLE PRIME | U+2037 | Po, other | Common | |
‸ | CARET | U+2038 | Po, other | Common | |
※ | REFERENCE MARK | U+203B | Po, other | Common | |
‼ | DOUBLE EXCLAMATION MARK | U+203C | Po, other | Common | |
‽ | INTERROBANG | U+203D | Po, other | Common | |
‾ | OVERLINE | U+203E | Po, other | Common | |
⁁ | CARET INSERTION POINT | U+2041 | Po, other | Common | |
⁂ | ASTERISM | U+2042 | Po, other | Common | |
⁃ | HYPHEN BULLET | U+2043 | Po, other | Common | |
⁇ | DOUBLE QUESTION MARK | U+2047 | Po, other | Common | |
⁈ | QUESTION EXCLAMATION MARK | U+2048 | Po, other | Common | |
⁉ | EXCLAMATION QUESTION MARK | U+2049 | Po, other | Common | |
⁊ | TIRONIAN SIGN ET | U+204A | Po, other | Common | |
⁋ | REVERSED PILCROW SIGN | U+204B | Po, other | Common | |
⁌ | BLACK LEFTWARDS BULLET | U+204C | Po, other | Common | |
⁍ | BLACK RIGHTWARDS BULLET | U+204D | Po, other | Common | |
⁎ | LOW ASTERISK | U+204E | Po, other | Common | |
⁏ | REVERSED SEMICOLON | U+204F | Po, other | Common | |
⁐ | CLOSE UP | U+2050 | Po, other | Common | |
⁑ | TWO ASTERISKS ALIGNED VERTICALLY | U+2051 | Po, other | Common | |
⁓ | SWUNG DASH | U+2053 | Po, other | Common | |
⁕ | FLOWER PUNCTUATION MARK | U+2055 | Po, other | Common | |
⁖ | THREE DOT PUNCTUATION | U+2056 | Po, other | Common | |
⁗ | QUADRUPLE PRIME | U+2057 | Po, other | Common | |
⁘ | FOUR DOT PUNCTUATION | U+2058 | Po, other | Common | |
⁙ | FIVE DOT PUNCTUATION | U+2059 | Po, other | Common | |
⁚ | TWO DOT PUNCTUATION | U+205A | Po, other | Common | |
⁛ | FOUR DOT MARK | U+205B | Po, other | Common | |
⁜ | DOTTED CROSS | U+205C | Po, other | Common | |
⁝ | TRICOLON | U+205D | Po, other | Common | |
⁞ | VERTICAL FOUR DOTS | U+205E | Po, other | Common | |
⸀ | RIGHT ANGLE SUBSTITUTION MARKER | U+2E00 | Po, other | Common | |
⸁ | RIGHT ANGLE DOTTED SUBSTITUTION MARKER | U+2E01 | Po, other | Common | |
⸆ | RAISED INTERPOLATION MARKER | U+2E06 | Po, other | Common | |
⸇ | RAISED DOTTED INTERPOLATION MARKER | U+2E07 | Po, other | Common | |
⸈ | DOTTED TRANSPOSITION MARKER | U+2E08 | Po, other | Common | |
⸋ | RAISED SQUARE | U+2E0B | Po, other | Common | |
⸎ | EDITORIAL CORONIS | U+2E0E | Po, other | Common | |
⸏ | PARAGRAPHOS | U+2E0F | Po, other | Common | |
⸐ | FORKED PARAGRAPHOS | U+2E10 | Po, other | Common | |
⸑ | REVERSED FORKED PARAGRAPHOS | U+2E11 | Po, other | Common | |
⸒ | HYPODIASTOLE | U+2E12 | Po, other | Common | |
⸓ | DOTTED OBELOS | U+2E13 | Po, other | Common | |
⸔ | DOWNWARDS ANCORA | U+2E14 | Po, other | Common | |
⸕ | UPWARDS ANCORA | U+2E15 | Po, other | Common | |
⸖ | DOTTED RIGHT-POINTING ANGLE | U+2E16 | Po, other | Common | |
⸘ | INVERTED INTERROBANG | U+2E18 | Po, other | Common | |
⸙ | PALM BRANCH | U+2E19 | Po, other | Common | |
⸛ | TILDE WITH RING ABOVE | U+2E1B | Po, other | Common | |
⸞ | TILDE WITH DOT ABOVE | U+2E1E | Po, other | Common | |
⸟ | TILDE WITH DOT BELOW | U+2E1F | Po, other | Common | |
⸪ | TWO DOTS OVER ONE DOT PUNCTUATION | U+2E2A | Po, other | Common | |
⸫ | ONE DOT OVER TWO DOTS PUNCTUATION | U+2E2B | Po, other | Common | |
⸬ | SQUARED FOUR DOT PUNCTUATION | U+2E2C | Po, other | Common | |
⸭ | FIVE DOT MARK | U+2E2D | Po, other | Common | |
⸮ | REVERSED QUESTION MARK | U+2E2E | Po, other | Common | |
⸰ | RING POINT | U+2E30 | Po, other | Common | |
⸱ | WORD SEPARATOR MIDDLE DOT | U+2E31 | Po, other | Common | |
⸲ | TURNED COMMA | U+2E32 | Po, other | Common | |
⸳ | RAISED DOT | U+2E33 | Po, other | Common | |
⸴ | RAISED COMMA | U+2E34 | Po, other | Common | |
⸵ | TURNED SEMICOLON | U+2E35 | Po, other | Common | |
⸶ | DAGGER WITH LEFT GUARD | U+2E36 | Po, other | Common | |
⸷ | DAGGER WITH RIGHT GUARD | U+2E37 | Po, other | Common | |
⸸ | TURNED DAGGER | U+2E38 | Po, other | Common | |
⸹ | TOP HALF SECTION SIGN | U+2E39 | Po, other | Common | |
⸼ | STENOGRAPHIC FULL STOP | U+2E3C | Po, other | Common | |
⸽ | VERTICAL SIX DOTS | U+2E3D | Po, other | Common | |
⸾ | WIGGLY VERTICAL LINE | U+2E3E | Po, other | Common | |
⸿ | CAPITULUM | U+2E3F | Po, other | Common | |
⹁ | REVERSED COMMA | U+2E41 | Po, other | Common | |
⹃ | DASH WITH LEFT UPTURN | U+2E43 | Po, other | Common | |
⹄ | DOUBLE SUSPENSION MARK | U+2E44 | Po, other | Common | |
⹅ | INVERTED LOW KAVYKA | U+2E45 | Po, other | Common | |
⹆ | INVERTED LOW KAVYKA WITH KAVYKA ABOVE | U+2E46 | Po, other | Common | |
⹇ | LOW KAVYKA | U+2E47 | Po, other | Common | |
