THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES ) Eft 7 B. 0. BAKER LAWYER DA1XAS. TEXAS PALMER'S NEW Manual of Shorthand KEYED EXERCISES DESIGNED FOR SCHOOLS AND COLLEGES E. M. PALMER CINCINNATI, OHIO 1908. COPYRIGHT, 1895 , BY EDWIN M. PALMER. Entered according to Act of Congress, in the year 1895, by EDWIN M. PALMER, In the office of the Librarian of Congress at Washington, D. C. r/o ^ y ^ PREFACE. Having long felt conscious of the fact that our first Manual was defective in many points, we have revised it and now present its successor, "Palmer's New Manual of Shorthand," to the public, with the hope that it will meet with their approbation. We have spared neither pains nor expense to make it as correct and tasteful as possible ; and beyond this, we will leave the new Manual to speak for itself. We now feel confident that this work in connection with our Expert Reporter will entitle us to the front rank as publishers of Shorthand text- books. E. M. P, . Preface, .......... 3 Introduction, . ..... 7 Observations on beginning the Study of Phonograpny, . . 15 Derivation of the Consonant Signs, ...... 18 Table of Consonants,' . ...... 20 On Pronouncing the Consonants, . . . . .21 Abrupts, or Explodents, ....... 21 Continuants, ......... 22 Liquids, .......... 24 Nasals, ......... -24 Coalescents, ......... 24 The Aspirate, . . . . .". . . 25 Consonants how written, . . . . . . .26 Exercise on Consonants, ....... 27 Consonants Combined, ....... 28 Exercise on Consonants Combined, . . . . . 29 Additional Characters for Sand Z, . . ' . ' . .30 Exercise on i'and Z, . . . , . . . 31 Additional Character for R, . . . . . . 32 Exercise on Upward R, ' . . . . . . . 33 Long Vowels, . . . . . . . . : .. -34 Exercise on Long Vowels, ...... 35 Long Vowels continued, .... . . 36 Words containing Long Vowels, . ._-',..'. . . 37 Short Vowels, . ... .'-*". . . 38 Words containing Short Vowels, . . . t . ' . 39 Words containing Circle and Stroke 5 and Z, . . 40 Exercise on Words containing Circle and Stroke 5 and Z, 41 Diphthongs, . . . .- . . -42 Triphthongs, . . . . . . . 42 Exercise on Diphthongs, ....... 43 Exercise on Triphthongs, . . . t . 43 The Coalescents, . . . . . . *i .44 The Initial W Hook, . . . . . *. . 44 Exercise on the Coalescents, . . . . . s ~ . -45 Exercise on Initial W Hook,. . . . . . ." '. 45 Double Consonants, . . . ... . 46, 48 Exercise on Double Consonants, . . > '.. . -. . 47, 49 Treble Consonants,^ . ...... 50 Exercise on Treble Consonants, . . . . . . 51 The Aspirate, or Breathing H, . . , . ' . 52 Exercise on Words containing the Aspirate. ... 53 The N Hook, . . . . , .54 Exercise on the ./V Hook, ' . . . -. . , 55 Mp or Mb. Mr and Nr t ...... .56 Lr, Rl; Ml, and Nl, ' . . . . . . 56 Exercise on Mp or Mb, Mr and Nr, . . . . . -57 Exercise on Lr, Rl, Ml, and Nl, ..... 57 The For I/ Hook, ....... 58 Double-length Curved Signs, ...... 58 Exercise on the for KHook, . . . . -, .59 Exercise on the Double-length Curves, . . . 50 The Way Hook, 60 vi CONTENTS. The Shun Hooks, ....... 60 Exercise on thp Way Hook, ..... 61 Exercise on the Shun Hooks, ...... 61 Logograms, . . . . . 62 61 Simple Logograms, ....... 64 Exercise on Simple Logograms, ...... 65 Vowel Logograms, ....... , Exercise on Vowel Logograms, ...... . 66 67 Wand K Logograms, ...... . 68 Exercise on W and Y Logograms, . . 69 Simple Stroke Logograms; ...... 70 Exercise on^Simple Stroke Logograms, ..... 7' Loops St arid Sir, ... . 72 Exercise on Loops St and Sir, ...... 73 Initial Hook Logograms, ...... Exercise on Initial Hook Logograms, ..... 74 75 The Halving Principle, ...... Exercise on the Halving Principle, ..... . 76 77 Final Hook Logograms, ....... Exercise on the Final Hook Logograms, .... 7 79 Half-length Logograms, . . Exercise on the Half-length Logograms, . . 80 81 Special Vocalization, . ...... 82 The Dissyllabic Diphthongs, ...... Exercise on Special Vocalization, ..... 82 83 Exercise on the Dissyllabic Diphthongs, .... 83 Prefixes, ......... . 84 Affixes, ......... 84 85 Exercise on Affixes, ....... 85 Irregular Logograms, ........ Exercise on Irregular Logograms, . 86 87 The ticks, 88 Omitted Consonants, etc., ....... 88 Exerc.ise on the Ticks, etc., ...... Exercise on Omitted Consonants, etc., ..... 5 89 Nominal Consonant, . ..... 90 Punctuation, etc. (Exercise p. 89), ..... 90 Consonant Outlines, x ....... 91 Rules for writing 1. and R, ...... 92 Exercise on L and R, ....... 93 On Foreign Sounds, ....... 94 Extended Alphabet, ....... 95 Table of Grouped Consonants, ...... 96 Table of Grammalogues (for the writer), .... Table of Logograms (for the reader), . 98 IO2 Outlines, ..... . . . 106 Outlines unnecessary to Vocalize in the Corresponding Style, 107 Reading Exercises, ....... . 109 Reporting, ...... '45 MS Position, ......... . 146 Contractions, etc, ........ 148 Table of Reporting Logograms, ..... 149 Table of Contractions, ....... 'SO '5 1 Phraseography, ........ '57 List of Phrases, _...... . 158 Miscellaneous Briefs, ....... 1 68 Exercise. ........ 