/ 66?

T II E

COMPENDIUM OF TACIIYGRAPHY:

SLEY'S PHONETIC SHORTHAND.

PLAIXIXG AND ILLUSTRATIIG THE COMOX STYLE
OF THE ART.

By D. P. LTNDSLEY.

' Now what naltirr a there ngainst the formation of written signs, which

l/licity corresponding with that of spoken sou:

up with the voice, and a

man ;(j >ak.' ' Horace Mann.

FQ UR TH EDIT! X .

BOSTON:

OTIS C L A r 1' , 3 B K A C ON STREET.
NEW YORK : SCHERMERIIORN, BANCROFT, &. CO., 430 BROOME ST.

1 8 1; 7 .

THE LIBRARY

THE UNIVERSITY
OF CALIFORNIA

LOS ANGELES

I -&-

JL.

\ A \VYER
aJ^S, TEXAS

THE

COMPENDIUM 0F TACHYGRAPHY:

EXPLAINING AND ILLUSTRATING THE COMMON STYLE
OF THE ART. ,

BY D. P. LTNDSLET. V

" Now what natural obstacle !s there against the formation of written signs, which
will be indefinitely shorter than that which constitutes the English Language, or
the Language of any other people ? * # * Let the system of written signs be
reduced to a brevity and simplicity correspondin^fcwith that of spoken sound, and
thereis no reason why the hand should not be able to keep up with the voice, and a
man write as fast as he can speak." Horace Mann.

FOURTH EDITION.

BOSTON:

OTIS CLAPP, 3 BEACON STREET.

NEW YORK : SCHERMERHORN, BANCROFT, & CO., 430 BROOME ST.

1867.

Entered according to Act -of Congress, in the year 1867, by
D. P. LINDSLET,

ii the Office of the Clerk of the District Court of the United States for the
District of Massachusetts.

PREFACE.

THE new System of Phonetic Short-hand, which we have partially
developed in the following pages, is the result of a protracted effort to
conform the system of Mr. Isaac Pitman to the beauty of its theory.
A few persons of peculiar genius have mastered that system, and found
its use of great service in all their literary pursuits. But while a few
were able to relieve themselves of the intolerable drudgery of writing
by its means, hundreds we can say, in truth, thousands were striving
in vain to make the old system practically useful to them. We speak
what we know. Nineteen twentieths of all the phonographers we have
ever seen are of this number ; and we are almost constantly in receipt
*~ of letters from all parts of the country which testify with emphasis
' to the impracticability of phonography, and express an earnest hope
t% that some system may be found that can be applied to the common
j uses of writing. Besides, as -a 'teacher of phonography for several
' years, we might give the result of our success, if more testimony were
needed ; but it is not necessary. When we awoke to the fact that we
;? were attempting a hopeless task in trying to shove a system, into favor
** burdened with the irregularities and complexities that characterize that
^ system, we were surprised to find that most thinking men had arrived
at the same conclusion long before us. And, when stimulated by a
view of the necessity of some relief from the toil of writing, we con-
j ceived it still possible to work out the phonographic theory in a prac-
p tical shape, we were more than pleased to learn that such men as the late
Hon. Horace Mann had anticipated us here also, and indicated, with the
usual clearness of his perceptions, the plain and practical plan on which
success was certain. And others have from time to time urged the impor-
tance of a more rapid system of writing, not for the use of the verbatim
reporter, but for all the ordinary purposes of writing.

449534

4 PREFACE.

But what are the characteristics of a system that will supply tht demand ?
We answer, It must be SCIENTIFIC, SIMPLE, LEGIBLE, and BRIEF

1. No contrivances of contraction, however ingenious, can ever unite
large masses of men any farther than immutable principles underlie them.
A true system cannot properly be considered arbitrary. There is a reason
why certain alphabetic signs are more appropriate to certain sounds than
others. Wore it not so, we might speculate on alphabetic changes through
all coming time, and still be no nearer a satisfactory result.

2. The whole drift of modern science and art is toward naturalness.
To copy the simplicity of Nature is found the highest wisdom. All can fol-
low the direction of a few plain principles. Redundancies and exceptions
repel, and destroy uniformity.

As we have before said, the phonographic theory was simple and beauti-
ful ; but it was departed from so widely in practice that its value was
nearly lost. We have given expression to that original design. We
have wrought out a style as simple in fact as in theory. When the al-
phabet is mastered, the student has a key to the common style. Diph-
thongal signs are used for diphthongal sounds ; but they do not interfere
with the harmony of the theory, any more than the use of one sign for
the diphthongal sound of / long in our common alphabet breaks up the
unity of design. Our pupils read this style readily with three or four
weeks' study ; they cannot read the common chirography readily with
three times this amount of practice.

3. Legibility is all important for a thousand uses of writing. We
need only say that this system is in this respect far superior to any
previous system of short-hand ; we say more : it is far superior in this
respect to long-hand. The grossest carelessness, on the part of the
writer, can scarcely render it unintelligible ; and as there are no con-
tractions to remember, and nothing to forget, it can be read after the
lapse of years with the certainty of common print.

4. Brevity. This is a cardinal point ; for the prolixity, the cumber-
someness, of our ordinary writing is what we seek to avoid. In making
the letters of our long-hand alphabet, we make from three to seven
movements of the pen for each, on an average, four. About one
letter in seven is silent in our common orthography. In Phonetic
Short-hand we make one simple stroke for each simple sound ; this
eaves three fourths the labor : \ve omit all silent letters ; this gives
us a farther advantage. Besides, the distance passed over by the pen
is vastly less in short-hand. We write this simpler style three to four

PREFACE.

times as fast as long-hand ; but we save more than nine tenths of the
labor of writing. We mean that a person can write more than three
times as fast, with less than one third the fatigue. Though this speed
is much less than that of our briefer styles, yet it is greater than can
be attained by the simple style of phonography, and greater than has
been attained by any large number of persons in the briefest styles of
most systems of short-hand.

This is not mere theory. For several years we have tested its capa-
bilities, and with uniform success. Pupils of all ages, from children to
men of mature years, have mastered it, and have given us the most
ample assurance that we have not overrated its simplicity, brevity, or
scientific accuracy.

No impediments now hinder the acquisition of this much-coveted art
of rapid writing. The editor can use it ; for no intelligent compositor
need spend more than a fortnight in acquiring the ability to set up
type from his short-hand manuscript. The author can use it. The
clergyman can use it ; for he can read his notes with greater readiness
than in the old way. The lawyer, the physician, the student, every-
body, can use it ; for it is so simple and practicable that everybody can
learn and remember it.

The importance of having a style of writing level with the capacities of
all can hardly be over-estimated. Although most can use it in a thousand
ways independently of the knowledge of others, yet its value to all is
heightened by every increase of the number who understand it. Hence,
the greatest success must be gained through the most natural style.

As the leading idea of this style is PRACTICABILITY, we have carefully
excluded from it all contractions and ambiguous forms, so far as possible.
If any ambiguities of outline exist, it is only another illustration of the ab-
solute impossibility of conforming perfectly to any ideal standard of perfect-
ness. It would be easy to avoid Scylla, if no Charybdis yawned on the
other hand. The greatest brevity is easily attainable, if there be no regard
to perspicuity, and no fear of complexity ; the most perfect simplicity
might be attained, if brevity were not desirable. Between the extremes
of complexity on the one hand and prolixity on the other, we have, we
think, found the proper medium. For all the ordinary purposes of life,
this style will be found neither too complicated nor too prolix. For the
professional reporter, we have two more complicated styles, a Reporting
Style and an Fjasy Reporting Style ; but they should be studied only
by reporters.

6 PREFACE.

This work is only a compendium ; but we have omitted nothing essential
to a clear knowledge of all the principles of this style ; for their application,
however, in detail throughout the vast extent of the English language, we
must refer to our larger work, which will be published in due time.

January, 1864, D. P. L.

The Common, Easy Reporting, & Reporting Styles

THESE Styles are based on the same general principles. The COMMON STYLE
is the basis of all, and must be learned before the REPORTING STYLES can be
understood. The more perfectly this first style is mastered, the more easily
will success be secured in the second or third. The three form a progressive
series, analogous, in a measure, to the three branches of mathematics : Arith-
metic, Algebra, and Geometry. And as a knowledge of Arithmetic answers in
ordinary business, so the Common Style of Tachygraphy is the best for all
common use* ; such as keeping books in a mercantile or other business, mak-
ing memoranda, correspondence with friends, composing of sermons and
speeches, preparing editorials and other matter for the press, and, in short, for
all uses to which our ordinary writing is applied. Compositors can learn to
read it in a few weeks, with as much certainty as long-hand writing.

The Common Style is also adapted to taking notes of lectures and dis T
courses ; and, although not so brief as the Reporting Styles, yet I am fully
persuaded, by the experience of thousands, that the greater number of writers
will use this style more readily, certainly, and effectively than any reporting
style whatsoever ; and make it of more use to them, even in the ordinary duties
of a newspaper reporter. A speed of 100 words a minute may be acquired
in it, and even more than this.

In the Easy Reporting Style, briefer forms are employed for all words and
phrases of frequent occurrence ; brief prefix and affix signs ; and a few general
principles of contraction. In comparison with the old, irregular, and compli-
cated styles of Phonography, this Easy Reporting Style is very simple and
accurate. It may be mastered, by persons of aptitude, in three or four months ;
and may be written at the rate of 150 words a minute.

The Reporting Style enters into detail more fully contains many special
contractions, and should be attempted, only by those who wish to make the art
a profession. It may be written at any desirable rate of speed, by those who
master it fully ; but it requires much more practice, to make it available, than,
the simpler styles.

No person should attempt to use two of these styles at the same time ; nor
can a writer change from one style to the other frequently, without a loss of
speed and accuracy in both styles.

INSTRUCTION IN THE KEPORTINQ
STYLE.

THE Easy Reporting Style will be furnished, to students only, for the present, in
the form of manuscripts, to be copied and returned. Fifteen numbers are ready
for use, which will be furnished with exercises to be written by the student and
corrected by the teacher. The use of the manuscripts and the correction of the
exercises will cost five dollars.

This arrangement is far better for those who wish TO LEARX the art than a book ;
which would be misused in a great majority of cases, as the history of Phonography
everywhere testifies. We are profoundly impressed with the conviction, that, for
the present, while the principles of the science are so sadly corrupted by the so-
called phonor/raphic writers, and young men are deluded into a foolish waste of
time in the study of contracted forms for which they have no use when learned, wo
can protest against this mania for contraction in no better way than by pvibluking
only those principles that may be made generally useful, and teaching on the most
favorable terms the stenographic brevities useful only to Reporters of public pro-
ceedings.

EXPLANATION OF TERMS.

TACHTGRAPHY. Greek ra%vf (Tachus), swift, and ypa<pu t to write.
1. Kapid writing. 2. A style of phonetic short-hand, adapted to all
business and literary purposes, as well as to verbatim reporting, the
common style of which is given in this work.

Letters in the beginning of a word are called initial ; - in the mid-
dle, medial ; and in the end, final or terminal.

Short-hand characters are called signs, to distinguish them from the
common letters. A letter is often silent ; a sign, never.

The terms word-outline or word-form are used to designate that
conformation which the letters of a word present when written in
short-hand characters.

PENS, PAPER, AND THE MANNER OF HOLDING

THE PEN.

STEEL pens of medium fineness are best for writing Tachygraphy.
Paper may be ruled or plain ; but paper ruled with double lines i8
never needed.

The pen should be held between the fore and middle fingers, the
penholder pointing considerably to the right, so that horizontal and
left-oblique lines can be struck conveniently. The pen should be held
square on the paper, so that both limbs press equally. A pencil may
be used occasionally ; but a pen is preferable.

Exercises for correction should be written on every third line, so
that, when corrected on the second, they may be rewritten by the
pupil on the third. The student should copy his exercises into a
blank book for preservation when sufficiently advanced

THE PROPER METHOD OF STUDY.