⹈ | LOW KAVYKA WITH DOT | U+2E48 | Po, other | Common | |
⹉ | DOUBLE STACKED COMMA | U+2E49 | Po, other | Common | |
⹊ | DOTTED SOLIDUS | U+2E4A | Po, other | Common | |
⹋ | TRIPLE DAGGER | U+2E4B | Po, other | Common | |
⹌ | MEDIEVAL COMMA | U+2E4C | Po, other | Common | |
⹍ | PARAGRAPHUS MARK | U+2E4D | Po, other | Common | |
⹎ | PUNCTUS ELEVATUS MARK | U+2E4E | Po, other | Common | |
⹏ | CORNISH VERSE DIVIDER | U+2E4F | Po, other | Common | |
⹒ | TIRONIAN SIGN CAPITAL ET | U+2E52 | Po, other | Common | |
、 | IDEOGRAPHIC COMMA | U+3001 | Po, other | Common | |
。 | IDEOGRAPHIC FULL STOP | U+3002 | Po, other | Common | |
〃 | DITTO MARK | U+3003 | Po, other | Common | |
〽 | PART ALTERNATION MARK | U+303D | Po, other | Common | |
・ | KATAKANA MIDDLE DOT | U+30FB | Po, other | Common | |
꤮ | KAYAH LI SIGN CWI | U+A92E | Po, other | Common | |
︐ | PRESENTATION FORM FOR VERTICAL COMMA | U+FE10 | Po, other | Common | |
︑ | PRESENTATION FORM FOR VERTICAL IDEOGRAPHIC COMMA | U+FE11 | Po, other | Common | |
︒ | PRESENTATION FORM FOR VERTICAL IDEOGRAPHIC FULL STOP | U+FE12 | Po, other | Common | |
︓ | PRESENTATION FORM FOR VERTICAL COLON | U+FE13 | Po, other | Common | |
︔ | PRESENTATION FORM FOR VERTICAL SEMICOLON | U+FE14 | Po, other | Common | |
︕ | PRESENTATION FORM FOR VERTICAL EXCLAMATION MARK | U+FE15 | Po, other | Common | |
︖ | PRESENTATION FORM FOR VERTICAL QUESTION MARK | U+FE16 | Po, other | Common | |
︙ | PRESENTATION FORM FOR VERTICAL HORIZONTAL ELLIPSIS | U+FE19 | Po, other | Common | |
︰ | PRESENTATION FORM FOR VERTICAL TWO DOT LEADER | U+FE30 | Po, other | Common | |
﹅ | SESAME DOT | U+FE45 | Po, other | Common | |
﹆ | WHITE SESAME DOT | U+FE46 | Po, other | Common | |
﹉ | DASHED OVERLINE | U+FE49 | Po, other | Common | |
﹊ | CENTRELINE OVERLINE | U+FE4A | Po, other | Common | |
﹋ | WAVY OVERLINE | U+FE4B | Po, other | Common | |
﹌ | DOUBLE WAVY OVERLINE | U+FE4C | Po, other | Common | |
﹐ | SMALL COMMA | U+FE50 | Po, other | Common | |
﹑ | SMALL IDEOGRAPHIC COMMA | U+FE51 | Po, other | Common | |
﹒ | SMALL FULL STOP | U+FE52 | Po, other | Common | |
﹔ | SMALL SEMICOLON | U+FE54 | Po, other | Common | |
﹕ | SMALL COLON | U+FE55 | Po, other | Common | |
﹖ | SMALL QUESTION MARK | U+FE56 | Po, other | Common | |
﹗ | SMALL EXCLAMATION MARK | U+FE57 | Po, other | Common | |
﹟ | SMALL NUMBER SIGN | U+FE5F | Po, other | Common | |
﹠ | SMALL AMPERSAND | U+FE60 | Po, other | Common | |
﹡ | SMALL ASTERISK | U+FE61 | Po, other | Common | |
﹨ | SMALL REVERSE SOLIDUS | U+FE68 | Po, other | Common | |
﹪ | SMALL PERCENT SIGN | U+FE6A | Po, other | Common | |
﹫ | SMALL COMMERCIAL AT | U+FE6B | Po, other | Common | |
! | FULLWIDTH EXCLAMATION MARK | U+FF01 | Po, other | Common | |
" | FULLWIDTH QUOTATION MARK | U+FF02 | Po, other | Common | |
# | FULLWIDTH NUMBER SIGN | U+FF03 | Po, other | Common | |
% | FULLWIDTH PERCENT SIGN | U+FF05 | Po, other | Common | |
& | FULLWIDTH AMPERSAND | U+FF06 | Po, other | Common | |
' | FULLWIDTH APOSTROPHE | U+FF07 | Po, other | Common | |
* | FULLWIDTH ASTERISK | U+FF0A | Po, other | Common | |
, | FULLWIDTH COMMA | U+FF0C | Po, other | Common | |
. | FULLWIDTH FULL STOP | U+FF0E | Po, other | Common | |
/ | FULLWIDTH SOLIDUS | U+FF0F | Po, other | Common | |
: | FULLWIDTH COLON | U+FF1A | Po, other | Common | |
; | FULLWIDTH SEMICOLON | U+FF1B | Po, other | Common | |
? | FULLWIDTH QUESTION MARK | U+FF1F | Po, other | Common | |
@ | FULLWIDTH COMMERCIAL AT | U+FF20 | Po, other | Common | |
\ | FULLWIDTH REVERSE SOLIDUS | U+FF3C | Po, other | Common | |
。 | HALFWIDTH IDEOGRAPHIC FULL STOP | U+FF61 | Po, other | Common | |
、 | HALFWIDTH IDEOGRAPHIC COMMA | U+FF64 | Po, other | Common | |
・ | HALFWIDTH KATAKANA MIDDLE DOT | U+FF65 | Po, other | Common | |
𐄀 | AEGEAN WORD SEPARATOR LINE | U+10100 | Po, other | Common | |
𐄁 | AEGEAN WORD SEPARATOR DOT | U+10101 | Po, other | Common | |
𐄂 | AEGEAN CHECK MARK | U+10102 | Po, other | Common | |
𖿢 | OLD CHINESE HOOK MARK | U+16FE2 | Po, other | Common | |
𞥞 | ADLAM INITIAL EXCLAMATION MARK | U+1E95E | Po, other | Adlam | |
𞥟 | ADLAM INITIAL QUESTION MARK | U+1E95F | Po, other | Adlam | |
՚ | ARMENIAN APOSTROPHE | U+055A | Po, other | Armenian | |
՛ | ARMENIAN EMPHASIS MARK | U+055B | Po, other | Armenian | |
՜ | ARMENIAN EXCLAMATION MARK | U+055C | Po, other | Armenian | |
՝ | ARMENIAN COMMA | U+055D | Po, other | Armenian | |
՞ | ARMENIAN QUESTION MARK | U+055E | Po, other | Armenian | |