169 INTRODUCTION. Language is the principal vehicle of thought ; and so numerous and important are the ends to which it is subservient that it is diffi- cult to conceive in what manner the affairs of human society could be conducted without it. Its utility, therefore, will ever entitle it to a considerable share of attention in civilized communities, and to an important place in all systems of education. An easy, distinct and rapid mode of communicating our thoughts and feelings becomes a necessity of our existence. Looks, signs, gestures are not always sufficiently expressive ; and it is hardly rea- sonable to suppose that any number of human beings, possessed of unimpaired vocal organs, would pass any considerable length of time together without using articulate sound as their medium of communication. Indeed, it would be impossible to find a family of human beings without a common language of some kind. It may be very imperfect, yet to those who use it every need is supplied. As it is not always possible for us to speak in our voices to those with whom we wish to have communication, recourse must neces- sarily be had to durable, visible signs such signs as will represent or symbolize a thought. The early attempts to represent thoughts by picture-writing are termed hieroglyphic systems, and traces of them are found to-day cut in numerous obelisks and ancient ruins scattered through different parts of the old world, especially in the countries of the Levant. It is impossible to determine what the outgrowth of, hieroglyphic representation of thought would have been had it continued to be the only mode of recording important events for future reference; (vii) INTRODUCTION. but it is reasonable to suppose that the picture forms used to repre- sent thought would have been, from necessity, contracted still more, until probably a system might have been formed which could have been written with tolerable facility; but even had this been the case, and such a system formed", the mastery of it would have involved months or perhaps years of patient study, and when acquired would not be of much practical value to its possessor, ex- cept for his o.wn private use, as difference of opinion would lead to the adoption of perhaps several different pictures to represent the same thought, making the system extremely complicated and worth- less for general use. Such was the unsettled state of affairs, when an entirely new idea presented itself, namely, representing the sounds of speech. No sooner was it discovered that the human organs of speech jvere the same in all the world and -the sounds produced the same, and the number of sounds comparatively small, probably less than one hun- dred, for the expression of all the languages in the world, than the old hieroglyphic scheme was given over, and attention directed to the formation of a system by which the elements of spoken sound could be represented by visible signs. Of the hundred different .sounds, each group of families called a nation has adopted a com- paratively small number to express its own ideas. But the first persons who conceived the grand idea of representing the sounds of speech were not acquainted with any language beyond their own, or, at most, beyond the group of languages to which their own belonged ; and they consequently limited their signs to the expres- sion of those elements only with which they were acquainted. One of the oldest systems of writing arranged on this principle, the Sanscrit, is an example of the most perfect attempt at representing the elements of spoken sounds by visible signs that has yet been adopted by a whole nation as the dress of their literature. INTRODUCTION. IX As all the languages of Europe are closely related to the Sanscrit, a very slight modification of the Sanscrit characters would have served to represent correctly the elements of European sounds. This, however, was not to be, as the Europeans left India, it is thought, before the invention of writing, and so must have received their idea of representing the elementary sounds of speech by visi- ble signs from an entirely different quarter. The languages known as the Semitic, namely, the Hebrew, Syriac, and Arabic contain sounds very dissimilar to the European, with, of course, some similar or identical; and the first imperfect attempt to represent these sounds in a kind of skeleton character was brought by commerce from Phoenicia to Greece. The Greeks adopted the characters of the Phoenicians, and as their pronunciation of the Phoenician names for the first two characters in the scheme was alpha, beta, the term "alphabet" has descended to modern times as the name of any collection of symbols which represent the elements of spoken sounds. Though the Phoenicians were the first to use an "alphabet to rep- resent spoken sounds, it is certain that they derived most of their characters from the ancient Egyptians, with whom they held friendly relation. That this alphabet did not represent the Phoenician language with great accuracy is more than probable; but still less accurately djd it represent the Greek language, which was afterward represented by it, though not until a few unimportant changes had been made, pricipally rounding the characters and adding a few contractions. From the Greeks it was transmitted to the Romans, who received it and modified it to suit their peculiar tongue, mak- ing the alphabet less phonetic than formerly. In Rome and wher- ever Roman conquest went this alphabet was adopted for the repre- sentation of Latin, which became the condition language of the government. And when the nations of the North finally overcame INTRODUCTION. the Roman empire, they seized upon the Roman letters as part of their spoils, and contorted them for the representation of languages which differed most remarkably from the Latin, both in the number and quality of the elementary sounds. The Northern nations that did use the Roman alphabet used it in different fashions, and, as might be supposed, there were quite a number. At length, out of a mixture of Saxon, Danish, French, Latin and Greek elements, arose our own tongue, though of course- not possessing the power of expression found in it to-day, yet bidding fair, by its inherent merits, by the richness of its literature, as well as by the extent of our- commerce, to become, if not the universal language, its imme- diate progenitor. The unphonetic nature of the present alphabet to correctly rep- resent a system of orthography in which the phonetic system prevails is