THE rapidity of progress in short-hand will depend very much on
the method of study. It is not necessary that all should follow the
same course, in all its minutest details ; but the same general prin-
ciples will apply equally well to all. We offer the following sugges-
tions to the student on this subject :

1. Master the alphabet. To do this, follow the course pointed
out under the head of Directions for Practice, never taking up more
than two or three characters at once, and mastering them thoroughly

?,. '

vVYER
LAS,TEU|

THE PROPER METHOD OF STUDY. 9

before proceeding. While learning the alphabet, it will be of service
to read a few lines of the Reading Exercises.

2. When the alphabet is memorized, study Chapter IV., carefully
turning to every reference. Study and memorize all that is said about
the connection of vocal signs and the position of disconnected signs,
and review the Reading* Exercise carefully, to see whether you under-
stand clearly why every mark is written where, and as it is. Let noth-
ing escape your observation. You will then proceed to test your knowl-
edge farther by writing as many of the Writing Exercises as are illus-
trated in this chapter. When this is done, go on with Chapter V.,
studying reading and writing alternately. Copy the Reading Exercises.

It would be well for you to have your writing exercises corrected by
a master of the art. Though we have left nothing undone that we could
do in so small a compass to make the system available without the aid
of a teacher, yet all will make better progress with such assistance ;
and we have reason to think that, in this art, as in many others,
as in all others, it is idle to expect great results without personal
instruction. Yet the self-dependent and earnest student will find the
course we have indicated productive of quick results.

3. Leave no difficult form until you can make it readily. Write it
over many times, until its form is perfectly natural. There is a won-
derful power 1n repetition. Some of my pupils write all the Alpha-
betic Signs in fifteen seconds.

4. When you have mastered all the principles of this style, you
should write from dictation. Make a long-hand copy of the phrases
on the fifth page of Reading Exercises, and get a friend to read them
to you. Write ten or twelve phrases, and then review them until
mastered. Proceed in this way with a few at a time until you can
write them all readily. Then have them read through many times, the
reader increasing his speed with your ability to write, until you can
write them at the rate of one hundred words a minute, or more.

5. When you can write a few things rapidly and correctly, it will
aid you much in writing other things. But you should not stop here.
Have your friend read slowly, from some easy book, the Book of
Job, for instance, or the Psalms of David, or the Sermon on the Mount,
or St. John's Gospel, or some simple book for children, a few verses
at a time, reviewing often ; and when the chapter is well reduced to
practice, write it through from the beginning. In this way, you will
soon attain the speed of from eighty to a hundred words a minute,
according to your speed of manipulation.

6. Proceed in the same manner with more difficult works, according
to your taste. Follow this course, and we will be willing to become re-
sponsible for your success.

THE
ALPHABET OF TACHYG-RAPHY,

LINDSLEY'S PHONETIC SHORT HAND.

CONSONANTAL SIGNS.

8IQH

NAME. SOUND.

SIGN. NAME. SOUND.

Be, b in bay.

"^ The, th in they.

Pe, p in pay.

~^ Ith, th in oath.

Ga, g in go.

Em, m in may.

Ka, k in key.

En, n in nay.

De, d in do.

N " Ing, ng in sing.

Te, t in to.

^ El, 1 in lay.

)

Ve, v in eve.

^ Ra, r in ray.

Ef, f in if.

</ Wa, w in we.

(

Zhe, z in azure.

^ Ya, y in. ye.

(

Ish, sh hi show.

^ Ha, h in high.

Ze, z hi ooze.

c__ Ja, j in jail.

Es, s in so.

<L Cha, ch hi each.

VOCAL

SIGNS.

E, e in eve.

^ i, i in it ; y in duty.

A, a in aim.

Ai, ai in air.

e, e in ebb.

Ah, a in are.

a, . a in ask, at.

Oo, o in do.

Co, oo in foot; u in full.

O, o in ode.

u, u in us, fur hut.

Au, au in aught.

/ <5, 5 in on, or.

Oi, oy in boy.

^ I, i in ice.

Ow, ow in now.

A Ew s ew in dew.

Entered according to Act of Congress, in the year 1864, by D. P Lindsley, in the Clerk's Office
qf the'Dittnct Cowt of the Disinct of Connecticut.

f / THE ALPHABET.

THE availability of alphabetic signs depends upon their simplicity and
I facility, their direction, their brevity, the appropriateness of the classifica-
> --4ion, and above all, on their distinctiveness.

We/represent the consonantal sounds by straight lines, and curves of
the quarter ^|La circle, ?nd the vocal sounds by small semi-circles, dashes,
dots, and diamond points.

Our alphabet is in, some respects similar to the phonographic alphabet,
but there are several important points of difference ; and these differences
are fundamental, growing out of important principles. In Phonography
vocal sounds were expressed by dots and 'dashes, which took their value
from theu- position. A dot in the first position was E, in the 2d, A, in the
3d, Aj, <KC. So the same dots and dashes represented sounds entirely dif-
ferent. These dots and dashes were disjoined, leading to difficulties which
we shall allude to presently.

"VVe represcnt^jte vocal sounds as definitely as the consonantal, by

( giving qjidppflj^ra siicn distinguished by form instead of position, and

\ joining these signs in their proper order ; instead of picking out all the

consonants, and putting the .vowels in, one by one, after the rest of the

word was written, as phonographers are obliged to do.

The forms of these signs are such as to ensure the best joinings with
the consonants. The advantages growing out of this principle are numer-
ous. Greater definiteness and accuracy are secured, and (what is still
more important) greater facility of writing on account of the increased
continuity. The importance of having signs that can le joined in the out-
line can scarcely le overestimated. We complain more of dotting the i
in our common wriiing than of making our most interminable m. The
momentum acquired in writing rapidly seems to carry the hand through
a thousand graceful curves with a sort of pleasure, while a pause or diffi-
cult joining occasions hesitation and -toss of speed. It is only by taking
advantage of this principle of continuity that the writing of short- hand
can be made effective. If any ott^frishes to test this principle let him
take any word common, for instance and write it as many times as he
can in a minute in the ordinary way; then let him write it, disjoining ev-
ery letter, and he will find that he loses half tiis speed, or more. Let him
now write the word another minute, separating each letter into strokes,
making three for c, two for o, seven for m, and so on, and see how low
and toilsome the writing is, and he will, we are sure, become thoroughly
convinced of the absolute necessity of a good degree of continuity in any
system of writing where speed is required.

The difficulty attending the use of disconnected vowels rendered the
corresponding style of Phonography worthless. When fully vocalized il
could be written with all its contractions and ' complexity but little faster
than long-hand. The reporting style was more successful, on account of
the use of phrase signs. But the flow of the writing was seriously im-
paired, even in the reporting style, by the necessity of distinguishing
words by position ; for it was difficult, and often impossible, for the word
to maintain its proper position on, above, or below the line of writing,
while it maintained its proper position in the phrase.

Our alphabet obviates both of these difficulties. The vowels form a
part of the word-form, and are written without lifting the pen from tho
paper; and in the reporting style distinction of outlines is made, wher
necessary, by a connective vowel, thus avoiding all necessity of depending
upon position, and giving a freedom with the use of phrase signs, impossi-
ble by any other alphabet. So it will be seen that, while but few vowels
are required in the reporting style, the use of connective signs for such an
are employed is as important as the use of such signs in the common style,

The choice of signs for the consonantal sounds demands more explana-
tion than we can give here.

The use of the numerous contractions which are employed in the sim-
plest style of Phonography is incompatible with simplicity. So long as it
is possible to write a word from three to nine, ten, or more ways so long
as a variety of forms are used to represent the same sounds there must
be great difficulty in mastering and remembering the proper forms for
words. There was, in fact, so little law in the formation of phonographic
outlines that the pupil must learn each word by itself a prodigious labor !
and besides, the same outline stood for several words ; and though they
might be distinguished by dots and dashes, yet these were not sufficiently
conspicuous to make the reading plain.

These difficulties could be obviated in a plain and natural way, by writ-
ing each sound out clearly and fairly by itself, in its own proper order, un-
contractedly. In this way, if there was any difference of sound, there
must be a corresponding difference in the word-form. But to do this by
the phonographic alphabet was impossible. The most unshapely, unman-
ageable outlines conceivable was the result of the effort. The most fre-
quently occurring characters ran down perpendicularly, and some words
would descend through the line below, and even through two or threa
lines, so that their use was impossible. But was there no plan no ar-
rangement of the signs that would enable us to avoid this ? It was long
a question, but after months of labor the very simple fact was discovered
that certain sounds were of so frequent occurrence that, by giving them
horizontal forms, all others could be so arranged as to run along the line
of writing, forming facile outlines. This led to the present arrangement
of the consonantal signs.

CHAPTER I.

THE USE OF THE SIMPLE SIGNS.

OUR oominon writing has two defects : first, the complexity of its
letters; second, the irregularity of their use.

1. The letters have each from three to five, six, or seven inflec-
tions; that is, the pen must trace such a number of curves and
strokes in making each letter. We overcome this difficulty Tsy using
alphabetic signs that can be made with one stroke of the pen. Many
of these signs have still a resemblance to the letters of the old al-
phabet. Compare the old with the new letters. See Illustration A.

2. The second difficulty, the irregular and redundant use of the old
letters, we overcome by the phonetic method ; that is, we employ
enough characters to represent each elementary sound in the language,
and then use this sign in all cases for its proper sound. It will be
seen that by this method we omit all silent letters, and, where di-
graphs have the sound of a single letter, one sign only is employed.
The word they, for instance, contains four letters,. but only two sounds;
hence, only two signs would be required to write it. The word thought
contains three sounds, requiring three signs, etc. The student should
commence by analyzing each word ; that is, separating it into the in-
dividual sounds that compose it, giving each sound its appropriate sign.

The irregularities of our orthography result from the use of silent
letters, as y in may, bay, ray, say, etc. ; e in foe, hoe, etc. ; yh in
tauyht, sought, etc. ; from the change of sound that letters undergo,
as a in fate, fat, far, fall, etc. ; e in mete, met, they, etc. ; o in
note, not, son, moon, etc. ; from the use of different letters and com-
binations of letters to represent the same sound ; as a (long) by a in
fate, by e in fete, by ai in rain, by ei in rein, by ay in may, by
ey in they, by au in gauge, etc. ; and from such a mingling of all
these causes as to render any clear and methodical classification of
these irregularities impossible.

Now all we need to say to the student of Tachygraphy is this: pay
no attention to the letters in a word, but pronounce it accurately and
use the signs that represent those sounds. Unlike the old letters, the
new signs represent always the same sounds. The long sound of A
long is always represented by c , the short sound by ; the long sound
of E by ", the short sound by . ; the long sound of I by v, the
hort sound by r. ; the long sound of O by i , the short by , ; the
long sound of U by A, the short sound by x, etc. ; sh is always
written (, ph ), th -^ , etc. The matter will be made clearer bv study-
ing the following examplea. See Illustration B.

CHAPTER II.

OUR COMMON ORTHOGRAPHY.

LETTERS were originally designed to represent sounds, and the nat-
ural theory was to have a letter for each elementary sound used in
the language. The letters of the Greek alphabet represent the sounds
of that language very accurately, and the Roman letters were origi-
nally more accurate representatives of sound than they are at present.
The English language contains sounds that the Latin language did
not ; hence, when we attempt to use the same old alphabet that
served a tolerable purpose two thousand years ago, in writing an en-
tirely different language, we find it fit as awkwardly as the clothes
of a boy of five years would fit the man of twenty-five.

The writer of a phonetic system has, however, a sure and easy ba-
sis to build up his system of orthography upon. He has only to
consider carefully th% true pronunciation of the word to be written,
and then, having learned each alphabetic sign as the representative
of a sound, give each sound its true sign. THE PERFECTION OF THE

THEORY REQUIRES THAT ETERY SIGN SHALL REPRESENT THE SAME SOUND
AT ALL TIMES, AND THAT NO SOUND BE WITHOUT A LETTER TO REPRE-
SENT IT.