՟ | ARMENIAN ABBREVIATION MARK | U+055F | Po, other | Armenian | |
։ | ARMENIAN FULL STOP | U+0589 | Po, other | Armenian | |
؉ | ARABIC-INDIC PER MILLE SIGN | U+0609 | Po, other | Arabic | |
؊ | ARABIC-INDIC PER TEN THOUSAND SIGN | U+060A | Po, other | Arabic | |
؍ | ARABIC DATE SEPARATOR | U+060D | Po, other | Arabic | |
؞ | ARABIC TRIPLE DOT PUNCTUATION MARK | U+061E | Po, other | Arabic | |
٪ | ARABIC PERCENT SIGN | U+066A | Po, other | Arabic | |
٫ | ARABIC DECIMAL SEPARATOR | U+066B | Po, other | Arabic | |
٬ | ARABIC THOUSANDS SEPARATOR | U+066C | Po, other | Arabic | |
٭ | ARABIC FIVE POINTED STAR | U+066D | Po, other | Arabic | |
۔ | ARABIC FULL STOP | U+06D4 | Po, other | Arabic | |
𑜼 | AHOM SIGN SMALL SECTION | U+1173C | Po, other | Ahom | |
𑜽 | AHOM SIGN SECTION | U+1173D | Po, other | Ahom | |
𑜾 | AHOM SIGN RULAI | U+1173E | Po, other | Ahom | |
𐬹 | AVESTAN ABBREVIATION MARK | U+10B39 | Po, other | Avestan | |
𐬺 | TINY TWO DOTS OVER ONE DOT PUNCTUATION | U+10B3A | Po, other | Avestan | |
𐬻 | SMALL TWO DOTS OVER ONE DOT PUNCTUATION | U+10B3B | Po, other | Avestan | |
𐬼 | LARGE TWO DOTS OVER ONE DOT PUNCTUATION | U+10B3C | Po, other | Avestan | |
𐬽 | LARGE ONE DOT OVER TWO DOTS PUNCTUATION | U+10B3D | Po, other | Avestan | |
𐬾 | LARGE TWO RINGS OVER ONE RING PUNCTUATION | U+10B3E | Po, other | Avestan | |
𐬿 | LARGE ONE RING OVER TWO RINGS PUNCTUATION | U+10B3F | Po, other | Avestan | |
᭚ | BALINESE PANTI | U+1B5A | Po, other | Balinese | |
᭛ | BALINESE PAMADA | U+1B5B | Po, other | Balinese | |
᭜ | BALINESE WINDU | U+1B5C | Po, other | Balinese | |
᭝ | BALINESE CARIK PAMUNGKAH | U+1B5D | Po, other | Balinese | |
᭞ | BALINESE CARIK SIKI | U+1B5E | Po, other | Balinese | |
᭟ | BALINESE CARIK PAREREN | U+1B5F | Po, other | Balinese | |
᭠ | BALINESE PAMENENG | U+1B60 | Po, other | Balinese | |
꛲ | BAMUM NJAEMLI | U+A6F2 | Po, other | Bamum | |
꛳ | BAMUM FULL STOP | U+A6F3 | Po, other | Bamum | |
꛴ | BAMUM COLON | U+A6F4 | Po, other | Bamum | |
꛵ | BAMUM COMMA | U+A6F5 | Po, other | Bamum | |
꛶ | BAMUM SEMICOLON | U+A6F6 | Po, other | Bamum | |
꛷ | BAMUM QUESTION MARK | U+A6F7 | Po, other | Bamum | |
𖫵 | BASSA VAH FULL STOP | U+16AF5 | Po, other | Bassa Vah | |
᯼ | BATAK SYMBOL BINDU NA METEK | U+1BFC | Po, other | Batak | |
᯽ | BATAK SYMBOL BINDU PINARBORAS | U+1BFD | Po, other | Batak | |
᯾ | BATAK SYMBOL BINDU JUDUL | U+1BFE | Po, other | Batak | |
᯿ | BATAK SYMBOL BINDU PANGOLAT | U+1BFF | Po, other | Batak | |
৽ | BENGALI ABBREVIATION SIGN | U+09FD | Po, other | Bengali | |
𑱁 | BHAIKSUKI DANDA | U+11C41 | Po, other | Bhaiksuki | |
𑱂 | BHAIKSUKI DOUBLE DANDA | U+11C42 | Po, other | Bhaiksuki | |
𑱃 | BHAIKSUKI WORD SEPARATOR | U+11C43 | Po, other | Bhaiksuki | |
𑱄 | BHAIKSUKI GAP FILLER-1 | U+11C44 | Po, other | Bhaiksuki | |
𑱅 | BHAIKSUKI GAP FILLER-2 | U+11C45 | Po, other | Bhaiksuki | |
𑁇 | BRAHMI DANDA | U+11047 | Po, other | Brahmi | |
𑁈 | BRAHMI DOUBLE DANDA | U+11048 | Po, other | Brahmi | |
𑁉 | BRAHMI PUNCTUATION DOT | U+11049 | Po, other | Brahmi | |
𑁊 | BRAHMI PUNCTUATION DOUBLE DOT | U+1104A | Po, other | Brahmi | |
𑁋 | BRAHMI PUNCTUATION LINE | U+1104B | Po, other | Brahmi | |
𑁌 | BRAHMI PUNCTUATION CRESCENT BAR | U+1104C | Po, other | Brahmi | |
𑁍 | BRAHMI PUNCTUATION LOTUS | U+1104D | Po, other | Brahmi | |
᨞ | BUGINESE PALLAWA | U+1A1E | Po, other | Buginese | |
᨟ | BUGINESE END OF SECTION | U+1A1F | Po, other | Buginese | |
᙮ | CANADIAN SYLLABICS FULL STOP | U+166E | Po, other | Canadian Aboriginal | |
𑅀 | CHAKMA SECTION MARK | U+11140 | Po, other | Chakma | |
𑅁 | CHAKMA DANDA | U+11141 | Po, other | Chakma | |
𑅂 | CHAKMA DOUBLE DANDA | U+11142 | Po, other | Chakma | |
𑅃 | CHAKMA QUESTION MARK | U+11143 | Po, other | Chakma | |
꩜ | CHAM PUNCTUATION SPIRAL | U+AA5C | Po, other | Cham | |
꩝ | CHAM PUNCTUATION DANDA | U+AA5D | Po, other | Cham | |
꩞ | CHAM PUNCTUATION DOUBLE DANDA | U+AA5E | Po, other | Cham | |
꩟ | CHAM PUNCTUATION TRIPLE DANDA | U+AA5F | Po, other | Cham | |
⳹ | COPTIC OLD NUBIAN FULL STOP | U+2CF9 | Po, other | Coptic | |
⳺ | COPTIC OLD NUBIAN DIRECT QUESTION MARK | U+2CFA | Po, other | Coptic | |
⳻ | COPTIC OLD NUBIAN INDIRECT QUESTION MARK | U+2CFB | Po, other | Coptic | |
⳼ | COPTIC OLD NUBIAN VERSE DIVIDER | U+2CFC | Po, other | Coptic | |
⳾ | COPTIC FULL STOP | U+2CFE | Po, other | Coptic | |
⳿ | COPTIC MORPHOLOGICAL DIVIDER | U+2CFF | Po, other | Coptic | |