strikingly felt by the student who is making his first attempt to learn even the simplest Words. In the first place, the alphabet fails utterly to represent several very important sounds, and in the next place, the symbols it does employ are used so variously one symbol being used in many cases to represent more than one sound, and often two symbols to represent a single sound t that the mind of the reader is perplexed, and while recognizing an alphabet" of but twenty-six letters, viewed in this light it consists of more than two hundred symbols, each one of which varies its meaning at times, so that it is foolish to suppose, after learning one meaning for each, one has learned all their meanings. While on the other hand, if all the meanings were learned, there is no means of knowing for a certainty which one to apply, except on the authority of a dictionary, and even here will be found some difference of opinion'. Art is the only universal language. It speaks in every tongue,it pleases, it pains, it softens, it hardens, it instructs, it amuses. INTRODUCTION. Through the eyes, by means of art, can be transmitted thoughts and ideas of every kind. Show to the savage a finely executed painting of a battle. What words could you use that would better convey to his feeble mind such a scene? Show to a sensitive nature the picture of a fellow creature in pain, with all the expressions of agony portrayed on his countenance. Could any words -of yours convey to him the sight more vividly? Or could any language of yours better recall to a mother's mind the face of her boy than would his picture ? A picture never fails to present an idea. The better the picture the clearer the idea. Such was the thought which lead the Egyptians to represent their ideas by picture signs or hieroglyphic forms, which, while being exceedingly lengthy and awkward to write, served to represent very clearly their thoughts. These characters have been handed down to us through many gen- erations, though of course greatly changed, being contracted or modified until they appear as we use them to-day. It is impossible to tell whether the alphabet now used will undergo any very im- portant changes in the near future, but it is safe to predict that it will never be written with the rapidity of speech, no matter how greatly it may be contracted. Who that is much in the habit of writing has not wished for a swifter method one which would express by two or three dashes of the pen that which, as things are, it requires such an expenditure of time and labor to commit to paper. The need of a more rapid mode of writing was felt in an early civilization. And it is a well-established fact that during the time of Cicero a briefer system of. writing was practiced for reporting speeches in the Roman Senate than the characters of the Roman alphabet. This system, it is thought, was invented by one Tyro, a freedman and friend of the Consul's, and at that time was extensively practiced, but with the decline of the empire fell into disuse, as did the Latin tongue itself. Xtl INTRODUCTION. From the fall of the Roman empire, the need of an easier means of intercommunication for thought continued to be more extensively felt as time progressed, and attempts to supply it, as may be sup- posed, were numerous, and in many cases worthless ; those of any importance being systems employing the Roman alphabet in a con- tracted form, and providing numerous arbitrary signs for the brief expression of religious sentences and other Bible phraseology. While the briefer system of writing as practiced by Tyro (the freedman of Cicero), Ennius, and others was an improvement in point of speed on the ordinary method of writing commonly em- ployed in those days, it could not be considered a system of short- hand, being for the most part an abbreviated longhand, both as to the forms of the letters and the orthography. The first system of Stenography worthy of notice, or which created any general interest, was perhaps that introduced to the English public by Timothy Bright in 1588, from which time teachers and systems' increased rapidly, no less than thirteen different systems being devised from this time to the establishment of constitutional freedom in England. At this time the principles of the Protestant Reformation were being extensively promulgated from the pulpit, and the desire to preserve for future private reading the discourses delivered by the principal divines of the day, served to stimulate the efforts made toward bringing the art to greater perfection. Bright's system of Stenography consisted for the most part of arbitrary characters for words. In 1751 Mason's system, published by Thomas Gurney, appeared, which greatly excelled any thing that had yet been offered on the subject. This new and improved system was of course the outgrowth of experiments and a more extended knowledge of what was required. A system which provided for the most part brief forms for the expression of religious phraseology in the days of Puritanism would scarely prove adequate to express the innumerable INTRODUCTION. Xlll parliamentary phrases and technical terms of the eighteenth cen- tury, and so it was soon discovered that even Mason's system was but a few steps nearer to solving ihe problem than those which pre- ceded it. In 1767 Byrom's system of Stenography was published, though several years after the death of its author. This system was followed by Taylor's in 1786 and Mayor's in 1789, two systems which were considered at the time of their appearance the most valuable, certainly the most practical, of any systems before attempted. The systems of Taylor, Byrom, and Mavor continued to be prac- ticed and taught throughout England until 1.837, when Mr. Isaac Pitman, of Bath, England, published