We will apply this principle to our present alphabet, and see in
what respects it is deficient or redundant.

SECT. 1. We treat, first, of the Irregularities of the Consonants.

The following are regular, that is, they commonly represent but
one sound : B, D, J, K, L, M, N, Q, R, and V. Some of them
are, however, sometimes silent ; they are B, K, L, M, and N.

Each of the remaining letters represent more than one sound ; we
treat of them in detail.

C has three sounds, a hard sound in come, , soft sound in city,
and the sound of sh in spacious. It is generally soft before e, *', and
y, and hard before a, o, and u. It has the sound of sh in the ter-
minations cious, ceous, rial, etc.

F has the sound of v in the word of.

G has two sounds, a soft before e, i, and y, and a hard before
a, o, and u. There are, however, many exceptions. G is silent in
gnaw, sign, etc.

H is sometimes" silent, and is sometimes used in connection with t
and 5 to represent sounds for which -we have no letters in the common
alphabe* and with p to express the sound of F.

OUR COMMON ORTHOGRAPHY. 15

Q has the sound of K.

S has four sounds, a sharp sound in the word some, the cognate flat or
eubvocal sound in as, the sound of sh in mission, and its cognate in measure.

T in the termination lion has the sound of sh. It is used with h to rep-
resent the two elementary sounds heard in the beginning of the words then
and thin.

W has but one consonant sound. With a preceding vowel it generally
forms a diphthong.

Y"has but one consonant sound. At the end of words and syllables it is
either silent or sounds like i short.

Z in the word azure, and some others, has a sound quite different from
its proper sound, corresponding with the sound of s in pleasure. It is a
simple elementary sound.

X generally represents two sounds, the sound of k and s, as in extreme,
or the sound of ga and ze, as in exact. X has also sometimes the sound of Z.

SECTION 2. Sounds represented by two letters.

There are, in the English language, twenty-four consonantal sounds and
only twenty-one letters that are ever used to express them. Of these C, Q,
and X are useless, because they represent sounds already better represented
by other letters. This leaves eighteen useful letters to express twenty-four
sounds. The six simple elementary sounds, which have no proper represen-
tatives, are Zhc'lsh, The, Ith, Ing, and Cha. (See Pho. Short-hand Al-
phabet.)

The first, as we have seen, is written in our common orthography by z or
s; the other five have two letters to represent each of them. They are sh,
th, ng, and ch.

Sh has no sound but Ish.

Th has two sounds, a sharp or aspirate sound in thick, and its cognate
eubvocal in thus.

Ng has three sounds, only one of which is simple and elementary ;
namely, the sound of Ing in sing. In singe it has the sounds of En and Ja,
and in longer, the sounds of Ing and Ga.

Besides these sounds, the n and g are in some words sounded separately
as in engulf, where they have the sound of En and Ga.

Ch has two sounds, the sound of Cha in each, and the sound of Ka in
ache.

There are other combinations of consonants that represent sounds already
provided with letters. They are Ph, sounded like Fand V, or silent ; Gh,
sounded like Ga, F, and K, and in many cases silent ; Rh, sounded like R;
Wr, sounded like R ; and Wh, sounded like Hw.

Wh really represents two sounds, the other letters only one, or none, as
the case may be.

SECTION 3. Irregularities of Vowels.

All the vowels in the common orthography are irregular. They each rep-
resent more than one sound.

16 LINDSLEY'S PHONETIC SHORT-HAND.

A has six sounds, along sound, as in hate; a short sound in hat; an
open sound in far; a broad, open sound in fall; a medial sound an air ; and
stands for e in many.

E has three sounds, a long sound, as in eve ; a short in ebb ; and an ob-
Bcure sound before r, us in person. It is generally silent in the end of words.

/ has three sounds, a long, diphthongal sound in fine; a short in fin ;
and a sound more or less obscure before r, as in bird.

has five sounds, a long sound, as in tone; a short sound, as in non;
an open, as in or; a close, as .in who ; and the sound of u in son.

Z/has five sounds, a long, diphthongal sound in tune; a short in sun;
a close in full; and the sound of e in bury, and I in busy.

Grouping these sounds together, we have E, A, Ai, Ah, I, e, a, Oo, 0,
Au, 66, u, 6, 1, and Ew; to which we might add two more diphthongal
sounds, Oi and Ow.

To make the confusion of our common orthography still more complete,
each of these sounds are expressed in several ways, as will be seen in the fol-
lowing examples. The letters that represent the sound are italicized.

E long is represented by e, ea, ee, ei, eo, ey, i, ie, and ay, as in the words,
eve, ear, beet, conceit, people, Key, pique, pier, and quay.

A long is represented by a, ai, ao, au, ay, e, ea, ei, ey, ue, aigh, eigh, as in
the words ale, aid, gaol, gauge, gay, fete, great, veil, they, bouquet, straight,
eight,.

Ah is represented by a, Ah, and ua, as in ore, NoaA, and guard.

Ai is represented by a, ai, e, and ei, as in the words care, air, there, and
their.

1 short (I) is represented by i, y, ee, u, and ui, in the words in, system,
been, busy, and circuit.

E short (e) by e, ea, a, ai, ay, and ue, as in met, head, any, said, says, and
guess.

So, also, the following, as illustrated by the annexed examples :

A short, at, guaranty.

Oo, who, soot, soup, throu^A.

O, note, oat, though, bowl.

Au, all, cause, laws, ought, slaughter, dialogue.

06 short, foot, full, legion, dungeon.

U short, up, enough, love.

short, on, hough.

It will be seen that, in the case of vowels, as well as consonants, we ex-
press simple elementary sounds by two letters ; in a few instances by three.

The necessity for this arises from the impossibility of expressing fourteen
sounds properly by five letters. The digraphs employed to represent SIMPLE
sounds are aa, ae, ai, ao, au, aw, ay, ea, ee, ei, eo, ey, ie, oa, oe, oo, ou, ow,
ua, ue, ui, uo, uy. The trigraphs are eau, eou, iou, besides aigh, eigh,
ough, etc.

As in the words Aaron, fail, gaol, Gaul, law, and lay ; head, heed, for-

OUR COMMON ORTHOGRAPHY. 17

feit, bludgeon, they, sieve, oat, hoe, dopr, soup, bow, guard, guess, circuit,
Guy, Halcyon, beau, gorgeous, religious, straight, eight, though, etc.

Most of these digraphs have, also, several sounds. Ai, for instance, ha*
different sounds in the words air, fail, said; so, also, ea in meat? and meadow;
ou in about, trouble, sought, soup, bough ; and ough in though, thought,
trough, cough, hough, hiccough, bough, etc.

To represent the fourteen ample vocal sounds, we have five simple vowels,
twenty-three digraphs, three trigraphs, and three combinations of four let-
ters each, thirty-four in all. It will be noticed farther that. no one of
these thirty-four vocal-sound letters, or combination of letters, has any defi-
nite sound that can be relied upon, but represents variously from two to
eight or nine sounds each.

Diphthongs and Triphthongs. The long sounds of the vowels I and V
are diphthongal. Other diphthongal sounds are represented by two vowels,
both of which are sounded. They are oi, ou, and ow, as in oil, out, how.
Some trigraphs represent diphthongal sounds, as iew in view, ieu in lieu.

In summing up this hasty view of the English alphabet, and the orthog-
raphy resulting from it, we may say of the alphabet that it is,

1st. Redundant ; containing three superfluous letters, c, y, and x.

2d. Deficient ; wanting letters for the sounds of Ish, Zhe, Ith, The, Ing,
and Cha; and at least nine out of fourteen vocal sounds.

3d. Ambiguous ; on account of supplying the want of proper letters by
three times the needed number of combinations for the vocal signs, and an
indefinite number of consonantal combinations.

4th. Inconsistent ; in representing the diphthongal sounds P and U
(long) by single letters, and using, in numerous instances, two, three, or
four letters, to express one simple elementary sound ; and in making the
same letters represent both vocal and consonantal sounds, as W and Y do.

Of the resulting orthography, we may say that the spelling is no guide to
the pronunciation ; that if its design had been to disguise sounds instead of
expressing them, it could not have been more happily adapted for the pur-
pose ; that the redundancies and deficiencies of the alphabet are needlessly
increased by the use of silent letters without method, order, or law ; that
caprice determines the letters which shall be employed in any given case,
without any regard to necessity, convenience, beauty, or reason ; that it is
not an or/Aography^it all, but a cacography or pseudography^ that it is a
nuisance, a stupendous folly, a hoary, chaotic ruin, a curse to the English
language, and a disgrace to the people that use it.

CHAPTER III.

PHONETIC ORTHOGRAPHY.

PURE phonography provides one sign, and one only, for each sound
in the language, and represents each sound invariably by its appropriate
sign. When a person has thoroughly learned the characters employed,
he should be able to write any word which he can pronounce. If
the word is, for instance, know, he hears two sounds, and writes ^i
(joined in writing). If the word is may, he writes ^c etc.

Such being the simplicity of phonetic, of purely phonographic or-
thography, it is only necessary to guard the student against errors
that experience has shown to be the natural result of the use of our
common orthography, whose inconsistencies are detailed in the preced-
ing chapter.

SECTION 1. Double Letters.

Pronounce each word slowly, and mark the sounds accurately. Omit
all silent letters. Very few double letters occur in spoken English.
Such words as attain, attack, etc., contain but one t; adding, bid-
ding, etc., but one d; begging, dragging, etc., but one g; appeal,
append, etc., but one p, and so on, through all words of this class.

A few words, such as wholly, fully, and some others, have both
letters sounded, and, of course, in these cases, both letters must be
written in Tachygraphy.

SECTION 2. Suppressed Letters.

Avoid the omission or suppression of any letter that is really
sounded. Some erroneously write f-ah-m for farm, cod (caud), for
cord, etc. Those who have been in the habit of writing the old
phonography have formed many injurious habits of omission. They
are too numerous to specify ; but let it be observed that we follow
entirely different principles.

On the other hand, avoid writing a sound that is suppressed when
the word is properly pronounced. The vowels in most final unaccented
syllables are silent, or so slightly pronounced as to lead to very awk-
ward reading if distinguished. This is the case in the final syllables
of the following words : given, mason, lessen, lesson, giver, ruler, cel-
lar, musical, notion, mission, ransom, seldom, etc* Nearly all final
unaccented syllables either lose the vocal sound entirely, or retain a
very obscure sound, .which it would be difficult to characterize prop-

PHOXETIC ORTHOGRAPHY. 19

erly. In the common style of Tachygraphy all such vowels are
omitted.

There is a class of common short words, among which there, that,
and the are most noticeable, that seem to lose their vocal sound when
spoken very hurriedly, and to preserve it fully and clearly when em-
phatic. The omission of such vowels is phonetically proper, when they
are obscure, and the polished writer will mark the emphatic word
by inserting the vowel when it is fully sounded. A proper observ-
ance of this principle gives a life and force to tachygraphic writing
hitherto unattained. The following words may be vocalized to render
them emphatic : there, that, the, then, shall, have, can, cannot, from,
for, of, to, do, was, he, we, etc., etc. When not emphatic, the
vowels of all these words may be omitted.

SECTION 3. Cha, ja, ing, etc.

The letters C and G have two sounds. The tachygrapher must
be careful to use the \ in such words as come, care, course, etc., and
the --^ in city, civil, certain, etc., and the ( in spacious, gracious, etc.
He will use \ in go, give, gird, etc., but _ in gem, genn, etc. No-
tice that ch in chaos, ache, etc., is written withka, not cha, and that
judge, ledge, bridge, etc., are pronounced juj, lej, brij.