𒑰 | CUNEIFORM PUNCTUATION SIGN OLD ASSYRIAN WORD DIVIDER | U+12470 | Po, other | Cuneiform | |
𒑱 | CUNEIFORM PUNCTUATION SIGN VERTICAL COLON | U+12471 | Po, other | Cuneiform | |
𒑲 | CUNEIFORM PUNCTUATION SIGN DIAGONAL COLON | U+12472 | Po, other | Cuneiform | |
𒑳 | CUNEIFORM PUNCTUATION SIGN DIAGONAL TRICOLON | U+12473 | Po, other | Cuneiform | |
𒑴 | CUNEIFORM PUNCTUATION SIGN DIAGONAL QUADCOLON | U+12474 | Po, other | Cuneiform | |
꙳ | SLAVONIC ASTERISK | U+A673 | Po, other | Cyrillic | |
꙾ | CYRILLIC KAVYKA | U+A67E | Po, other | Cyrillic | |
𐕯 | CAUCASIAN ALBANIAN CITATION MARK | U+1056F | Po, other | Caucasian Albanian | |
॰ | DEVANAGARI ABBREVIATION SIGN | U+0970 | Po, other | Devanagari | |
꣸ | DEVANAGARI SIGN PUSHPIKA | U+A8F8 | Po, other | Devanagari | |
꣹ | DEVANAGARI GAP FILLER | U+A8F9 | Po, other | Devanagari | |
꣺ | DEVANAGARI CARET | U+A8FA | Po, other | Devanagari | |
꣼ | DEVANAGARI SIGN SIDDHAM | U+A8FC | Po, other | Devanagari | |
𑥄 | DIVES AKURU DOUBLE DANDA | U+11944 | Po, other | Dives Akuru | |
𑥅 | DIVES AKURU GAP FILLER | U+11945 | Po, other | Dives Akuru | |
𑥆 | DIVES AKURU END OF TEXT MARK | U+11946 | Po, other | Dives Akuru | |
𑠻 | DOGRA ABBREVIATION SIGN | U+1183B | Po, other | Dogra | |
𛲟 | DUPLOYAN PUNCTUATION CHINOOK FULL STOP | U+1BC9F | Po, other | Duployan | |
፠ | ETHIOPIC SECTION MARK | U+1360 | Po, other | Ethiopic | |
፡ | ETHIOPIC WORDSPACE | U+1361 | Po, other | Ethiopic | |
። | ETHIOPIC FULL STOP | U+1362 | Po, other | Ethiopic | |
፣ | ETHIOPIC COMMA | U+1363 | Po, other | Ethiopic | |
፤ | ETHIOPIC SEMICOLON | U+1364 | Po, other | Ethiopic | |
፥ | ETHIOPIC COLON | U+1365 | Po, other | Ethiopic | |
፦ | ETHIOPIC PREFACE COLON | U+1366 | Po, other | Ethiopic | |
፧ | ETHIOPIC QUESTION MARK | U+1367 | Po, other | Ethiopic | |
፨ | ETHIOPIC PARAGRAPH SEPARATOR | U+1368 | Po, other | Ethiopic | |
੶ | GURMUKHI ABBREVIATION SIGN | U+0A76 | Po, other | Gurmukhi | |
૰ | GUJARATI ABBREVIATION SIGN | U+0AF0 | Po, other | Gujarati | |
׀ | HEBREW PUNCTUATION PASEQ | U+05C0 | Po, other | Hebrew | |
׃ | HEBREW PUNCTUATION SOF PASUQ | U+05C3 | Po, other | Hebrew | |
׆ | HEBREW PUNCTUATION NUN HAFUKHA | U+05C6 | Po, other | Hebrew | |
׳ | HEBREW PUNCTUATION GERESH | U+05F3 | Po, other | Hebrew | |
״ | HEBREW PUNCTUATION GERSHAYIM | U+05F4 | Po, other | Hebrew | |
𐡗 | IMPERIAL ARAMAIC SECTION SIGN | U+10857 | Po, other | Imperial Aramaic | |
꧁ | JAVANESE LEFT RERENGGAN | U+A9C1 | Po, other | Javanese | |
꧂ | JAVANESE RIGHT RERENGGAN | U+A9C2 | Po, other | Javanese | |
꧃ | JAVANESE PADA ANDAP | U+A9C3 | Po, other | Javanese | |
꧄ | JAVANESE PADA MADYA | U+A9C4 | Po, other | Javanese | |
꧅ | JAVANESE PADA LUHUR | U+A9C5 | Po, other | Javanese | |
꧆ | JAVANESE PADA WINDU | U+A9C6 | Po, other | Javanese | |
꧇ | JAVANESE PADA PANGKAT | U+A9C7 | Po, other | Javanese | |
꧈ | JAVANESE PADA LINGSA | U+A9C8 | Po, other | Javanese | |
꧉ | JAVANESE PADA LUNGSI | U+A9C9 | Po, other | Javanese | |
꧊ | JAVANESE PADA ADEG | U+A9CA | Po, other | Javanese | |
꧋ | JAVANESE PADA ADEG ADEG | U+A9CB | Po, other | Javanese | |
꧌ | JAVANESE PADA PISELEH | U+A9CC | Po, other | Javanese | |
꧍ | JAVANESE TURNED PADA PISELEH | U+A9CD | Po, other | Javanese | |
꧞ | JAVANESE PADA TIRTA TUMETES | U+A9DE | Po, other | Javanese | |
꧟ | JAVANESE PADA ISEN-ISEN | U+A9DF | Po, other | Javanese | |
𑂻 | KAITHI ABBREVIATION SIGN | U+110BB | Po, other | Kaithi | |
𑂼 | KAITHI ENUMERATION SIGN | U+110BC | Po, other | Kaithi | |
𑂾 | KAITHI SECTION MARK | U+110BE | Po, other | Kaithi | |
𑂿 | KAITHI DOUBLE SECTION MARK | U+110BF | Po, other | Kaithi | |
𑃀 | KAITHI DANDA | U+110C0 | Po, other | Kaithi | |
𑃁 | KAITHI DOUBLE DANDA | U+110C1 | Po, other | Kaithi | |
಄ | KANNADA SIGN SIDDHAM | U+0C84 | Po, other | Kannada | |
꤯ | KAYAH LI SIGN SHYA | U+A92F | Po, other | Kayah Li | |
𐩐 | KHAROSHTHI PUNCTUATION DOT | U+10A50 | Po, other | Kharoshthi | |
𐩑 | KHAROSHTHI PUNCTUATION SMALL CIRCLE | U+10A51 | Po, other | Kharoshthi | |
𐩒 | KHAROSHTHI PUNCTUATION CIRCLE | U+10A52 | Po, other | Kharoshthi | |
𐩓 | KHAROSHTHI PUNCTUATION CRESCENT BAR | U+10A53 | Po, other | Kharoshthi | |
𐩔 | KHAROSHTHI PUNCTUATION MANGALAM | U+10A54 | Po, other | Kharoshthi | |
𐩕 | KHAROSHTHI PUNCTUATION LOTUS | U+10A55 | Po, other | Kharoshthi | |
𐩖 | KHAROSHTHI PUNCTUATION DANDA | U+10A56 | Po, other | Kharoshthi | |
𐩗 | KHAROSHTHI PUNCTUATION DOUBLE DANDA | U+10A57 | Po, other | Kharoshthi | |