a system of Shorthand entitled " Stenographic Soundhand." This publication quietly sold, exciting no special interest until the passage of the Penny Post law three years later, when Mr. Pitman published a small sheet entitled "Phonography," which presented a sytem of writing so simple, philosophic, and beautiful in its principles that it attracted great attention throughout Great Britain. Suggestions for the improve- ment of the system were received by the inventor from nearly every quarter, many serving to bring it to a still greater state of perfec- tion ; and, while bearing no resemblance in its details to any of the preceding systems, it can not be denied that it was, in a certain sense, the happy outgrowth of them all. The advantage of a practical acquaintance with Phonography to individuals in all situations of life has been strikingly shown in the career of .many men of prominence in literary and other walks of life. To the lawyer this rapid and easy means of writing has been a boon, saving him from many weary hours of toil, and enabling him by its use to accomplish four times the amount of work gen- erally done in the same time by the old method, not to mention its inestimable value to him as a means of preserving facts for future INTRODUCTION. reference, which at certain times the remembrance of might prove wealth or poverty, life or death to his client. It is needless to mention, except in a general way, those who are most benefited by this time and labor saving art. The divine, the author, the editor, and all, who, from the nature of their business, find the old way painfully tiresome, have hailed with delight the advent of " Pho- nography," invented by Mr. Isaac Pitman, and through whose inventive genius and untiring energy the art lias- been brought to such a high state of excellence. PALMER'S NEW MANUAL OF SHORTHAND. OBSERVATIONS ON BEGINNING THE STUDY OF PHONOGRAPHY. The art of Phonography may be acquired by any person of ordi- nary ability, and a determination to persevere, in from four to sir months, while there are a great many who master its principles in much less time. An hour's daily practice in reading and writing for a month, after the principles are thoroughly mastered is generally sufficient to insure tolerable facility in using it. The " Phonogra- phic First Reader," intended to be used with this book, con.ans valuable . reading exercises, which should be repeatedly reud and written when the student has made sufficient progress ; for it is only by constant repetition in reading and writing that the forms of he different words are impressed upon the mind, and hesitancy in recalling the different characters is overcome. A common mistake among students is the desire to write rrpidly at the outset. This he is strongly advised against. When he can trace the forms with ease and correctness, speed will be -the natural result ; but a student who does not strive to write accurately and with precision at first, will not only confirm in himself a poor style of writing, but have to lament the illegibility of his notes, The best style of paper for phonographic use is double line paper such as used for the " Phonographic Copy Book." The lines are one-sixth of an inch aoart. and serve to r give i uniform appearance to the writing- as does the copy bo-~k 'ise.d frr ordinary writing. OS) 16 PALMER'S NEW MANUAL OF SHORTHAND. When writing with a pencil, use paper with a soft finish, that is, paper not highly calendered, as the roughness of the paper takes the lead better and secures a greater distinctness between light and heavy strokes ; but when using a pen, smooth or calendered paper is necessary, that the ink may flow freely from the pen and allow it to -run smoothly. The student should accustom himself to the use of both pen and pencil when writing Phonography. The former should be usod in preparing lessons for the class, which are sup- pcsed to be written with great care. The latter is best for class use, as it is easier for a novice to handle. When time permits, however, the pen should also be used -in the class. Most phonographers prefer holding the pen or pencil between the first and second fingers, as it secures a greater speed in writing. Holding it thus gives a freer action to the muscles of the arm and hand. And in Phonography, where .the characters are struck in every direction, it is unquestionably an advantage to write in this manner. If, however, the student should find this mode of holding the pen inconvenient or awkward, it should not be attempted. On the other hand, should he desire to write as here indicated, the pen or .pencil should be held in the hand as when used for drawing; and when a pen is used, the nib should be turned in such a manner that the letter \<5 can be struck with ease. To become a rapid writer, it is necessary that the student should thoroughly familiarize himself with the principles as they are pre- sented. Do not pass a lesson until you are quite sure you under- stand every thing in it. To do this successfully, the student should write the engraved exercise accompanying each lesson in his copy- book just as it appears on the printed page. Trace the characters with a dry point or clean pen, pronouncing each character aloud as the point passes over it. By so doing the eye, the hand, and the ear are all trained the eye to recognize the correct form, the hand to trace it, and the ear to recognize its correct sound or power. Proceed in this manner with every exercise and in the order it is given. When the attention of the student is called to any partic- ular lines in the engraved exercise given with every new lesson, thus (see lines 4 and 5), do not proceed until you have referred to such lines, read them understandingly, and applied the rules. PALMERS NEW MANUAL OF SHORTHAND. 