But in the use of >-" we anticipate more difficulty than with any
other letter. Ng has three sounds, >>x\, c_ , and -^, as in the words
longer (lon-ger), change (chanj), and sing. Ng is represented by ^
in the following words : singing, ringing, bringing, etc. ; by -~- _ in
change, range, strange, etc. ; by >-^\ in linger, finger, stronger, etc.

SECTION 4. Wh, qu, etc.

Wh (sounded hw) has a sign appropriated to it by which it is
uniformly represented. Ha-Wa would not be an exact equivalent, if
their use was convenient. Qu is represented by Ka-Wa ; but it should
be noticed that the u does not have the exact sound of wa. It has the
sound heard in dwell, twit, thwack, etc., in which the w is represented
in the same way ; namely, by wa.

REMARK.

We have noticed in this chapter only such features of the short-hand
orthography as are phonetic or purely phonographic. We reserve for
a future chapter, where it will be better understood, such deviations
from phonetic accuracy as are deemed essential to facility in tachyg-
raphy.

We need add but one general direction to the student. Having
become perfectly familiar with the alphabetic signs as representatives
of elementary sounds, pronounce the word to be written slowly and
clearly, and give each sound its appropriate sign, and you will spell
correctly.

CHAPTER IV.

THE general principles detailed in the preceding chapters should be
studied and understood. The student should now learn the alphabet,
following the directions given below.

SECTION 1. Direction of the Signs.

1. Perpendicular signs and those inclined to the left are struck
downward ; horizontals, from left to right ; Ha, Wa, and Ya, up-
ward ; Em, El, and Ar, either upward or downward.

2. We need not here specify the cases in which Em, El, and Ar
are more properly struck downward; but the upward form is gener-
ally preferable when they are initial ; and convenience will determine
their use in most cases.

3. and rt are always struck in the direction that the hands of
a clock move; c , v, and u, in the opposite direction. This direc-
tion is a safer guide to the true letter than merely the form ; and it gives a
great freedom to the use of these signs, which may be struck around further
than in the alphabet without danger of mistaking the sign. The c , how-
ever, must maintain its original position.

The heavy / is struck downward, the light , upward ; - i - and \ are
written in the same direction as | and \ . They should be one-fifth
as long.

4. When the vowel comes on the first end of a consonant sign, it must
form an angle with it. If necessary, an angle must be made by the use of
a connecting stroke. See Illustration F. This is seldom necessary.

5. On the end of a sign the vowel may form a hook ; yet here a con-
necting stroke is sometimes necessary.

REMARK. In mastering the alphabet, the following has been found to
be a good method of study :

DIRECTIONS FOR PRACTICE.

EXERCISE 1.

Beginning with Be, Pe, fill a line of your copy-book with these letters ;
thus, Be, Pe ; Be, Pe ; Be, Pe, etc. (made, of course, in short-hand char-
acters) . Go on with Ga, Ka, in the same way ; and so proceed with the
first twelve consonants in pairs. Then review them after the manner of
"the house that Jack built," thus: Be, Pe ; Be, Pe, Ga, Ka; Be, Pe,
Ga, Ka, De, Te, etc. See Illustration D.

EXERCISE 2.

Review the first lesson thoroughly. When it is mastered, proceed with
the remaining consonants in the same manner. Then take up the vocal

ALPHABETICAL SIGNS. 21

signs in triads, and master each triad thoroughly before attempting the sec-
ond. See Illustration E.

EXERCISE 3.

Review the two preceding lessons. Proceed to write each vowel before
all the consonants in their order, joining or disjoining according to the rules
givep ; then write each vowel after all the consonants, observing the princi-
ples laid down. See Illustration G.

EXERCISE 4.

Go through the exercises prescribed in the preceding lessons. They
should be repeated day after day, until the alphabet can be penned accu-
rately with the same facility that the common alphabet can be. The future
progress of the student will depend very much upon the thoroughness of
these introductory exercises.

The student should now read a part of the first exercise ; and then pro-
ceed to write the following :

WRITING EXERCISE 5.

Be, bay, bah ! boo ! bow. Pea, pay, pa, pooh, poe, paw. Key, ka,
coo, co, caw, gay. go. Tea, tay, too, toe, taw. Fee, foo, foe, faw. She,
shay, shah, shoe, show, shaw. See, say, sah, BOO, BOW, saw. Thee, they,
though. Me, may, ma, moo, mow, maw, nay, gnaw. know, He, ray,
raw, roe. He, hay, ha, who, hoe, haw. We, way, waa, woo, woe. Jah,
jar. joe.

Aid, day, ate, knee, ye, lay, fane, date, rate, wait, ace, say.

Ought, taught. Eat, tea, ape, pay. Abe,- bay, ache, go, oak, eke, ease,
owes, ooze, oar, row, own, know.

SECTION. 2. Connection of Signs.

1. All the signs that compose a word must be joined together, except

some vocal signs, as hereafter specified. The dot is never joined. The
dashes are disjoined whenever they do not form an angle with the consonant
preceding or following. See Reading Exercise 1. Between

two consonants they are joined to both, when they form an angle with
both ; when the vowel does not form an angle with both, it may be joined
to one and disjoined from the other.

2. A connecting stroke may be used with other semi-circles as well as
A ; but no connecting stroke is used with the dashes. Reading Exercise 2,
line 12. All the semi-circles, except A, may be joined without an angle, to
a preceding consonant, forming final hooks.

3. The hook is made larger for the long vowels E and Ah, to distinguish
them from the short sound i and u, which form small hooks. Exercise 2,
lines 6 and 7. It must be especially observed that these hooks are always
final hooks, never initial. Initial hooks are used in compound signs. (See
the next chapter.)

22 LINDSLEY'S PHONETIC SHORT-HAND.

WRITING EXERCISE 6.

Pa, bah, bar, far, deep, reap, keep, part, cart, guard, sharp, door, Bhore,
mere, hear, seer, tear, roll, soul, toll, bowl. Ale, fail, hale, dale, awl,
tall, hall, wall, call, cool moor, tour, soup.

Am, aim, dam, dame, lamb, lame, ham, ram, has, last, hasp.

His, hiss, hit, with, wit, wisdom, win, wind.

Hid, heed, did, deed, rid, reed, wit, weed, mid, meed.

Bat, bar, fat, far, pack, park, dark, car.

And he said unto them. Let not your good be made evil. Seek peace.
Forsake every evil way. He did the deed. He hid the reed. He will dip
it in the deep.

4. The semi-circles (except A) may be slightly varied in direction, as
before stated. When such variation will suffice to make a proper angle, it
should be preferred to the use of the hook for all long vowels ; but the hook
is preferred for all short vowels ; that is, use the hook for the short vowel
whenever convenient ; avoid the hook for the long vowel when possible.

5. The light lines of the diamond points may be curved outward, when
they will thus form a better angle ; Reading Exercises 2, 8 and 9. The
diamond points and semi-circles are seldom disjoined ; but they may be in a
few cases. When the semi-circies occur between two consonants and do not
join readily with either, they should be disjoined. The use of connective
forms is, however, so convenient, that some prefer to use two connecting
strokes in these cases, instead of disjoining the vowel. See Illustration H

6. O may take the direction of , and vice versa, when more convenient,
in forming a proper angle. See Illustration I. Reading Exercise 2, lines
10 and 11.

EXERCISE 7.

Epoch, Enoch, in, ink, been, pin, pink, seek, sick, meek, week, weep,
reap. Fade, lady, ruddy, muddy. Rope, hope, lobe, tuck, luck, muck,
farmer, farthing, palm, calm, favor, save, safe, lave, love, pave.

SECTION 3. The Position of Disjoined Vowels.

1. A disjoined vowel is written on the left of a perpendicular or inclined
stroke, if it precedes ; it if it follows, on the right ; it is written above a
horizontal stroke, when preceding, below when following. Reading Exer-
cise 1.

2. The dots and disjoined o, are written near the middle of the stroke ;
the other vowels, when disjoined, may be written near the end. They are
however, perfectly distinguished by form, so4hat this position is not essen-
tial to their significance.

REMARK. Let it be repeated that the student should master the alphabet
thoroughly before attempting to go beyond it. See Illustration J.

EXERCISE 8.

Ebb, egg, ed. Deck, neck, peg. Separate, section, deceptive.

Not, non, what, do, to, to-day. Among, men, when, ten, den. Bone,
known, alone, done, son, one. Fatal, fadeless, family, seminary, assidu-
ously.

ALPHABETICAL SIGNS. 23

REMARK. The student must review every day. In this art nothing
should be considered gained until it is perfectly familiar. We give a mis-
cellaneous exercise to facilitate review.

EXERCISE 9.

Long. A, I, 0, be, he, me, we, so, go, may.

Short. At, am, an, in, it, on, up, us, odd, man.

Irregular. The, she, is, has, have, are, was, you, do, does.

I am. He is. It is. She is. We are. You are I was. He was..
It was. She was. I do. You do. I have. You have. She has. It
has. I go. You go.

She is up. She is on. He is in. It is in. He is up. We are up.
We are on. We are in. It was in. It was up. It was on. She was up.
I do it. You do it. I have it. You have it. She has it. I go up. You
go up. I go on. I go in. You go in.

I am a man. He is a man. You are a man. She was in it. I was in
it. ! do go in. ! do have it. Are you the man ? I go at it. She
was at you. Do you go in it ? Has the man an ear ? Does he go in ?
Does he go up ? Does the man have it ? We are upon it. We go in it.

REMARK. We add a few more suggestions for practice.

EXERCISE 10.

Rewrite the preceding lesson. To facilitate this review, the student may
omit every other line, when making the first copy, and rewrite on the line
left open. We ask pupils who take private lessons to leave two lines ; we
correct their writing on the second line ; they rewrite on the third.

REMARK. The pupil will now proceed with reading and writing alter-
nately, adding a little to his exercise each day. He should be sure that he
can read all he writes as well as the printed exercises; and, to make it sure,
he must actually read each day the writing exercise of the preceding day.

SECTION 4. Short Vowels.

Were the pupil supposed to understand the sounds of the letters accu-
rately, further illustrations might be spared. The distinction between the
long and short sounds of the vowels will need some attention b*y most per-
sons.

In learning -the short vowels, the pupil will do well to pronounce and
write the following exercises :

EXERCISE 11.

Ib, eb, ab, oob, ub, ob. A_p, ep, ip, op, up, oop. It, et, at, oot, ut, ot.
Ad, ed, id, od, ud, ood. If, ef, af, off, uf, oof. Is (s, not z), es, us, oos.
In, en, an, on, un, oon. Im, em, am, oom, um, om. Ill, ell, al, ool, ol, ul.
Ir, er, ar, oor, ur, or.

Said, head, led, wed, bed. Peg, leg, beg, deck, neck, wreck. Add, bad,
Bad, lad, had, mad. Mat, hat, rat, fat. Cap, rop, map. It, hit, lit, bit, pit,
Bit. Odd, dot, sot, got, hot. Us, thus, much, judge. Soon, nook, took,
rook, look.

SECTION 5. Position of Outlines.

The first perpendicular or inclined consonant in a word must rest on the
line of writing. Those that follow, take their own proper directions on the
line, above, or below it, as the case may be. It will be observed that the
consonant sign forms the proper limb for the outline to rest on. In the

24- LIXDSLEY'S PHONETIC SHORTHAND.

word bay, for instance, the Be would come down to the line, and the A be
low it ; in came, Ka rests on the line, A is just below, and Em is struck
downward ; in come, Ka is written as before, u is disjoined and Em struck
upward ; in him, Ha commences on the line, and the whole outline is above
the line. See Illustration K.

EXERCISE 12.