𐩘 | KHAROSHTHI PUNCTUATION LINES | U+10A58 | Po, other | Kharoshthi | |
។ | KHMER SIGN KHAN | U+17D4 | Po, other | Khmer | |
៕ | KHMER SIGN BARIYOOSAN | U+17D5 | Po, other | Khmer | |
៖ | KHMER SIGN CAMNUC PII KUUH | U+17D6 | Po, other | Khmer | |
៘ | KHMER SIGN BEYYAL | U+17D8 | Po, other | Khmer | |
៙ | KHMER SIGN PHNAEK MUAN | U+17D9 | Po, other | Khmer | |
៚ | KHMER SIGN KOOMUUT | U+17DA | Po, other | Khmer | |
𑈸 | KHOJKI DANDA | U+11238 | Po, other | Khojki | |
𑈹 | KHOJKI DOUBLE DANDA | U+11239 | Po, other | Khojki | |
𑈺 | KHOJKI WORD SEPARATOR | U+1123A | Po, other | Khojki | |
𑈻 | KHOJKI SECTION MARK | U+1123B | Po, other | Khojki | |
𑈼 | KHOJKI DOUBLE SECTION MARK | U+1123C | Po, other | Khojki | |
𑈽 | KHOJKI ABBREVIATION SIGN | U+1123D | Po, other | Khojki | |
᰻ | LEPCHA PUNCTUATION TA-ROL | U+1C3B | Po, other | Lepcha | |
᰼ | LEPCHA PUNCTUATION NYET THYOOM TA-ROL | U+1C3C | Po, other | Lepcha | |
᰽ | LEPCHA PUNCTUATION CER-WA | U+1C3D | Po, other | Lepcha | |
᰾ | LEPCHA PUNCTUATION TSHOOK CER-WA | U+1C3E | Po, other | Lepcha | |
᰿ | LEPCHA PUNCTUATION TSHOOK | U+1C3F | Po, other | Lepcha | |
᥄ | LIMBU EXCLAMATION MARK | U+1944 | Po, other | Limbu | |
᥅ | LIMBU QUESTION MARK | U+1945 | Po, other | Limbu | |
꓾ | LISU PUNCTUATION COMMA | U+A4FE | Po, other | Lisu | |
꓿ | LISU PUNCTUATION FULL STOP | U+A4FF | Po, other | Lisu | |
𐤿 | LYDIAN TRIANGULAR MARK | U+1093F | Po, other | Lydian | |
𑅴 | MAHAJANI ABBREVIATION SIGN | U+11174 | Po, other | Mahajani | |
𑅵 | MAHAJANI SECTION MARK | U+11175 | Po, other | Mahajani | |
𑻷 | MAKASAR PASSIMBANG | U+11EF7 | Po, other | Makasar | |
𑻸 | MAKASAR END OF SECTION | U+11EF8 | Po, other | Makasar | |
𐫰 | MANICHAEAN PUNCTUATION STAR | U+10AF0 | Po, other | Manichaean | |
𐫱 | MANICHAEAN PUNCTUATION FLEURON | U+10AF1 | Po, other | Manichaean | |
𐫲 | MANICHAEAN PUNCTUATION DOUBLE DOT WITHIN DOT | U+10AF2 | Po, other | Manichaean | |
𐫳 | MANICHAEAN PUNCTUATION DOT WITHIN DOT | U+10AF3 | Po, other | Manichaean | |
𐫴 | MANICHAEAN PUNCTUATION DOT | U+10AF4 | Po, other | Manichaean | |
𐫵 | MANICHAEAN PUNCTUATION TWO DOTS | U+10AF5 | Po, other | Manichaean | |
𐫶 | MANICHAEAN PUNCTUATION LINE FILLER | U+10AF6 | Po, other | Manichaean | |
𑱰 | MARCHEN HEAD MARK | U+11C70 | Po, other | Marchen | |
𑱱 | MARCHEN MARK SHAD | U+11C71 | Po, other | Marchen | |
𖺗 | MEDEFAIDRIN COMMA | U+16E97 | Po, other | Medefaidrin | |
𖺘 | MEDEFAIDRIN FULL STOP | U+16E98 | Po, other | Medefaidrin | |
𖺙 | MEDEFAIDRIN SYMBOL AIVA | U+16E99 | Po, other | Medefaidrin | |
𖺚 | MEDEFAIDRIN EXCLAMATION OH | U+16E9A | Po, other | Medefaidrin | |
꫰ | MEETEI MAYEK CHEIKHAN | U+AAF0 | Po, other | Meetei Mayek | |
꫱ | MEETEI MAYEK AHANG KHUDAM | U+AAF1 | Po, other | Meetei Mayek | |
꯫ | MEETEI MAYEK CHEIKHEI | U+ABEB | Po, other | Meetei Mayek | |
𑙁 | MODI DANDA | U+11641 | Po, other | Modi | |
𑙂 | MODI DOUBLE DANDA | U+11642 | Po, other | Modi | |
𑙃 | MODI ABBREVIATION SIGN | U+11643 | Po, other | Modi | |
᠀ | MONGOLIAN BIRGA | U+1800 | Po, other | Mongolian | |
᠁ | MONGOLIAN ELLIPSIS | U+1801 | Po, other | Mongolian | |
᠄ | MONGOLIAN COLON | U+1804 | Po, other | Mongolian | |
᠇ | MONGOLIAN SIBE SYLLABLE BOUNDARY MARKER | U+1807 | Po, other | Mongolian | |
᠈ | MONGOLIAN MANCHU COMMA | U+1808 | Po, other | Mongolian | |
᠉ | MONGOLIAN MANCHU FULL STOP | U+1809 | Po, other | Mongolian | |
᠊ | MONGOLIAN NIRUGU | U+180A | Po, other | Mongolian | |
𑙠 | MONGOLIAN BIRGA WITH ORNAMENT | U+11660 | Po, other | Mongolian | |
𑙡 | MONGOLIAN ROTATED BIRGA | U+11661 | Po, other | Mongolian | |
𑙢 | MONGOLIAN DOUBLE BIRGA WITH ORNAMENT | U+11662 | Po, other | Mongolian | |
𑙣 | MONGOLIAN TRIPLE BIRGA WITH ORNAMENT | U+11663 | Po, other | Mongolian | |
𑙤 | MONGOLIAN BIRGA WITH DOUBLE ORNAMENT | U+11664 | Po, other | Mongolian | |
𑙥 | MONGOLIAN ROTATED BIRGA WITH ORNAMENT | U+11665 | Po, other | Mongolian | |
𑙦 | MONGOLIAN ROTATED BIRGA WITH DOUBLE ORNAMENT | U+11666 | Po, other | Mongolian | |
𑙧 | MONGOLIAN INVERTED BIRGA | U+11667 | Po, other | Mongolian | |
𑙨 | MONGOLIAN INVERTED BIRGA WITH DOUBLE ORNAMENT | U+11668 | Po, other | Mongolian | |
𑙩 | MONGOLIAN SWIRL BIRGA | U+11669 | Po, other | Mongolian | |
𑙪 | MONGOLIAN SWIRL BIRGA WITH ORNAMENT | U+1166A | Po, other | Mongolian | |
𑙫 | MONGOLIAN SWIRL BIRGA WITH DOUBLE ORNAMENT | U+1166B | Po, other | Mongolian | |
𑙬 | MONGOLIAN TURNED SWIRL BIRGA WITH DOUBLE ORNAMENT | U+1166C | Po, other | Mongolian | |