17 All the characters employed in the phonographic alphabet depend for their legibility upon two important points, namely, the direction assumed by the character when written, and the manner of writing it whether light or heavy. The student is therefore particularly cautioned against writing in what might be termed an off-hand or free style at first. Writing in such a manner will surely lead to a careless style, and if persisted in will become a fixed habit which may be hard to overcome. The slanting strokes should be made the proper slant; the curved strokes should have the proper curve; and when writing perpendicular and horizontal strokes, care should be exercised that they be made accurately, to avoid confounding them with slanting strokes. As there are strokes in the phono- graphic alphabet corresponding to the ordinary back-hand writing, it may be difficult at first for some to strike them with precision. Those who experience this 'difficulty should write such strokes re- peatedly in the copy book, until they can make them as shown in the exercises and without any effort. To acquire a greater proficiency in the art and a clearer knowledge of its principles, the student is strongly advised to read and write from engraved rather than written phonography. The former is generally prepared with greater care and presents those forms which experience has shown to be most practical. Copy the en- graved exercise accompanying each lesson in the copy book, imitating the style and size there given as nearly as possible, after which prepare the copy book exercise given in the back of the book to take to the class. A good faculty, and one likely to insure success to the phonog- rapher, is that of remembering the correct outline for each word. This may be acquired by tracing the outlines of the words in the engraved exercise, accompanying each lesson with the point. Asso- ciating the word and its outline thus leads the student to strike the correct form involuntarily whenever he hears the word. 2 iS PALMER'S NEW MANUA-L OF SHORTHAND. DERIVATION OF THE CONSONANT SIGNS. Experience has shown the worthlessness of the common alphabet for verbatim reporting. No matter to what extent abbreviation is carried, the cumbersome and lengthy forms of the letters must always prove a barrier to its ever being employed as a system of o shorthand. Many systems of stenography, based on the common alphabet, have been published, and vO some extent adopted, but all have alike met with little approval, and in time have died a natural death. The common alphabet has, therefore, been abandoned, and one more philosophic, and complete adopted one which provides a sign for every distinct sound heard in the language. This the common alphabet does not do, it often being necessary to combine two or more consonants or letters to represent a single sound. Take, for example, the word match. On pronouncing it slowly and. deliberately, there will be heard but three distinct sounds. Yet in the common orthography five letters are necessary to represent this word, where but two single strokes and a small dot (the vowel) ex- press it in Phonography. As it would be impossible to conceive of a more simple mark than a straight line, this form has been chosen to represent a large num- ber of the letters of the phonographic alphabet. From the following geometrical figures, composed of straight and curved lines, all the forms for the letters of the alphabet are derived. Fig i Fig 2 From figures I and 2 are derived twelve light strokes, as follows Fig-.- \ / ( ) ^ ^. Fig. 2. | V. >/"* "V PALMER'S NEW MANUAL OF SHORTHAND; 19 By making the same marks heavy, another twelve can be obtained, making 24 in all, thus : Fig. .- N / ( ) * >- - Fig. 2 . i __ ^ j r -\ These strokes, from their difference in slant, as well as being made light and heavy, are distinct enough to be used without dan- ger of confusion. They are distributed as follows: To the Abrupts are assigned the straight lines, indicative of their abrupt or unyielding nature, and to the Continuants, Liquids, Nasals, etc., curved or flowing forms, showing their flowing or yielding sounds. (See next page.) 20 TABLE OF CONSONANTS. Letter. Phono- Name. Fx.-'mp^ii i.,' its Power. Initial. Final. P \ pe p in /et, *i.d p in ca/. B \ be b " ^ay, %; b " ca^. ti T D CH 1 I te de chay t " tame, " t " me/, d " h sh " jAock, " sh " wij^. . ZH J zhe j " your(Fr.), " g " rour* 1 I L r el 1 " /ay, " 1 " fai/. S 1 R IO V. A ^\ ar r " rope, " r " for. ^ f M ^ em m " wake, " m " bea#*. 1 N _ en n " now, " n " can. [ NO ^ ing in " zwk, " ng " sing. ^ { W \ i way w " wade, " w " mida/oy | \ v r" yea y " jet, * Aspiratt. H f hay h " Aole, * PALMF.R'S NEW MANUAL OF SHORTHAND. 21 ON PRONOUNCING THE CONSONANT SIGNS. The letters of the phonographic alphabet are commonly called consonants. They do, with few exceptions, bear the same names as the letters of the Roman alphabet. That the student may better understand their application and use, however, each consonant is here given, in the order of its sequence, with representative words showing its power, both initial and final. The consonants are arranged in six divisions or groups, namely: Abnipts, Continuants, Liquids, Nasals, Coalescentsand The Aspirate (see table, opposite page), and will be presented in this order. AERUPTS OR EXPLODENTS. The Abrupts or Explodents are a class of sounds produced by a complete contact of the organs of speech, modifying the voice. These sounds are either voiced or ivhispered. Take, for example, / (the first consonant of fhe phonographic alphabet). This consonant can be whispered so faintly that it can -scarcely be heard. Then take b and pronounce it. You wnl observe that it must have a sound or be voiced, no matter