Car, jar, bar, arm, farm, mar, tar, far, cart, barn, park, or$ for, cork, fork,
cord, lord, sort, form, corn, horn, morn, her, herd, jerk, clerk, serf, err.
cur, fur, bur, burn, urn, lurk, Turk, curb, turf, surf, curd, curl, furl,
hurl, curt, fir, sir, firm, dirk, erk, kirk, quirk, gird, bird, girl, work,
word, world, worm, worst, wort, girt, birth, first, dirt, hurt.
^ His farm has a barn on it. He rode in the park in a cart. I put a fork
in the cork. The lord put a cord on his neck. He had a bur for his spur.
Do not put a blur on the paper. A Turk may lurk in the dark, and take
your urn. He did curb him on the turf. The surf came in a wave on the
turf. The girl had a bird, and did gird on a belt. He epoke not a word in
the world.

SECTION 6. The Union of Letters without Angles.

Both consonants and vocal signs may often unite without an angle. This
adds to the facility of the writing ; both letters should be struck as though
they were one. But all angles are determined by strict geometrical laws,
and the student should be as careful to make an angle when it is required,
as to avoid it when it is not required. Observe that the consonant curves
are quarter-circles, and the vocal curves semi-circles, and you will easily de-
termine the angle.

NOTE. It will be remembered that a vowel before a consonant, or joined
to it at the point of commencement, must make an angle ; but on the end,
the semi-circles (except A) may form hooks. This is a species of contrac
tion, since it saves one stroke. See Illustration L. \

Double letters, so called, in the common orthography, do not occur in
Tachygraphy ; but the same letter is often repeated, with an intervening
vocal sound. When this sound is represented by a dot or disjoined vowel,
we have forms seen in Illustration M.

'EXERCISE 13.

Key, debt, mated, bubble, public, dead, favor, memory, unending, asses-
sor, accessory, sustenance. Judge, edged, etched, judged, latched, error,
rarer, horror.

Move, method, mother, meditate, met. Gun, ken, government, court,
color, bend, ribbon, ebon, depend. Doth, death, eight. Sun, sung, good-
ness, business, lemon, melon, multitude, multitudinously, luminously.
Hazel, Joseph, several, safe. Antedated, indebted, undoubted, misrnated.

NOTE. The student should bear in mind that a ready use of the alpha-
betic characters in all their possible combinations is the basis of good and
rapid writing. The preceding exercises should be written and corrected by
a competent instructor ; and then rewritten many times until the pupil can
write them with no hesitation. When this is accomplished, it will be safe
to proceed to the next chapter.

COMPOUND SIGNS.

NAME SOUND.

THE EL SERIES.

Bla, bl in blow and able.
Flu, pi in plow and people.
Gla, gl in glow and eagle.

SIGN. NAME. SOUND.

THE ES SERIES.

f Spe, sp in spy.
\ Ske, sk in sky.
c_ Ste, st in stay.

Cla, cl in clay and fickle. <) S fe, sph in sphere.

}

o Sme, sm in smite.
c_x Sue, sn in snow,
a/ Sle, si in slow.

ex' Swe, sw in swell.

THE WA SERIES.

^ Wha, wh in when.

wa, thw in thwack.

Dl, dl in idle.

Tl, tl in settle.

VI, vl in oval.

Fla, fl in fly and awful.

THE RA SERIES.

Bra, br in brow and number.

Pra, pr in prow and uppe*.

Gra, gr in grow and eager. V- Gwa; so also Kwa, Dwa, and

Twa.
Cra, cr in crow and meeker. THE ^^ CJRCLE>

Dra, dr in draw and wonder, I Eps, ps in hopes.

Tra, tr in try and utter. b Ebz, bs in hubs ; so also Eks,

Egs, &c.
V_P Ence, nc in hence.

vj> Ens, ns in tens.

-^ Els, Is in else.
J Elz, Is in ills.
s? Ers, rs in worse.

f Erz, rs in wars.

Vr, vr in ever.

Fra, fr in free and safer.

Zhr, sure in measure.

Shra, shr in shred and usher.

Thr, th in either.

Tlira, th in three and anther.

Nr, nr in owner.

th in thev -
Tha, th in birth.

CHAPTER V.

SECTION 1. Compound Sounds and Signs.

THE vocal diphthongs I, Ew, Oi, and Ow are represented by compound
Bigns. These signs have a relation to the signs of the simple sounds. In
analogy with this, we use signs for certain combinations of consonant
sounds. These sounds, when so represented, are considered and treated as
diphthongal sounds, and consequently this mode of representing them is in
accordance with phonic science, as well as convenient in practice.

The combinations recognized as compounds belong to the Wa, El, Ra, and
Es Series.

1. The Wa Series consists of Wh (hw), gw, kw, dw, thw, and tw. The
first only is provided with a distinctive sign ; its use is invariable. The
gw, kw, dw, tw, thw, are written by joining the simple signs in the usual
way. 'See Illustration N.

WRITING EXERCISE 14.

Whay, why, while, where, wherein, wherever, whereabout, wherefore,
whereto, which, wharf, whale, wheel, whiff, whip, whittle, wheedle, Whig,
whey, whoa, whew, wheeze, wheezing, whelm, when, whence, whenever,
whensoever, wheresoever, whereas, whereat, whereinto, whereof, whereon.

Qui, guac, qua, quick, quiet, querl, quarrel, quench, quill, quail, quart,
query, quarry, quadraginta, quinquaginta, quintuple, quadruped, quaff,
qualify, quality, quandary, quantity, quarto, quib, quickness, quiesce, qui-
etism, quietly, quietness, quietude, quietus, quinque, quire, quiz, quizzical,
quizzing, quo ad hoc, quo animo, quota, quoth, quotidian, quo warranto.

Equal, aqueous, aquafortis, equality, equiforin, equiformity, equip, equi-
page, equipoise.

Acquire, acquiring, equity, acquiesce, aqueduct, Aquitanian.

2. The El Series is Bl, pi, gl, kl, and fl. The first four are represented
by the alphabetic signs for Be, Pe, Ga, and Ka, varied only by an initial
hook on the right side of these signs ; Fl by an initial hook on the El.
Reading Exercise 3, line 2.

3. The Ra Series is Br, pr, gr, kr, dr, tr, fr, thr, and shr. An initial
left-hand hook characterizes the first four, also/r and thr. A hook on the
under side of De and Te, dr and tr ; and a hook on the Ar, shr.

These compound signs are employed in all cases when the sounds coa-
lesce ; as in the words play, pray, blow, brow, try, reply, displace, etc.

EXERCISE 15.

PI, pr, bl, br, tr, dr, kl, kr, gl, gr. fl, fr, thr, shr.

Play, pray, dry, glow, grow, glee, bray, tray, dray, try, plow, prow, blew,
brew, clue, glue, grew, trouble, drabble, trapper, trooper, broker, platter,

28 LINDSLEY'S PHONETIC SHORT-HAND.

prattle, clutter, battle, batter, flow, fro, oval, over, through, either, initial,
treason, pleasure, brother.

Place, blaze, brays, prays, bless, press, trace, grace, glows, grows, power-
ful, travel, gravel, clever, glover, thrive, shriek, display, destroy, distress,
prosper, express, describe, descry, subscribe, disgrace, disclaim, discreet,
testy, exclaim, disclaimer, discriminate, criminal, bridge, trial, glimpse, dis-
agree.

4. The Es Series is Sp, sk, st, sf, sm, sn, and sw, as initial compounds.
The compound sign is not used when the * is a first consonant in the word,
and is preceded by a vowel. The circle would be used, for instance, in spe-
cial, but not especial. It would be used in stem, state, scout, but not in
esteem, estate, sect. If preceded by a vowel in the beginning of a syllable,
it is employed when the two sounds are clearly diphthongal ; if not, not.
Exercise. E. g. : dispose is properly divided between the dis and pose,
and the s and p are clearly separated in pronunciation ; but the word de-
spair is divided de-spair, leaving sp as a compound. Restore, respond,
bespeak, bestow, are other examples of compounds ; distance, dispense,
discover, mistake, examples that do not contain compounds. It will be
observed that the Es circle is on the El hook side of the straight signs, and
on the inside of the curves.

SECTIOX 2. Compounds of the El and Ra Series in Final Syllables.

1. The final syllables of feeble, local, paper, rightful, leader, water, etc.,
contain no vocal sound ; yet the consonants do not unite as closely as they
do in initial syllables. The use of the compound signs in these cases is not
60 strictly phonetic, but no indefiniteness can result'; and their use will be
found of great service in many words. The full form will, however, some-
times make a better outline, and join more conveniently with a preceding
vowel.

In final syllables, the initial compounds are used, together with the fol-
lowing : dl, tl, vl, vr, thr, zhr, and nr. Reading Exercise 3, lines 10 to 12.

It will be observed that initial 1 and r are never represented by the hook ;
that the hooked character is seldom used when the two sounds are not
closely united ; that the remaining part of the word often determines
whether it is best to use it or not. A little care and experience will obviate
all difficulty.

"WRITING EXERCISE 16.

Treble, terrible, traitor, Tartar, frame, farm, odor, adore, utter, attire,
seeker, secure, idle, dull, glow, goal, clay, coal, flow, follow, evil, volley,
fritter, ferreter, turtle, tortoise, break, bark, breath, birth, frail, furl, trade,
tardy, blubber, pilfer, gutter, guitar, crier, currier, boulder, bladder, plaid,
pallid, peal, plea, pale, play, Saturday, stride, purpose, propose, torpor,
trapper, brawl, barrel, crave, carve, curves.

2. When Es in the end of a syllable unites with a preceding consonant,
the circle may be employed ; and, since Es only can be sounded after the
aspirates, Pe, Te, etc., and Ze only after the sub-vowels, Be, De, etc., the
circles may be employed in the end of syllables for either Es or Ze. After
El, Ra, and En, either Es or Ze may be pronounced ; BO, after these letters,

TRIPHTHONGAL COMBINATIONS. 29

we make one side of the circle heavy for Ze, while the Es circle is made
light.

3. "When a syllable is added to a word ending with the circle, if the
added syllable begin with a vowel, the circle is changed into Es ; if it begin
with a consonant, the circle is retained. It would be retained in thence-
forth, henceforward, ratsbane, boxwood, etc. Note, however, that ing, as
a participial termination, may be added after the circle, as the vowel is sel-
dom written with it, and the plural termination es in like manner

WRITING EXERCISE 17.

Hopes, hats, hooks, hubs, heads, hogs, heaves, leaves, laughs, wills, else,
ills, worse, wars, purse, first.

Of two evils, choose the least. Such as boast much usually fail much.
We hope to be able to leave on the day you name. It is easy to demolish,
but far less easy to raise up. What is requisite to secure readiness and ex-
quisite nicencss in the appearance of such an exercise? 1 may answer, first
study the peculiarities of each form till the reason and science of every part
of it is fully understood. Then write it over several times with much care
till you are able to make the forms accurately. To make the most of the
exercise, you should write and rewrite it till you can pen forty to sixty words
in a minute. Then read it over and over again till you can read it as easily
as printing, even backwards.

What a huge ball is this earth on which we live ! How multiform its
varied features ! How marvellous its destiny ! His exquisite taste leads
him to test things nicely. Is this %e reason that he is caljed testy ? It is
not best to boast at random or ever rashly.

At the last ball of the season the hall was very magnificently decorated*
Lost hours never come back. Time once passed never returns. Haste some-
times embarrasses success, and seldom leads to more despatch. He missed
it at last. Most may secure all that would be best for them to possess.
You must seek in earnest, if you hope to secure such a bonus.

The boy has an easy task, and should be required to perform it well, or
give reason for his recklessness in the discharge of duty. An unjust judge
may be led to seek for justice. Will rust corrode the polished steel ? The
storm still rages, but the helmsman steers the vessel with the skill of a
statesman. The stoic laughs in the face of danger. You must go fast, if
you would overtake him.

SECTION 3. Triphthongal Combinations.

In the triphthongal combinations, spr, str, skr, and spl, * is written with
the long sign, and pr, tr, kr, and pi are treated as compounds.