𖩮 | MRO DANDA | U+16A6E | Po, other | Mro | |
𖩯 | MRO DOUBLE DANDA | U+16A6F | Po, other | Mro | |
𑊩 | MULTANI SECTION MARK | U+112A9 | Po, other | Multani | |
၊ | MYANMAR SIGN LITTLE SECTION | U+104A | Po, other | Myanmar | |
။ | MYANMAR SIGN SECTION | U+104B | Po, other | Myanmar | |
၌ | MYANMAR SYMBOL LOCATIVE | U+104C | Po, other | Myanmar | |
၍ | MYANMAR SYMBOL COMPLETED | U+104D | Po, other | Myanmar | |
၎ | MYANMAR SYMBOL AFOREMENTIONED | U+104E | Po, other | Myanmar | |
၏ | MYANMAR SYMBOL GENITIVE | U+104F | Po, other | Myanmar | |
߷ | NKO SYMBOL GBAKURUNEN | U+07F7 | Po, other | N'Ko | |
߸ | NKO COMMA | U+07F8 | Po, other | N'Ko | |
߹ | NKO EXCLAMATION MARK | U+07F9 | Po, other | N'Ko | |
𑧢 | NANDINAGARI SIGN SIDDHAM | U+119E2 | Po, other | Nandinagari | |
𑑋 | NEWA DANDA | U+1144B | Po, other | Newa | |
𑑌 | NEWA DOUBLE DANDA | U+1144C | Po, other | Newa | |
𑑍 | NEWA COMMA | U+1144D | Po, other | Newa | |
𑑎 | NEWA GAP FILLER | U+1144E | Po, other | Newa | |
𑑏 | NEWA ABBREVIATION SIGN | U+1144F | Po, other | Newa | |
𑑚 | NEWA DOUBLE COMMA | U+1145A | Po, other | Newa | |
𑑛 | NEWA PLACEHOLDER MARK | U+1145B | Po, other | Newa | |
𑑝 | NEWA INSERTION SIGN | U+1145D | Po, other | Newa | |
᱾ | OL CHIKI PUNCTUATION MUCAAD | U+1C7E | Po, other | Ol Chiki | |
᱿ | OL CHIKI PUNCTUATION DOUBLE MUCAAD | U+1C7F | Po, other | Ol Chiki | |
𐏐 | OLD PERSIAN WORD DIVIDER | U+103D0 | Po, other | Old Persian | |
𐩿 | OLD SOUTH ARABIAN NUMERIC INDICATOR | U+10A7F | Po, other | Old South Arabian | |
𖬷 | PAHAWH HMONG SIGN VOS THOM | U+16B37 | Po, other | Pahawh Hmong | |
𖬸 | PAHAWH HMONG SIGN VOS TSHAB CEEB | U+16B38 | Po, other | Pahawh Hmong | |
𖬹 | PAHAWH HMONG SIGN CIM CHEEM | U+16B39 | Po, other | Pahawh Hmong | |
𖬺 | PAHAWH HMONG SIGN VOS THIAB | U+16B3A | Po, other | Pahawh Hmong | |
𖬻 | PAHAWH HMONG SIGN VOS FEEM | U+16B3B | Po, other | Pahawh Hmong | |
𖭄 | PAHAWH HMONG SIGN XAUS | U+16B44 | Po, other | Pahawh Hmong | |
꡴ | PHAGS-PA SINGLE HEAD MARK | U+A874 | Po, other | Phags-pa | |
꡵ | PHAGS-PA DOUBLE HEAD MARK | U+A875 | Po, other | Phags-pa | |
꡶ | PHAGS-PA MARK SHAD | U+A876 | Po, other | Phags-pa | |
꡷ | PHAGS-PA MARK DOUBLE SHAD | U+A877 | Po, other | Phags-pa | |
𐤟 | PHOENICIAN WORD SEPARATOR | U+1091F | Po, other | Phoenician | |
𐮙 | PSALTER PAHLAVI SECTION MARK | U+10B99 | Po, other | Psalter Pahlavi | |
𐮚 | PSALTER PAHLAVI TURNED SECTION MARK | U+10B9A | Po, other | Psalter Pahlavi | |
𐮛 | PSALTER PAHLAVI FOUR DOTS WITH CROSS | U+10B9B | Po, other | Psalter Pahlavi | |
𐮜 | PSALTER PAHLAVI FOUR DOTS WITH DOT | U+10B9C | Po, other | Psalter Pahlavi | |
꥟ | REJANG SECTION MARK | U+A95F | Po, other | Rejang | |
࠰ | SAMARITAN PUNCTUATION NEQUDAA | U+0830 | Po, other | Samaritan | |
࠱ | SAMARITAN PUNCTUATION AFSAAQ | U+0831 | Po, other | Samaritan | |
࠲ | SAMARITAN PUNCTUATION ANGED | U+0832 | Po, other | Samaritan | |
࠳ | SAMARITAN PUNCTUATION BAU | U+0833 | Po, other | Samaritan | |
࠴ | SAMARITAN PUNCTUATION ATMAAU | U+0834 | Po, other | Samaritan | |
࠵ | SAMARITAN PUNCTUATION SHIYYAALAA | U+0835 | Po, other | Samaritan | |
࠶ | SAMARITAN ABBREVIATION MARK | U+0836 | Po, other | Samaritan | |
࠷ | SAMARITAN PUNCTUATION MELODIC QITSA | U+0837 | Po, other | Samaritan | |
࠸ | SAMARITAN PUNCTUATION ZIQAA | U+0838 | Po, other | Samaritan | |
࠹ | SAMARITAN PUNCTUATION QITSA | U+0839 | Po, other | Samaritan | |
࠺ | SAMARITAN PUNCTUATION ZAEF | U+083A | Po, other | Samaritan | |
࠻ | SAMARITAN PUNCTUATION TURU | U+083B | Po, other | Samaritan | |
࠼ | SAMARITAN PUNCTUATION ARKAANU | U+083C | Po, other | Samaritan | |
࠽ | SAMARITAN PUNCTUATION SOF MASHFAAT | U+083D | Po, other | Samaritan | |
࠾ | SAMARITAN PUNCTUATION ANNAAU | U+083E | Po, other | Samaritan | |
꣎ | SAURASHTRA DANDA | U+A8CE | Po, other | Saurashtra | |
꣏ | SAURASHTRA DOUBLE DANDA | U+A8CF | Po, other | Saurashtra | |
𑇅 | SHARADA DANDA | U+111C5 | Po, other | Sharada | |
𑇆 | SHARADA DOUBLE DANDA | U+111C6 | Po, other | Sharada | |
𑇇 | SHARADA ABBREVIATION SIGN | U+111C7 | Po, other | Sharada | |
𑇈 | SHARADA SEPARATOR | U+111C8 | Po, other | Sharada | |
𑇍 | SHARADA SUTRA MARK | U+111CD | Po, other | Sharada | |
𑇛 | SHARADA SIGN SIDDHAM | U+111DB | Po, other | Sharada | |
𑇝 | SHARADA CONTINUATION SIGN | U+111DD | Po, other | Sharada | |
𑇞 | SHARADA SECTION MARK-1 | U+111DE | Po, other | Sharada | |