how faintly you pronounce it. It will also be noticed that the vocal organs assume the same position for pronouncing b as for pronouncing /, the only difference being in their sounds. As the nature of these two consonants are so near alike, the same kind of a stroke is given for each, / being made light, to indicate its whispered ur light sound, and b the same stroke, but made heavy, showing it to be a heavy or voiced sound. This is the case with all of the Explodents. \ P. The first consonant in the phonographic alphabet is a light oblique stroke, and bears exactly the same name as / in the common alphabet. It will be recognized in th'e following words: /ay, /ie, /ick, pzc\L'(initial), and ca/, ra/, ma/, ta/, cha/ (final). \B. Trjis stroke is the same as/, but shaded. It K called b, as in the common alphabet, and will be recognized in the following words : ^ay, tack, ook, eak (initial), and ca0, ta/5, da4, sta^ (final). | T. This is a light perpendicular stroke, resembling somewhat oar common alphabetic t, without being crossed. Its name, how- 23 PALMER'S NEW MANUAL OF SHORTHAND. ever, is the same, and will be readily recognized in ,the following words: lime, fake, /ook, Aick (initial), and ma/, 'mee/ 1 , fee/, ea/ (final)., | D. This stroke has the same direction as /, but is shaded. It is called d, as in the common alphabet, and is used in the following words: Jay, die, dip, dug (initial), and lied, liea', spied, dried (final). I CH. There is no letter in the common alphabet which beats the same name as this consonant sign of the phonographic alphabet. Iis correct sound will be heard by pronouncing the last part of latch, thus: latch. It will also be recognized in the following words : atch, ha/me, rould (initial), and par, rack, \iack, tar^ (final). _ G. This is another independent character, its sound not being provided for by the common alphabet. It is called gay, and is a shaded stroke, taking the same direction as k. Its correct sound will be heard by dropping the in gain, thus : gain. It will also be heard in the following words : go, ^et, ^ive, ^un (initial), and ta^-, tug, rug, bu^-.mu^ (final). CONTINUANTS. It will be observed, on pronouncing the Continuants, that they, have a more flowing or yielding class of sounds than the Explodents just explained. The consistency, therefore, of assigning to this class of sounds curved or flowing forms will be apparent. V^ F. The first curved stroke in the phonographic .alphabet bears the same name as / in the common alphabet^ and may be heard in the following words: /eel,/ile,/oil,/ix (initial), and bu/~, mu^", deaf, doff (final). \^ V. This consonant stroke corresponds to/ in slant and curve, but is shaded. Its name is v, as in the common alphabet, and will be PALMER'S NEW MANUAL OF SHORTHAND. 23 recognized in the following words: vine, vain, v&sc, voice (initial), and cove, czve, gafe, leaz/e (final). ( TH. This may also be termed an independent character, as well as the one which immediately follows, both representing sounds not provided for by the common alphabet. It is an upright curved stroke, and one of the most convenient consonants in the phonographic alphabet, because of the sound it represents. Its correct name will be heard by pronouncing the first part of the word think, thus : Mink. It will also be recognized in the following words: //Sank, Match, Mick, thin (initial), and,paM, wraM, haM (final). ( TH. This stroke is the same as the one above, except it is shaded. It is called the, as will be heard in the following words: Mis, Mat, Mus, Mose (initial), and wreaM r B T D CH J F V TH S Horizontal characters are those taking the direction of line four, and are invariably written from left to right, thus: K ~G~ X M X V TT' "NQ* 4. The letter"/^/, when standing alone, \& always written upward. The letter _J sA, is generally written downward. The aspirate f h, is invariably written upward. 5. The student should not make the consonant signs more than one-sixth of an inch in length. This size has been found by ex- perience to be the one most likely to insure- a correct and neat style of writing. As he progresses, however, and becomes more familiar with the characters, he may, with advantage, reduce them to a smaller size. 6. In writing the heavy curved characters, care should be taken not to make them heavy throughout, as this would give them a clumsy appearance ; they should be merely shaded in the center and taper off toward each extremity. It is not necessary to make the straight heavy characters heavier than is necessary to distin- guish them from the corresponding light strokes. 7. The exercise on the opposite page should first be read aloud by the student, and each character traced with a point as its name is pronounced, after which it should be written in his copy-book. Pro- ceed, in this manner with all the shorthand exercises that follow. 27 on Consonant* P,B NX The correct slant. T.D I I II II II II II II CH.J ;////////////// ch is ahfciys written downward. F,V Kl ^ ^^ ^-^ ^^ ^ ^^ The correct slant. TH,^(( (( (( (( (( (( (( S,Z )))))))))))))) SH.ZH JJ JJ JJ JJ JJ JJ JJ L r/r rrrrrrrrr R ^^^^^^^^^^"^ N ^__^ ^_^ N __ ^ ^_^ ^_^ >*^ *x~s >-^ ^^ \**s X^ ^^ *^S V-^ ^S ^^ w "> "> > T 1 > > S ^ ^ ^ Y rrrrrrrrr r r H /// /.//////// h is ahi'ays written upward. 28 PALMER'S NEW MANUAL OF SHORTHAND. CONSONANTS COMBINED. 8. Two or more consonants joined make a combination, and must be written without lifting the pen, the second consonant sign being commenced where the first ends, and the third joining at the end of the second, etc. 9. An examination of the combinations of consonants on the opposite page will show that the consonants are written in the same direction when joined as when standing alone, the only exceptions being in the manner of writing _J tA and f /, which, for conve- nience in joining, may be written either upward or downward. See lines 12 to 14. 