REMARK. These and other compound signs should not be considered con-
tractions ; their use is strictly phonetic, and tends to make the writing
more legible and beautiful. They can give the student no trouble when
once he comprehends the principle ; their use is seldom in any degree equiv-
ocal. See Illustration O.

EXERCISE 19.

Supple, supper, sable, sabre, cider, settle, setter, sickle, sicker, sucker,
Buckley struggle, streamer, scraper, scribble, scruple, distress, prosper, ex-
press, expressive, extra, exclaim, disgrace, describe, disagreeable, describer,
strata, pastry, disclaim, disclose, sooner, suitor, suttle, sphere, suffer, safely,
safer, sever, swivel, sparrow, spray, spar, stratum, saturate, saddle, sadly,

30 LINDSLEY'S PHONETIC SHORT-HAND.

eagely, ancestor, ancestry, imprest, impostor, imply, employ, impel, temple,
temper, tamper, tempter, trample.

Try to do right, and you will be quite likely to succeed. The flowing
waves please the hopeful angler. The gloomy clouds are full of awful fore-
bodings. She is an affable and amiable young lady, and nobly performs her
pleasing but tiresome duty.

Idleness is a plague to the scholar, for, unless he applies himself closely to
his books, he loses all claims to the applause of his family or his official su-
periors.

In order to excel in any business, it is necessary to persevere and avoid
frittering away our energies on too many pursuits.

They are in danger of losing the opportunity, and when will they have
one in all respects superior ? To acquire any science of real worth requires
much labor, care, and perseverance.

SECTION 4. The Circle between two Consonants.

When the circle comes between two consonants forming an angle, it is
written on the outside of the angle ; or, more explicitly, there are three cases :
first, when the circle comes between two straight strokes, it is then always
on the outside of the angle ; second, between a straight stroke and a curve
it is written on the inside of the curve ; third, between two curves it is
written, fiist on the inside of both when possible ; second on the inside of
that with which the sound is allied ; or third on the upper side when its
position is not otherwise determined. See Illustration P.

EXERCISE 20.

Spk, p-ks, st-m, t-m-z, m-ts, sn-d, sn-ch, sh-ns, sf-t, f-ts, sr-m-n r-m-ns,
Br-m-ns, sm-r-m-rz, sm-l-r, sk-l-r, sw-bz, sr-n-t, 1-k-cis, 1-n-s, 1-r-js, 1-gz, 1-jz,
sl-k, sh-dz, d-g-n-fz, sl-m-1, d-m-ns.

Bsk, bst, vst-1, bsch, fsn, psm, dzr, rsk, hsk, rsn, psl, psr, gsr-t, mzr,
nrsl, nsr, rsv, hst, hsl, nv-rs-n-r, ms-l-ns, ds, p-ch, dspzd, dsch-r-j, dsks,

Kst, ksch-n-j, gzbt, nst, ngst, kpsk, kspnsv, n-dsp-nsb-1, nst-n-t-ns, dsgzd,
bst-m-ns.

Psp, tst t dsd, tskrs, kskss, fsf, lei, osr, rsr, msm, nsn, using, fsl, fsls, fsr,
nsm, msn, mknzn, tsm, mst, tsn, rtsn, stzn, spzm, mdst, psn, Isn, Isng.

Qhss, spsz, msz, gzst, nsst, nssr, pssz, ksrsz, pssv, n-f-r-nsz, n-kssb-1,
ekssf-l.

The sweetest meat may be encased in the hardest shell. Shell fish are
among the richest, rarest, and best. Pomposity may subserve some worthy
purpose, but ill becomes a solid theme.

There are blessings in store for all those who seek for goodness ; glory,
honor, and immortality for all who find the truth. There, in those heav-
enly climes, are joys that never fade ; there, shall sorrow be assuaged, and
darkness, fear, and doubt forever fly away ; there, the happy spirit shall re-
joice in glory hoped for long, and prayed for, oh, how fervently ! Their own
neglect of God shall curse the souls who sought him not ; their own desires
be given those who chose error instead of truth, who preferred darkness to
light, the praise of men to virtue's sure reward.

CHAPTER VI.

SHORTENED FORMS.

WE have given, in the preceding chapters, all the principles that are es-
sential in writing the common style of the art. ' Considerable increase of
speed may, however, be effected by observing the following principles, which,
while they are not strictly phonetic in their nature, are still so exceedingly
simple and natural as to present no difficulties to the practical writer :

SECTION 1. Contraction of Vowels.

1. Oo may be written for Ew after Ya, and En in words where Oo is
more convenient ; as in the words union, write, occupy, etc. Reading Ex-
ercise 4, line 1.

2. After En, the connecting stroke may be written for i, and. the vowel
omitted, as in any, many, sunny, etc.

SECTION 2. Omission of Vowels.

1. The common style of the system may be written with perfect accu-
racy with the omission of no vowels ; but the adept will increase his speed
without sacrificing legibility, by omitting those vowels that do not connect.
This may be often done, but not always. If the vowel commences the word,
it should be written ; and when the omission would leave an equivocal out-
line, the vowel is required in one of the words to be distinguished ; thus,
omit the vowel of for, but insert it in fair ; omit it in her, and insert it in
hair, etc.

Vowels may be omitted as specified in the following cases : (a) In a few
short words of common occurrence, do, to, which, that, what, not, for,
from, was, one, once, where, there, done, could, would, should, when, unto,
were, of, but, etc.

(b) In long words they may be often omitted. This should always be done
in final unaccented syllables ending in en, er, on, ble, cle, and generally in
al, ar, an, etc.

(c) The terminations es, ed, ing, less, ness, when mere affixes, and the
prefix com, when unaccented, may omit the vowels; and generally in long
words an unaccented vowel may be omitted when it is unconnected, and
when its use is not needed to distinguish the outline from a similar outline.

2. Accented vowels should, as a rule, be written ; and all vowels that
are clearly sounded should be written in proper names of persons and
places, in foreign words, and all that are uncommon and liable to be misun-
derstood. 4F

32 LINDSLEY'S PHONETIC SHORT-HAND.

REMARK. 1. We do not encourage the substitution of oo for U in
speaking the words contracted by the use of this briefer sign. Its use in
such words as tune, substitute, constitution, and a large number of words of
this class is a fault ; but the writer of short-hand will consult convenience
instead of perfect accuracy. For the instruction of children, a more per-
fectly written style than the Common may be desirable.

2. The omission o'f vowels may be carried safely to a greater extent than
indicated above ; and the writer who would secure any great rapidity must
at least avoid the use of all obscure and unimportant vowels.

3. The introduction of a vowel sometimes relieves the form, and, by
presenting a better angle, increases instead of lessens the rapidity. Back
is written more easily than beck ; pick than peck; tick and tack, Dick and dock,
than tuck and deck.

SECTIONS. Facilen ess of Form.

1. The doctrine of angles needs much attention. An acute angle ia
better than an obtuse. See Chapter IV. Section 6. By the proper use of the
vowels and vowel hooks, the compound signs and the forms for L, M, and
R, facile forms may always be secured.

2. The student must cultivate a knowledge of brief forms. He can gain
much by reading short-hand papers, but during the first two or three
months of practice should have his papers corrected by an expert in the art.

.x EXERCISE 1.

Deviation from, or omission of, or addition to, truth, is nothing more or
less than a lie. Be as slow in deliberation as the case will allow, but quick
in execution, unless weighty objections render an opposite course necessary.
Resolution and perseverance remove all obstructions to progression. Ambi-
tion ia the occasion of sedition, confusion, and dissolution, and arouses every
evil emotion and passion./^ Affectation will surely expose a man to derision
in proportion to his assumption. The acquisition of knowledge is greatly
facilitated by a disposition to understand whatever is obscure in common af-
fairs. As possessions of mental treasure are beyond compare with metal,
precious though it be, so the possession of moral worth transcends the sub-
limest acquisitions of the intellect.

CHAPTER VII.

PHRASE SIGNS.

1. A GREAT increase of speed in writing is effected by the use of connective
vocal signs. A similar advantage is gained by connecting several words into
the same outline. Such phrases as of the, on the, to the, to a, of it, with it,
it is, etc., may be written without taking the pen from the paper ; and, in
some cases, even longer phrases may be so treated, as, for instance, at this
time, in that way, at one time, in such a way.

They rather increase than lessen the legibility of the writing, when judi-
ciously employed.

2. Phrase signs should be employed for phrases only, or for words closely
connected in the sentence ; either a grammatical or rhetorical pause between
words should lead the writer to separate them in writing.

The following phrases are given as examples ; but if proper attention be
paid to pauses, the writer may increase their number indefinitely :

In truth, in fact, in fine, in short, in general, in particular, no doubt, of
course, as it were, to be bi-ief, to be sure, without doubt, without question,
beyond question, in the mean time, in a word, by chance, for the most part.

3. "Whether the words of a phrase should be united in writing depends
very much upon the convenience of the joining. When the words unite
without an angle, as is often the case, it adds greatly to the facility of the
writing. Such is the case in the following phrases : ought to be, ouyht to
do, at the, to them, from this, from that, from them, etc. But it will be
found inconvenient to join more than two letters without an angle ; this is
sometimes necessary in word outlines, but should be avoided in phrases gen-
erally.

4. Very common phrases may omit the vowels often, where it would not
be admissible if the words stood alone. The first word should, however, be
fully vocalized, and no vowel omitted that would leave the phrase obscure.
Phrases commencing with he, we, you, and some other words, omit the first
vowel.

5. But if the first word contain an unconnected vowel, the vowel of the
second woi^ should be written ; as in, to it, to invest, from this, etc.

REMARK. Students frequently commence by making their phrases too
long. Two or three words only should constitute a phrase in most cases ;
yet four, five, or more may be sometimes employed. It is better, how-
ever, to make the phrases too short than too long ; and especially, where
the words are dissociated in sense, they should not be made into long
phrases. . .

34 LIXDSLEY'S PHONETIC SHORT-HAND.

EXERCISE 22.

As good. As great. As if. As it may be. As it should be. As long
as. Can be. Cannot be. For instance. For it should be. For the. For
which. From me. Have been. He has been. He has not. He should.
He was. He will. I believe. I can do. I will not. I may say. If there
is. If this is so. In a. In the. In any. In no way. In such. At that
time. In the world. It is not necessary. It seems to be. It ought to be.
It would not be. Learned friend. More than. My brethren. Of the.
Of them. On account. On the. Or the. Ought not to be. Ought to
have .v Public service. . Shall be. Should be. So as to be. So that. It is
impossible. The present time. The first. The way. The truth. The
chance. Take place. Take care. That the. That we. There are. There
is. There were. They have. They will be. To be. To do. To have
done. To the. We are. We may. We have. ' We wish. What is the?
When we. When they. Which you know. Which will be. Will be
done. Will they? With this. With that. With our. With reference
to. Would be. Would you? Would they? You are. You had been.
You were. You will be. Your own. Yours truly.

In order to love mankind, expect but little from them. We dwellers in
this world of error are like men walking through the streets of a city on a
foggy morning. Every one imagines that immediately around himself there
is little or no fog, but around others, at a little distance from him, he per-
ceives it to be thick and blinding. In the day of wooden ploughs, the great
danger was in going too fast and knowing too much ; now, the difficulty is
to. go fast enough and know enough. Be not dismayed or unmanned when
you should be bold, daring, unflinching, and resolute. The cloud whose
threatening murmurs you hear with fear and dread is pregnant with bless-
ing, and the frown whose sternness now makes you shudder and tremble,
will, ere long, be succeeded by a smile of bewitching sweetneea and benig-
nity.

CHAPTER VIII.

UNIFORMITY OF OUTLINE.

SECTION 1. L, M, and R.