𑇟 | SHARADA SECTION MARK-2 | U+111DF | Po, other | Sharada | |
𑗁 | SIDDHAM SIGN SIDDHAM | U+115C1 | Po, other | Siddham | |
𑗂 | SIDDHAM DANDA | U+115C2 | Po, other | Siddham | |
𑗃 | SIDDHAM DOUBLE DANDA | U+115C3 | Po, other | Siddham | |
𑗄 | SIDDHAM SEPARATOR DOT | U+115C4 | Po, other | Siddham | |
𑗅 | SIDDHAM SEPARATOR BAR | U+115C5 | Po, other | Siddham | |
𑗆 | SIDDHAM REPETITION MARK-1 | U+115C6 | Po, other | Siddham | |
𑗇 | SIDDHAM REPETITION MARK-2 | U+115C7 | Po, other | Siddham | |
𑗈 | SIDDHAM REPETITION MARK-3 | U+115C8 | Po, other | Siddham | |
𑗉 | SIDDHAM END OF TEXT MARK | U+115C9 | Po, other | Siddham | |
𑗊 | SIDDHAM SECTION MARK WITH TRIDENT AND U-SHAPED ORNAMENTS | U+115CA | Po, other | Siddham | |
𑗋 | SIDDHAM SECTION MARK WITH TRIDENT AND DOTTED CRESCENTS | U+115CB | Po, other | Siddham | |
𑗌 | SIDDHAM SECTION MARK WITH RAYS AND DOTTED CRESCENTS | U+115CC | Po, other | Siddham | |
𑗍 | SIDDHAM SECTION MARK WITH RAYS AND DOTTED DOUBLE CRESCENTS | U+115CD | Po, other | Siddham | |
𑗎 | SIDDHAM SECTION MARK WITH RAYS AND DOTTED TRIPLE CRESCENTS | U+115CE | Po, other | Siddham | |
𑗏 | SIDDHAM SECTION MARK DOUBLE RING | U+115CF | Po, other | Siddham | |
𑗐 | SIDDHAM SECTION MARK DOUBLE RING WITH RAYS | U+115D0 | Po, other | Siddham | |
𑗑 | SIDDHAM SECTION MARK WITH DOUBLE CRESCENTS | U+115D1 | Po, other | Siddham | |
𑗒 | SIDDHAM SECTION MARK WITH TRIPLE CRESCENTS | U+115D2 | Po, other | Siddham | |
𑗓 | SIDDHAM SECTION MARK WITH QUADRUPLE CRESCENTS | U+115D3 | Po, other | Siddham | |
𑗔 | SIDDHAM SECTION MARK WITH SEPTUPLE CRESCENTS | U+115D4 | Po, other | Siddham | |
𑗕 | SIDDHAM SECTION MARK WITH CIRCLES AND RAYS | U+115D5 | Po, other | Siddham | |
𑗖 | SIDDHAM SECTION MARK WITH CIRCLES AND TWO ENCLOSURES | U+115D6 | Po, other | Siddham | |
𑗗 | SIDDHAM SECTION MARK WITH CIRCLES AND FOUR ENCLOSURES | U+115D7 | Po, other | Siddham | |
𝪇 | SIGNWRITING COMMA | U+1DA87 | Po, other | SignWriting | |
𝪈 | SIGNWRITING FULL STOP | U+1DA88 | Po, other | SignWriting | |
𝪉 | SIGNWRITING SEMICOLON | U+1DA89 | Po, other | SignWriting | |
𝪊 | SIGNWRITING COLON | U+1DA8A | Po, other | SignWriting | |
𝪋 | SIGNWRITING PARENTHESIS | U+1DA8B | Po, other | SignWriting | |
෴ | SINHALA PUNCTUATION KUNDDALIYA | U+0DF4 | Po, other | Sinhala | |
𐽕 | SOGDIAN PUNCTUATION TWO VERTICAL BARS | U+10F55 | Po, other | Sogdian | |
𐽖 | SOGDIAN PUNCTUATION TWO VERTICAL BARS WITH DOTS | U+10F56 | Po, other | Sogdian | |
𐽗 | SOGDIAN PUNCTUATION CIRCLE WITH DOT | U+10F57 | Po, other | Sogdian | |
𐽘 | SOGDIAN PUNCTUATION TWO CIRCLES WITH DOTS | U+10F58 | Po, other | Sogdian | |
𐽙 | SOGDIAN PUNCTUATION HALF CIRCLE WITH DOT | U+10F59 | Po, other | Sogdian | |
𑪚 | SOYOMBO MARK TSHEG | U+11A9A | Po, other | Soyombo | |
𑪛 | SOYOMBO MARK SHAD | U+11A9B | Po, other | Soyombo | |
𑪜 | SOYOMBO MARK DOUBLE SHAD | U+11A9C | Po, other | Soyombo | |
𑪞 | SOYOMBO HEAD MARK WITH MOON AND SUN AND TRIPLE FLAME | U+11A9E | Po, other | Soyombo | |
𑪟 | SOYOMBO HEAD MARK WITH MOON AND SUN AND FLAME | U+11A9F | Po, other | Soyombo | |
𑪠 | SOYOMBO HEAD MARK WITH MOON AND SUN | U+11AA0 | Po, other | Soyombo | |
𑪡 | SOYOMBO TERMINAL MARK-1 | U+11AA1 | Po, other | Soyombo | |
𑪢 | SOYOMBO TERMINAL MARK-2 | U+11AA2 | Po, other | Soyombo | |
᳀ | SUNDANESE PUNCTUATION BINDU SURYA | U+1CC0 | Po, other | Sundanese | |
᳁ | SUNDANESE PUNCTUATION BINDU PANGLONG | U+1CC1 | Po, other | Sundanese | |
᳂ | SUNDANESE PUNCTUATION BINDU PURNAMA | U+1CC2 | Po, other | Sundanese | |
᳃ | SUNDANESE PUNCTUATION BINDU CAKRA | U+1CC3 | Po, other | Sundanese | |
᳄ | SUNDANESE PUNCTUATION BINDU LEU SATANGA | U+1CC4 | Po, other | Sundanese | |
᳅ | SUNDANESE PUNCTUATION BINDU KA SATANGA | U+1CC5 | Po, other | Sundanese | |
᳆ | SUNDANESE PUNCTUATION BINDU DA SATANGA | U+1CC6 | Po, other | Sundanese | |
᳇ | SUNDANESE PUNCTUATION BINDU BA SATANGA | U+1CC7 | Po, other | Sundanese | |
܀ | SYRIAC END OF PARAGRAPH | U+0700 | Po, other | Syriac | |
܁ | SYRIAC SUPRALINEAR FULL STOP | U+0701 | Po, other | Syriac | |
܂ | SYRIAC SUBLINEAR FULL STOP | U+0702 | Po, other | Syriac | |
܃ | SYRIAC SUPRALINEAR COLON | U+0703 | Po, other | Syriac | |
܄ | SYRIAC SUBLINEAR COLON | U+0704 | Po, other | Syriac | |
܅ | SYRIAC HORIZONTAL COLON | U+0705 | Po, other | Syriac | |
܆ | SYRIAC COLON SKEWED LEFT | U+0706 | Po, other | Syriac | |
܇ | SYRIAC COLON SKEWED RIGHT | U+0707 | Po, other | Syriac | |
܈ | SYRIAC SUPRALINEAR COLON SKEWED LEFT | U+0708 | Po, other | Syriac | |