10. When a combination is composed of one or more horizontal strokes, followed by a single descending one, write the horizontal strokes sufficiently high, that the descending stroke shall rest upon the line. See line 4. Combinations composed entirely of horizontal strokes, as in lines 5 and 6, should rest upon the line. When a combination consists of two descending strokes, as in line 7, the first should be struck down to the line, and the second below it. Combinations composed of straight letters taking the same direc- tion are struck with a single movement of the pen and made double the length of a single stroke. See line 8. 11. There should always be an angle between such combinations as f-n, f-ing, l-m, th-k, etc. See line 9. But when writing such combinations &s/-r, p-n, l-ing t b-ing, etc., there should be no angle. See line 10. 12. When two consonants are joined that do not form a distinct angle, and if one or both be heavy, as in the combinations b-ing t p-b, t-d t f-g, they should be so Wended when written that the point of junction shall not be discernible. 13. The engraved exercise on the opposite page, and al! the short- hand exercises that follow, are written with reference to ruled lines. See Copy Book Exercise, p. 122. 7 ^ l_. _/_ -C- 12 '3 -^ '5 r 30 PALMER'S NEW MANUAL OF SHORTHAND. ADDITIONAL CHARACTERS FOR S AND-Z 14. Observation has shown that the sounds s and & are of more frequent occurrence than any others heard in the language. For this reason, and because of the graceless and awkward combina- tions that would result from an exclusive use of the alphabetic forms given, it has been found necessary to provide additional characters to represent these sounds. The best, because the most easily written- and conveniently joined, is a small circle, thus, . 15. When standing alone, a distinction should be made, when naming the two forms for s and z, by calling them, when represented thus, ), ), stroke s, z, and when represented thus, ; circle s, *. When joined to a consonant the circle is of course named with it. 1 6. When joined to single straight consonants, the circle should be written on the right-hand side, that is, struck by a motion from right to left. See line I. When joined to single curved consonants, the circle follows the direction of the curve. See line 2. 17. When the circle is written between Jwo straight consonants that form an angle at their junction, write the circle on the outer side. See line 3. 18. When the circle occurs between a straight and a curved con- sonant, write it on the inner side of the curved consonant. See lines 4 and 5. 19. When the circle is written between two curves, struck in the same direction, it should be written on the inner side of both (see line 6); but when written between two curves struck in opposite directions, write it on the inner side of the first curve. See line 7. 20. When the circle occurs between two straight consonants written in the same direction, write it to the first as if it were a single consonant. See line 8. 21. When the circle occurs between two curved consonants forming an angle at their junction and struck in opposite directions, it should be written on the outer side of the angle, as in line 9. Such combinations, however, are very rarely used. See Copy Book Exercise, p. 123. 14 32 ^ALMER'S NEW MANUAL OF SHORTHAND. ADDITIONAL CHARACTER FOR K. 22. Like the consonants s and z, it has been found necessary to provide an additional character to represent r other than ~^r, given .in the exercise on page 27. Not that its sound is of so frequent occurrence, but on account of the curved form being in many cases awkward to join with, other consonants and form graceful or flowing combinations. 23. If a curved line be drawn from the top of t to the end of k, as shown in the above diagram, the quarter of a circle will be de- scribed. A circle, as all know or may know, contains 360 degrees ; this quarter circle, therefore, contains 90 degrees, which admits of being equally divided into thirds by drawing lines 30 degrees apart. The line 60 degrees from the horizontal stroke k is / ch, and is in- variably written downward, and the line 30 degrees from the hori- zontal stroke furnishes the additional character for /r, which is invariably written upward. See exercise on the opposite page. 24. When naming the two forms for r, it is customary to speak of the curved form as the downward r and the straight form as the upward r. 25. When the circle s or 2 commences a combination and is im- mediately followed by the upward r, it should be written on the left-hand side. See lines 10 and II But when joining with the upward r in the middle or other parts of a combination, it may be written on the most convenient side. See lines 12 and 13. 26. In such combinations as t-r-r, f-r-r, r-r-n, m-r-r, etc., the up- ward r should be made double length, and with a single -movement of the pen. See lines 8, and 9. See Copy Book Exercise, p. 123. 34 PALMER'S NEW MANUAL OF SHORTHAND. LONG VOWELS. 27. Vowels are smooth harmonious sounds produced by the organs of speech, modulating but not obstructing the sounding breath. as it is expelled from the lungs. 