IT is, if not of prime necessity, yet of no little importance to the writer,
that he use the same form for the same word at all times. A difference of
outline will not render the reading necessarily obscure, any more than a
similar mistake in long-hand, nor so much ; because the writer of this sys-
tem need, never mistake the true letters of any word that he can properly
pronounce, and can hesitate, for the most part, if he hesitate at all, only in
the use of the signs for L, M, and R. It may be a matter of taste, how-
ever, whether to insert or omit a vowel when unaccented, and whether to
use the full form or the contracted for final syllables ending in L and R.

We give below a few rules that will aid the student in securing uniform-
ity of outline.

NOTE. The upward forms of the three varied consonants are named La,
Ma, Ra ; the downward forms El, Em, and Ar.

The direction of the variable letters is determined by their union, first
with the vowels, second with the consonants. We use for convenience here,
as in some other cases, the names of the letters for the signs indicated. See
the alphabet.

1. (a) Ma should follow E, i; Ah, a, and I. Em always follows A ;
Ma precedes 0, u, I, and Ew. In other cases Em and Ma are equally con-
venient.

(b) La is used before A, Ah, and a, 6, Ew, and Ow. El precedes E, i,
and Au. La follows ; and El, Oo and oo. With other vocals, El and La
%re equally convenient.

(c) Ra is most convenient before A, ah, a, 0, Au, and u ; and after E,
(, Ah, ii, I, and Ew. Ar is always used after A unless A is disjoined ; and
is more convenient after Oo and oo. In other cases, Ar and Ra are equally
convenient. Ra is used almost always for initial R.

2. La, Ma, and Ra are preferred both before and after a descending
stroke, and in most cases before the ascenders, Wa, Ya, and Ha. With the
horizontals, the upward or downward form is equally convenient, if the an-
gle is equally good. An acute angle is, however, better than an obtuse, and
hence we use Ar after Te, De, Cha, and Ja, and Ra after.Es and Ze. An
acute angle is better than an obtuse, but no angle is better than either ; so
Em En is better than Ma En ; but Te or De La should be avoided ;
but they are used in a few words.

36 LINDSLEY'S PHONETIC SHORT-HAND.

SECTION 2. THA AND tha.

In the Literary Style, 'we use the signs named tha and tha, for the German
Bounds of ch and g (final) . Since, however, we use them in the reporting
style, in certain cases, for distinction, and to form more facile outlines, their
use, by the great number who never care to write foreign languages, cannot
be objectionable, even in the Common Style. These forms are just the re-
verse of the alphabetic signs. They should be used only in cases where the
other forms are inconvenient, as after Ra and En. They are used in the
words they, than, then, birth, etc. ; and are very convenient in certain
phrases, as in, in the, on the, the way, the war.

We will add the following rule : Use Tha and tha after A, Oo, oo, and I ;
and Zhe, Ish, En, Ing, and Ra ; and before Wa, Ha, Be, Pe, Zhe, Ish, En,
Ing, Ja, and Cha.

A similar inversion of these signs takes place in phonography, where the
forms for th, th, f, and v are inverted and hooked to provide the signs for
thr, fr, and vr.

REMARKS. When a word is found that occasions any difficulty, it should
be studied carefully, and, when understood, rewritten until it is thoroughly
mastered.

After the first ten lessons, the student should write from dictation. The
reader should read very slowly at first, and gradually increase the speed with
the ability of the writer.

The study of the reading exercises should keep pace with the writing.
The reading and the writing are equally important ; neither should be neg-
lected for the other.

EXERCISE 23.

(a) Emit, improve, ambition, I'm, aim, among, motive, mutter, mile,
mute, (b) La, lay, land, longitude, lewd, loud, lee, linnet, laurel, old,
fool, pull, (c) Ray, radical, roll, raw, ruddy, ear, irrelevant, architecture.
arrival, Ireland, endure, arouse, various, poor, carrier, ream, rill, run, raise,
risk.

2. Wear, rare, pair, Tory, weary, worry, year, yore, your, territory,
chair, jeer, germ, charm, cherry, tarry, door, doer, attire, tear, tare, ema-
nation, emerdation, mention, Delaware, intelligence, telegraph, infidelity.

SECTION 2.

Athens, bathing, writhe, soothe, tooth, wisheth, meaneth, singeth, fear-
eth, the way, the war, the heart, the boy, the portion, the surest, the next,
the just, the charter, the means, the best means, the day, the hour, the time,
the form, the vice, the system, the easiest, the right, the right way, the
wrong way, the credit, the germ, the claim, the grand, the glory, the praise,
the blessing.

CHAPTER IX.

SPEED IN WRITING.

SECTION* 1. Punctuation.

THE same rules for punctuation obtain that are used in ordinary writing
and printing, and the same characters are employed. The dash, however,
commences with a waved line to distinguish it from a Te or De.

No diaeresis or apostrophe is used ; but the hyphen, caret, quotation
points, parenthesis, brackets, etc., may be.

SECTION 2. Capital Letters.

For common practice no distinction of capital letters should be attempted.
We have a Literary Style designed to represent the language more accu-
rately, as also foreign languages, in which the capital letters are distin-
guished.

SECTION 3. Directions for Future Practice.

This style properly reduced to practice is capable of great rapidity as well
as ease and freedom in writing. No person of ordinary nerve should rest
satisfied with less than three times his speed in long-hand, and all may go
considerably beyond this, unless they contract their long-hand writing.
But it is difficult to instruct the writer in the laws of speed by a word of ad-
vice. To make the advice of any value, it must be followed, followed
thoroughly and persistently.

We will suppose that the student has gone through with the exercises in
this compendium, and understands clearly all the principles of the art ; that
he has a free and ready use of the pen, avoiding a cramped position of the
hand or body, and has trained himself to accuracy of form. He should now
go back to the alphabet, and see that he can write it with the most perfect
readiness. He should be able to write the forty-two characters in fifteen
seconds. He should then proceed to the compound signs, and acquire the
same skill in their use, writing them all in about twenty-five seconds. Next
the consonant forms that unite without an angle should be subjected to
drill until the two can be struck with the same readiness as the single let-
ters. All ordinary combinations of the vowels with the consonants should
next be mastered with equal perfectness. Such syllables as are found in the
first easy lessons of some spelling-book (we prefer the Elementary Spelling-
Book by Webster) ba, be, bi, bo, bu, ab, eb, ib, ob, ub, etc. are excellent
for this purpose. The 'Student who wishes to become a rapid writer should
have such easy syllables read to him until he can write them as rapidly as

38 LIXDSLEY'S PHONETIC SHORT-HAXD.

an ordinary reader enunciates them. He should then proceed, writing from
dictation, with words of three letters, following the course of the spelling-
book ; and with frequent reviews, rewriting the same thing from ten to
twenty times, go through the spelling-book. lie will now be prepared to
take up phrase signs. These should be read to him, at first from the com-
pendium, and afterward from some simple elementary book. The student
should proceed from this to passages from the Bible, extracts from the
Gospels, the Psalms, or Job, and from such easy beginnings advance to more
difficult works, according to his taste.

If this way seems long, we can assure the student that it will pay much
better than to blunder on a year or two in a slow and uninteresting way.
Some pupils acquire a rapid style with much less practice than indicated
here ; yet we do not doubt that the best would do still better with this thor-
ough preparation.

"We must, also, here protest against a too prevalent idea that, while teach-
ers are necessary in all other arts, sciences, and pursuits, the art of short-
hand is so much more easily acquired than any other that no teacher is nec-
essary. Probably most students will master the art under a competent
teacher in one fourth the time that they would master it reiving only on
their own quickness of perception.

ILLUSTRATION A.
The Old and New Letters Contrasted.

i \ _ )

P K LI "T V-

ILLUSTRATION B.'
Phonic Spelling.

Capo cap meet met sight sit note not tube.
Tub fuse fuss lasli sing singe . longer oath.

ILLUSTRATION C.
Variations of Vocal Curves.

Me mi mi la la IB

.ILLUSTRATIONS D and E.
Practice on the Alphabet.

1 1 1 1 ii ii i i |i II i! ii 1 1 till

\\\\\\ \\Y\\\ \\V\\\\\\\

ILLUSTRATION F.

The Connecting S:rokn.

ILLUSTRATION G.
Vocal before Consonantal Signs.

-X X.")") N *- "^ "^ S~ ^

ILLUSTRATION E.

"Dipthonjru'. and Disjoined Signs.

>' S\ -N ^^ ,i. . i. ',- 'I ^ .

') L

\ U -\ > ^

s v s^ v?

J L L U S T K A T I O N I .

o lo-i-r nn.l U-short.

ILLUSTRATION J

Pi'ions of Vonl Si-ins.

r^-
L/

ILLUSTRATION K .
IVi^irions of Outlines.

^^-, * / /^/ '^I--

ILLUSTRATE

Joinin wu.'.'out'

/o '/o

1LLUSTRATFON M

ILLUSTRATION

ILLU STR ATI ON O

ILLUSTRATION P.

f ^^x

f v O
\ <\ Q'S

IN TACHYGRAPHY.
EXERCISE 1.

c / ^ ! v t \ V 7 r J

> ^ c t C I* ^ ^ ^ ***^ J -^
\ Ape ache pay gay day be key eke eat ear eel <il

V \ \ , u_ <- <- '-

I 2. Coo c caw dough daw too oat aught taugl.t doto
1 3 Fee she see i!ice me f32y nay say ray way jay

* ? / -V ^

4. A\vn gnaw nil law awk caw or raw awed dr.w
'. 5. Coat oodo nesc njde rote mote mode load core

V, \ V ^ 1 ^^-^? <^_ <^^t -^

i 5 Caught cavrod naught gnawed wrought talk walk laud

7. It if is at an am fit lit hat mat rat pit.

'3. Look nook hook up us thus on odd got dot
9 Awn on dawn don sought. 631 > caught ca: rot hot.

Tic nigh bigh dew cue view coy cow coin oil

ti -ELb egg said guess air fair pair chair reck.

44
1

SXjSfcClSE II
Do to too tw root (bod foot would could stieoa

Sup some such rob knob knock lock rock rrtch
Vast fasten late fate reach neap bowl polo shoae
In tin c UD seen as lust Las task a.s-k tsta.sk. mist
Pat pack king \viih him bis fish I fiM feel vi

c givej kin.

Mill meal rill reel sill seal sieve receive g

7 Did deed hid heed / nd reed mi^ meed weave hear.

8 Dip deep rip reap heap kcc| / leap ck sees meek
S. By igh ice tiica size hew how new dlpo tubs

JO Sign tune town ruse rouse no-se hoys piety fire

11 Open poi-.rn rope pore /'poor tou^h ououyb dudi.
|2 Muddy ruddy un . run undono among tou^ua norw.

13 Aid mad c

aco debase is^uo cucli Egypt.

Deity theism real materially aerial incandor pioi
13 ^Tall fall^Paul hntil shawl toss loss lnws lord

EXERCISE HI .

^ /r <? O *v t^ r ^ v e N / \ ' i^

I- You who why thy ye I aye a O oh! owe awe ah!

2, -:li! use use cmte assiduous munumi nmoa
IJONO ANJ> SHOP.T VOWELS CONTRASTED

R r X_C ""

< .

? , / ^ X

EXERCISE IV.
VARIABLE CUA&ACTEBS.

./"_

7 y\

^ 'y -' ?

ANGLES

Ko ANGLES

HALF ANGLES.

\j \J r\(

C_ c vy \j

EXERCISE V.

The Wa Srie

The L Series.

<Zs '

Final f f *\ \ C- C_ V y C_-x nl
*s

The R Series.
Initial. 1 1 "Y\ ^ c- *) '"> / I/ '\. VA % 'V

c-^ < / i v, v . T r'i "~ J \ x'*~ r ' ~~"1_'

F.oal VI r \^ x c- v- ^0 // ^^ c,.^'Li'1

The S Sonet.

Initial

Final

>-0

EXERCISE VII.
Vowels Omitted.

