it was (it is)") or the correct spelling may be given in square brackets (e.g. "There were no pieces of strong [sic] around the boxes," one witness wrote. / "There were no pieces of strong [string] around the boxes," one witness wrote.). 3. Use 3 spaced dots to show an omission from a middle of a quoted sentence (e.g. "And so the writer . . . suffers, especially in the creative years of youth, every form of distraction and discouragement."). 4. Use a period (full stop) and 3 spaced dots to show that you are omitting the end of the quoted sentence (e.g. "..............abominable. . . . In nearly ............"). 5. Do not use dots with a phrase or a clause (e.g. He called it ". . . a poisonous book."WRONG; it is not a sentence, do not need to indicate.). 6. We use an entire line of spaced dots to signal that a line or more of poetry has been omitted.
(17) Why paint your house purple? (18) Why don't you be nice to your brother for a change?/Be nice to your brother for a change, why don't you? (19) Would you get me a glass of water? (20) I would like a dry martini, please. (21) Here, I need that wrench. None of these sentences can have the force associated with its grammatical mood. Unlike "Why are you painting your house purple?," (17) cannot be an innocent question, but must be a discouragement. (18) must be a reproach; (19) and (20) must be requests; unlike the simpler "I need that wrench," (21) must be a request or something stronger. Searle's conservative approach is balked here. It has no way of predicting these data. Worse, it cannot even apply to them because, à la Grice, it posits calculation; indirect force is to be worked out. But with (17)(21) there is nothing to work out. They wear their indirect forces on their sleeves.
" "I don't want you to burn out on me, Gideon." He was a man used to being alone, a man who hadn't had a meaningful physical relationship in a long time, if ever. How long before his flight instincts kicked in? Besides, we really needed to stay out of the public eye as a couple... "Don't make excuses." His features hardened. "You don't get to decide I can't do this." I kicked myself for offending him. He was trying and I needed to make sure he got credit for that, not discouragement. "That's not what I meant. I just don't want to crowd you. Plus we still need to-" "Eva." He sighed, the hard tension leaving him with that frustrated exhalation. "You have to trust me. I'm trusting you. I've had to or we wouldn't be here now." Okay. I nodded, swallowing hard. "Dinner and your place it is, then. I honestly can't wait." Gideon's words about trust lingered in my mind all morning, which was a good thing when the Google alert digest hit my inbox.
irresistibly until it lapped the banks of the Marne only 30 miles from Paris, almost submerging the Allied cause. At the same time, Painvin suddenly saw, on June 1, the ADFGX messages complicated by the addition of a sixth letter, v. Probably the Germans expanded their checkerboard to 6 X 6. But why? For homophones to further blunt the frequency clues? Or to insert the ten digits? Painvin did not know. "In short," he said, "I had a moment of discouragement. The last two keys of the 28th and the 30th of May had been discovered under conditions of such rapidity that their exploitation was of the greatest usefulness. The offensive and the German advance still continued. It was of the greatest importance not to lose [cryptanalytic] contact and in my heart I did not want to brusquely shut off this source of information to the interested services of the armies, which had become accustomed to counting on its latest results."
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