܉ | SYRIAC SUBLINEAR COLON SKEWED RIGHT | U+0709 | Po, other | Syriac | |
܊ | SYRIAC CONTRACTION | U+070A | Po, other | Syriac | |
܋ | SYRIAC HARKLEAN OBELUS | U+070B | Po, other | Syriac | |
܌ | SYRIAC HARKLEAN METOBELUS | U+070C | Po, other | Syriac | |
܍ | SYRIAC HARKLEAN ASTERISCUS | U+070D | Po, other | Syriac | |
᪠ | TAI THAM SIGN WIANG | U+1AA0 | Po, other | Tai Tham | |
᪡ | TAI THAM SIGN WIANGWAAK | U+1AA1 | Po, other | Tai Tham | |
᪢ | TAI THAM SIGN SAWAN | U+1AA2 | Po, other | Tai Tham | |
᪣ | TAI THAM SIGN KEOW | U+1AA3 | Po, other | Tai Tham | |
᪤ | TAI THAM SIGN HOY | U+1AA4 | Po, other | Tai Tham | |
᪥ | TAI THAM SIGN DOKMAI | U+1AA5 | Po, other | Tai Tham | |
᪦ | TAI THAM SIGN REVERSED ROTATED RANA | U+1AA6 | Po, other | Tai Tham | |
᪨ | TAI THAM SIGN KAAN | U+1AA8 | Po, other | Tai Tham | |
᪩ | TAI THAM SIGN KAANKUU | U+1AA9 | Po, other | Tai Tham | |
᪪ | TAI THAM SIGN SATKAAN | U+1AAA | Po, other | Tai Tham | |
᪫ | TAI THAM SIGN SATKAANKUU | U+1AAB | Po, other | Tai Tham | |
᪬ | TAI THAM SIGN HANG | U+1AAC | Po, other | Tai Tham | |
᪭ | TAI THAM SIGN CAANG | U+1AAD | Po, other | Tai Tham | |
꫞ | TAI VIET SYMBOL HO HOI | U+AADE | Po, other | Tai Viet | |
꫟ | TAI VIET SYMBOL KOI KOI | U+AADF | Po, other | Tai Viet | |
𑿿 | TAMIL PUNCTUATION END OF TEXT | U+11FFF | Po, other | Tamil | |
౷ | TELUGU SIGN SIDDHAM | U+0C77 | Po, other | Telugu | |
๏ | THAI CHARACTER FONGMAN | U+0E4F | Po, other | Thai | |
๚ | THAI CHARACTER ANGKHANKHU | U+0E5A | Po, other | Thai | |
๛ | THAI CHARACTER KHOMUT | U+0E5B | Po, other | Thai | |
༄ | TIBETAN MARK INITIAL YIG MGO MDUN MA | U+0F04 | Po, other | Tibetan | |
༅ | TIBETAN MARK CLOSING YIG MGO SGAB MA | U+0F05 | Po, other | Tibetan | |
༆ | TIBETAN MARK CARET YIG MGO PHUR SHAD MA | U+0F06 | Po, other | Tibetan | |
༇ | TIBETAN MARK YIG MGO TSHEG SHAD MA | U+0F07 | Po, other | Tibetan | |
༈ | TIBETAN MARK SBRUL SHAD | U+0F08 | Po, other | Tibetan | |
༉ | TIBETAN MARK BSKUR YIG MGO | U+0F09 | Po, other | Tibetan | |
༊ | TIBETAN MARK BKA- SHOG YIG MGO | U+0F0A | Po, other | Tibetan | |
་ | TIBETAN MARK INTERSYLLABIC TSHEG | U+0F0B | Po, other | Tibetan | |
༌ | TIBETAN MARK DELIMITER TSHEG BSTAR | U+0F0C | Po, other | Tibetan | |
། | TIBETAN MARK SHAD | U+0F0D | Po, other | Tibetan | |
༎ | TIBETAN MARK NYIS SHAD | U+0F0E | Po, other | Tibetan | |
༏ | TIBETAN MARK TSHEG SHAD | U+0F0F | Po, other | Tibetan | |
༐ | TIBETAN MARK NYIS TSHEG SHAD | U+0F10 | Po, other | Tibetan | |
༑ | TIBETAN MARK RIN CHEN SPUNGS SHAD | U+0F11 | Po, other | Tibetan | |
༒ | TIBETAN MARK RGYA GRAM SHAD | U+0F12 | Po, other | Tibetan | |
༔ | TIBETAN MARK GTER TSHEG | U+0F14 | Po, other | Tibetan | |
྅ | TIBETAN MARK PALUTA | U+0F85 | Po, other | Tibetan | |
࿐ | TIBETAN MARK BSKA- SHOG GI MGO RGYAN | U+0FD0 | Po, other | Tibetan | |
࿑ | TIBETAN MARK MNYAM YIG GI MGO RGYAN | U+0FD1 | Po, other | Tibetan | |
࿒ | TIBETAN MARK NYIS TSHEG | U+0FD2 | Po, other | Tibetan | |
࿓ | TIBETAN MARK INITIAL BRDA RNYING YIG MGO MDUN MA | U+0FD3 | Po, other | Tibetan | |
࿔ | TIBETAN MARK CLOSING BRDA RNYING YIG MGO SGAB MA | U+0FD4 | Po, other | Tibetan | |
࿙ | TIBETAN MARK LEADING MCHAN RTAGS | U+0FD9 | Po, other | Tibetan | |
࿚ | TIBETAN MARK TRAILING MCHAN RTAGS | U+0FDA | Po, other | Tibetan | |
⵰ | TIFINAGH SEPARATOR MARK | U+2D70 | Po, other | Tifinagh | |
𑓆 | TIRHUTA ABBREVIATION SIGN | U+114C6 | Po, other | Tirhuta | |
𐎟 | UGARITIC WORD DIVIDER | U+1039F | Po, other | Ugaritic | |
꘍ | VAI COMMA | U+A60D | Po, other | Vai | |
꘎ | VAI FULL STOP | U+A60E | Po, other | Vai | |
꘏ | VAI QUESTION MARK | U+A60F | Po, other | Vai | |
𑨿 | ZANABAZAR SQUARE INITIAL HEAD MARK | U+11A3F | Po, other | Zanabazar Square | |
𑩀 | ZANABAZAR SQUARE CLOSING HEAD MARK | U+11A40 | Po, other | Zanabazar Square | |
𑩁 | ZANABAZAR SQUARE MARK TSHEG | U+11A41 | Po, other | Zanabazar Square | |
𑩂 | ZANABAZAR SQUARE MARK SHAD | U+11A42 | Po, other | Zanabazar Square | |
𑩃 | ZANABAZAR SQUARE MARK DOUBLE SHAD | U+11A43 | Po, other | Zanabazar Square | |
𑩄 | ZANABAZAR SQUARE MARK LONG TSHEG | U+11A44 | Po, other | Zanabazar Square | |
𑩅 | ZANABAZAR SQUARE INITIAL DOUBLE-LINED HEAD MARK | U+11A45 | Po, other | Zanabazar Square | |
𑩆 | ZANABAZAR SQUARE CLOSING DOUBLE-LINED HEAD MARK | U+11A46 | Po, other | Zanabazar Square | |
࡞ | MANDAIC PUNCTUATION | U+085E | Po, other | Mandaic |
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