Be go gone could can -come; da .done to of for from
should shall, is so some' fr the they that ahem then
there may tna'ny ofi Any not unto 'are vro wero ooa

lio h;r 3'ou. ivhat .when Where

-A

.^ ^ \ _.-r

\^cS

^/ x

V .^,

S^'
O/c.

EXEiiCJSE VIII. .

i ~

/ \

EXERCISE IX-
Phrase Sign

EXERCISE X.

THE FLOWER. Tennyson.

V ' v ' S ' '

-^ e . l'.' ] 'i"

^ ^ t

') r-,

I...

AGE.

-, r

EXERCISE XI.
St. -John's Gospel, Chap 1.

V '^--^~ ~~ ^

3. A-. l,c"

- "~ ! ' ~~> ^" ~X_^

v-.

V.-^ ^S*~- ^ -

\...^^L - 10 - -'
'^- U-r

^rA

'- y -

EXERCISE XTT.
ONE GOOD TURN DESERVES ASOTHEB. Mrs. Gilraan

^"^ L

BRIEFER FORMS.

)

c ] \

6- v^__ *

5 ^__/^J^
)

EXAMPLES.

-V

Fall fully evil civil - traveller owner usual plcasaro alone.

a-? 2 o <-2- ^ e>o ^ v

Cnder acceptance article association beautiful l>t-!ong.
r- X ' ^ I I

Consequence exercise following ooiliing anything sensible.

V V s " ^V^ ~~^ _ L/

~ >1 5 U v .

c; Cdap. vir

ABUREVIATJONS.
A. B.. A D., A M, Ace., Chap., Co., D. D, Do.

* / ^ / V r '

Dcp, Bag., Mr Math., Nov., P. S, P. M., Kcv.

5 WORD SIOXB.

And AS been has have this what will,

~ o f <? -* u J
N T OT8. ~ ~ ^ c ^) ^ / ^~X_ v /" T '. . ^)^

>^_ ^ Ve? \ ^^-^-y

o s ^ cr^, ^ V' ^~

<, > (^ <.. ^ ^^ o ^-j^A-^cr"

PHKASE SIGNS

As well as as soon as, as hr&s as we, has beeJt has dona
o, O ~^ ^ ^~>

Dave been; have wo; have you, Th^ la Will be. I hare,. I'T*

We have, we've, Tou have, you've, They have, been;

They will bo, you will not be; we shall have been. It is not.

t: is not to bo I w not to be supposed And they wera

"*^
U

As they say AS some say For instance At first At once
To be sure. To have been And it is said Which is certain

THE POWER OF A WORD Landor.

LINDSLEY'S PHONETIC SHORT-HAND.

THIS new system has already found its way into all parts of the country.
Its amazing simplicity and practicability, everywhere conceded, are ap-
plauded most enthusiastically by those who have spent years in a fruitless
endeavor to master the intricacies of Phonography. We have room for only
a few extracts from among the thousands of commendations that have been
sent us. ^

From the Hon. Horace Mann.

"If I understand you, you have phonografied Phonography, and therefore
have reached the very thing which I had in my mind when I wrote upon it
many years ago."

From A. Royce Esq., of Cleveland, Ohio.

"Your plain literary style (of short-hand) is one of the great things of
the age. The more I use it, the better I like it."

From Jl. T. E. Clark, Esq.

" The fact that I have adopted your system after havfcg reduced several
other systems to practice, in seeking for the best, speaks as much as I can
express in any other way."

From L. M. Guernsey, Ed. True Citizen.

" We say without hesitation that the system of Prof. Lindsley * the only
practicable one we have met for the ordinary scholar, who cannot devote the
best part of life to the study of rapid writing."

From Rev. Wm. Pittenger, author of The Great Railroad Adventure.
" I have high hopes for Tachygraphy. I find it to be of more and more
use to me, and this makes me believe that it will be of use to others. I now
|erite it with an ease that I do not think I could ever have attained in Phonog-
raphy, although I have not studied it one tenth as much. We only need
time and enterprise to make Tachygraphy the common writing of the land."

From Rev. A. C. Row, Chaplain and A. A. D. C., Third Div. Fifth Corps.

" I am much pleased with the system. I found it of the greatest value on
the last marches of our corps, where 1 had to take many notes, and do much
writing on horseback, while in motion. I could write legibly in Tachy-
graphic characters ; my long-hand I could scarcely read when cold. On the
late moves I have been constantly topographing the country as we passed,
and have found the art worth more than the labor it cost to master it already."

[This was written with only a few weeks' practice of the art, and showi
how soon it will repay a man of activity for the labor of acquiring it.]

RECOMMENDATIONS .

From the Boston Cultivator.

" Of the coming great reform in written language, there can be no more
doubt than of its universal need, and in future we shall be glad to be
counted among its earliest friends."

From T. J. Stevens, Mechanicsburg, Penn.

" My first impression of your system of Short-Hand was that you had laid
Phonography over on its side. It embodies more horizontal, running char-
acters than Pitman's System, whose perpendicular stiffness retards the hand
in its forward movement."

From N. Chandler, of Baltimore, Md.

"Ihave ever been desirous of obtaining a knowledge of some system
which would not require the vast amount of practice which is indispensable
in turning Pitman's System to practical account."

From Bryant, Stratton, Co.'s Com. Col. Monthly, Hartford, Conn.
" Mr. Lindsley has got down to the root of the difficulty. He has made
one of the most difficult subjects one of the simplest. Henceforth no one
need try to learn Short-Hand in vain. His system can be learned with lesa
labor than the common long-hand."

From the New Haven Journal and Courier.

" Every editor, ^awyer, and minister knows the advantage of a knowledge
of short-hand writing, and this is certainly the best system that ever came
under our notice."

From Rev. George Hopkins, A. H., Principal of Woodstock Academy.
" I am in favor with your system, though I have both used and taught
Pitman's."

From R. E. Van Gieson, M. D., Englishtown, N. J.

" I freely confess that I expected to be disappointed in Tachygraphy. It
therefore gives me the more pleasure candidly to acknowledge that I am not
only not disappointed, but, on the contrary, agreeably surprised at the sim-
plicity and accuracy of your system."

From Increase N. Tarbox, Sec. A. M. Ed. Society.

" I am satisfied that it (Lindsley's Phonetic Short-Hand) is a clear, sim-
ple, and well-devised system ; that it is easily acquired and wisely adapted
to meet the wants not only of reporters, but of clergymen, lawyers, and gen-
eral students."

From J. F. Gould, M. D.

''Your System (of Short-Hand) is much, very much superior to Pit-
man's. It is less complicated, more legible, more rapidly written than
either Mr. Graham's or Mr. Pitman's Systems. To students, while attend-
ing lectures of any kind, it offers great inducements, and will prove of value
in the performance of the duties of a professional life."

From the, Round Table.

" An improved system of Short-hand, called Tachygraphy, has been
recently coming into notice, and, if we mistake not, bids fair to supersede
the system of Pitman. Certainly very many short-hand writers are abandon-
ing Phonography and taking up the new method ; and we do not know of
one who has carefully examined its claims but has granted its superiority.

" Its main advantages are these : (1) A prevalence of oblique and horizon-
tal consonantal characters, thus avoiding that perpendicular stiffness which
hinders or wearies the hand so much in writing .Phonography. (2) Most of
the vowels are joined to the consonants in writing, in their proper order. . . .
Any given extent of vocalization can be far more quickly effected by vowels
inserted*, so as to make one running character of the word, than by disjoin-
ing vowels ; and, besides, legibility can thus be better secured than by vowel
characters which have different meanings according to their varied positions.

This is a great gain upon the old method (3) Its use of comparatively

few contractions, and its rejection of arbitrary signs."

From the Boston Daily Traveller.

" Its simplicity and practicability are applauded most enthusiastically by
those who have vainly endeavored to master the intricacies of Phonog-
raphy."

From the Evening Gazette, Boston.

u It is acquired with less effort, and more rapidly written, than the old
style."

From the Nation.-

u Many of those who have failed to learn Phonography are embracing the
opportunity to learn an easier and more rapid style."

From the Sprint-field Republican.

"It is the nearest approach yet made towards reducing the art to a
practicability which may be acquired without the expenditure of years of
labor."

From the New York Observer.

" The leading improvement is in the vowel signs, which are a system of
semi-circles, straight lines, and diamond points, capable of being written in
connection with the consonants, so that the whole word can. be written out
without detaching the pen from the paper.

" Next to this in importance is a selection of consonant form's, obtained
after elaborate experiment, which insures that the writing, whether abbre-
viated or not, shall not run above or below the line, thus doing away with
the reproach of turkey-tracks. It has been found that a certain family of
consonants is used so largely that its being entirely represented by horizon-
tals would ensure -permanent horizontal direction to the writing.

" There are other points of improvement which would be appreciated bj
those who have actually grappled with the difficulties of Phonography."

TESTIMONIALS O FAVOR OF TACHYGRAPHY.

From J. NELSON ASHBURN, Cleveland, Ohio.

" A system of writing that will revolutionize our present long style,
and establish a new alphabet on a phonetic basis, will confer as great
a blessing on us as a nation as ever did Fulton, or Franklin, or
Morse."
From J. W. PLATT, ESQ., of the State Temperance Journal, Conn.

" The grand desideratum seems at last to be found. It (Tachyg-
raphy) is certainly a vast simplification of the best system previously
"known. We commend the system to the attention of professional men
and youth, as one that will bear examination and practical experi-
ment."

From JAMES EDI, ESQ., Verona, Wis.

" I look upon the Am. Primer, by Elias Longley, of Cincinnati, and
your (Lindsley's) system of short-hand as models of simplicity."

From D. "W. COOK, Southington, Conn.

" For his wonderful success in perfecting a system of short-hand
writing that is within the capacity of all, Mr. Lindsley will yet receive
the blessings of the people of this land. The common style of
Tachygraphy is so easy of comprehension, that any one who can learn
the common writing can learn this."

From IVISON, PHINNET, & Co., per JAS. M. LTJSK.
" So far as we are able to judge of the alphabet of Tachygraphy, it
is an improvement over any of the existing Phonographic systems."

From HON. ABIJAH CATLIN, of Conn.

" It (Tachygraphy) is easily reduced to practice, and remarkably
accurate and legible."

From ABNER ROYCE, Cleveland, Ohio.

" As to Tachygraphy, it is the only practicable system of short-hand
ever invented, and I have never found yet an old Phonographer who,
after giving it a careful examination, did not acknowledge its claims
and adopt it."

From S. W. WALKER, A. B.

" Your style of Tachygraphy will commend itself by its simplicity
and easiness to many who would not look at Pitman's or Graham's."
From C. A. WAL WORTH, ESQ., of Bryant, Stratton, $ WalwortKs
. Business College, Utica, N. T.

" As to Phonography, it is a sheer waste of time for ninety-nine in
a hundred who study it."
From J. F. SPALDING, A. M., Round Hill School, Northampton, Mass.

" Let any man fairly examine the two systems (Phonography and
Tachygraphy), and I am convinced that he will pronounce Tachyg-
raphy immensely superior."

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THi I'HIC ALPHABET, to

The 9i .......

THE RAPID V.

annum, . ....

THE TACHYGBAPHER, ]

char;. .inher, .....

Twelve nun . .....

ric TYPE.

MAGNUS MAHARBA AND THE BLACK DR.

:ory, founded on
Tlit

D3*~ Persons ordering the work should say whether they v, c

or that in

! ' HOLOGRAPHIC W O R

We can also furnish all the Phonoi

some t!. _ out of print. Those who iiliraries

of ehov: are ac-

15
1 50

Although no person who i .:pt to learn

such works art.

PROPOSED PRIMERS FOR CHILDREN.

aldren in
I. designed fu, ven

We 1:

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to i 12

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ill. for children of ton to twelve.

The 3 00

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If dt i

D. P.'LIXDSLEY, Bny/,- MOM