[pre]Hygro, whom I will take as a representative of all single-space advocates,
has acknowledged that the aesthetic preferences of readers should not supersede
the compositional utility for writers of the two spaces that properly follow
a sentence-ending period and has thereby in effect conceded the entire argument
as to which is to be preferred. For all that, he obstinately maintains that,
as a reader, he finds the single space preferable. Fully cognizant of the folly
in attempting to persuade someone in matters of aesthetic judgment through rational
argumentation (de gustibus non est disputandum), I nevertheless accept the challenge
of explaining why, were his tastes not corrupted, Hygro would acknowledge that
two spaces after a sentence-ending period are aesthetically superior to just one.
Multiple well-established aesthetic principles clearly indicate why this should be so.
First, there is the pleasing balance of two symmetrical units, the right-hand space
and the left-hand in a taut-but-relaxed interplay with one another, a sort of
achromatic chiaroscuro, if you will. Second, there is the so-called golden mean,
which suggests that human beings find the ratio of 5:8 particularly appealing. In
typography, the standard ratio of height to width for individual letters is 5:3, with
a single unit of separation between letters. This makes the height-to-width ratio of
two em-spaces and their separation 5:8, a proportion on which the beauty of such
disparate splendors as the Parthenon and Dalis Sacrament of the Last Supper are
understood to depend. Finally, what a work of art suggests is generally held to be
more powerful and compelling than what it directly expresses. La Giocanda is the more
beguiling in that the viewer is allowed and encouraged to speculate regarding the
grounds for her smile. What Hamlet has within which passes show is never explicitly
revealed, and the play is the more powerful for letting its viewer supply the answer. A
two-space interval between sentences possesses just such a pregnant suggestiveness,
often more powerful than what the sentences themselves convey. A single space
is no more than intervenes between Mr. and Ed, and thus (of course) holds no richness
of implication. I dare suggest that Hygro has never actually bothered to look at a dychora,
and if he were to, really look, he would immediately apprehend how a single space is nothing,
whereas two nothings . . . now that is something![/pre]