28. While all the vowels employed in the Roman alphabet are included in the phonographic vowel scale, it has been found neces- sary to add additional signs to represent sounds not provided for by the old scheme, a, e, i, o and u. 29. The phonographic vowel scale first provides for the six long or open sounds heard in the language. They are arranged in the following natural and convenient order: E A AH AW O OO These are called the primary or long vowels, and their correct names will be heard in the beginning of the following words: xt ate arm all 0ak 0 IO an d I2 33. As the consonants /""/, / r and^ h are struck upward, their point of commencement would be at the bottom. It is necessary, therefore, when placing vowels to these consonants, to reckon them from the bottom, that being the beginning of the letter. See lines 6, 7 and & The exercise on the opposite page should be carefully copied in the student's copy book. t-e r fh-e 5 r 6 7 8 12 -^ t-a ch-a I. /-a/A / cli-ah t-aw r ch-aw a-t preceding. ali-t a-.v-t t-o X X o-t t-oo L Oii-t 36 PALMER'S NEW MANUAL OK SHORTHAND. LONG VOWELS. CONTINUED. 34. The spelling of words phonetically differs so widely from the usual method of representing them according to English orthography, that a word written both ways and compared would bear no resem- blance whatever in outline or number and quality of the sounds used to represent it. The old method of spelling and writing is therefore set aside and an easier and moire natural one employed, namely : (a) To spell. words by their sounds. (/') To represent the sounds heard in words by the simplest pos- sible signs. (a) To spell a word phonetically is to analyze it into its phonetic elements, regardless of the number of sounds employed to represent it by the old method. (b) To write a word phonographically is to represent only the sounds heard in it by characters of the phonographic alphabet and vowel scales, whose signs stand for the same sounds under all conditions. 35. The consonants of a word form what is termed its skeleton or outline, and must be written without lifting the pen. The vowels are inserted afterward. 36. A vowel placed at the beginning of a consonant is termed a first-place vowel ; a vowel placed at the middle of a consonant a second-pface vowel, and a vowel at the end of a consonant a third- place vowel. 37. The long vowels and all the vowels that .follow must be pro- nounced as single sounds, thus: e as heard at the beginning of eat; a as in ate; ah as heard at the beginning of alms, and not as a-aitch, an as awe, not as a-you ; o a* c^ue ; oo as in oolong, and not double-o. 38. It may be difficult at first for the student to determine what are the exact sounds heard in some words. This difficulty will be easily overcome if the student will carefully note the deliberate utterance of words rather than their usual colloquial sound. 39. The consonant J sh, when struck upward, must be vocalized from the bottom. See line II. See Copy Book Exercise, p. 124. 3 t- s )' 12 3 14 L r X z: L C ( X < k-oo-p' coop (- 7 ^T XT -\ -O- T - 3 s-p-o-fi spoke n 42 PALMER'S NEW MANUAL OE SHORTHAND, 54. When a word terminates with a vowel, immediately preceded by s or z, use the stroke form. See line 12, p. 41. 55. When a word contains the double sound of j, and is followed by a vowel, as in sissy, saucy, etc., write the circle first, then the stroke s, but when j is final, as in cease, assess, etc., write the circle last. In such woms^as sa-ws, says, etc., the stroke z should be used. See line ^ 13 and ftTp7 4*. See Copy Book? -Exercise, p. 125. DIPHTHONGS. 56. A diphthong is a sound produced by the union of two simple vowels into one sound or syllable. 57. The English language contains but four perfect diphthongs. Their correct sounds will be heard by pronouncing the italicized portion of the following words : by, tough, few. 58. These sounds are represented by small angular marks (except- ing u, which is curved), placed at the beginning or end of a stroke, thus: VI At I I I J *ce, Ol I Ml, Ow A! ow\> U J few. 59. The diphthongs do not accommodate themselves to the posi tion of a consonant, as do the stroke vowels (which are written at right angles to the consonant), but always retain the direction as shown above, namely, pointing exactly up or down. 60. Though the sign respresenting the diphthong I is generally written in the/irst position, it would not be mistakeri if written in any position, being an independent character. See lines i to 7. 61. The signs for 01 and ow being alike, a distinction is made, by writing the former in ihejirst position (see lines 8 and 9 ), and the latter in the third position (>ee lines 10 to 13. 62. When w precedes the diphthongs i, oi and ow, the treble sounds n'i, woi and wow are produced. See line 14, These sounds are represented thus : 1 WOW II 5 6 7 V 8 ^ '>-Qi, boy. 9 V b-i sh-i <>>>> J \ u / A ) bough. A V r 5>- A s-t sig/t /A A/ \ lit /\ 7 9 14 44 PALMER'S NEW MANUAL OF SHORTHAND. THE COALESCENTS. 63. By prefixing w or y to the simple vowels e, a, ah, aw, 0,00, the double sounds we, wa, wah, waw, wo, woo, and ye, ya, yah, yaw, yo, yoo, are produced, as heard in the following words: weed, wade, waft, walk, woke, wooed, yc, yea. yarrow, yawn, yolk, you. 64. These double sounds are conveniently represented by a 'small half-circle, placed respectively at the beginning,- middle, and end of a consonant, thus: ^"l <| J 1 -I J WA, WAH, WAW, wo, woo. J 1 "I J YE, YA, YAH, YAW, YO, YOO. 65 These signs are made light to indicate the briefer sounds as heard in wit, wet, yet^&c. The broader sounds as heard in weed, wade, walk, ye, yawn, yolk, etc., require the sign to be slightly shaded. This, ho.wever, is seldom necessary, except where great precision is desired. 66. Like the diphthongs, the coalescents never accommodate themselves to the direction of a consonant to which they are placed, but are always written as shewn above. Indeed, from the number and similarity of the signs, it is necessary that the student exercise even extra care to write them, in the proper direction. See Exercise, p. 126. THE INITIAL JF-HOOK. 67. A small initial hook joined to f I, the upward / r, ^-* m, and ^_,n, expresses w, thus:/f~ wl,tSivr,-^~jum, and^_, ion. 68. The initial w-hook is readyfrrf, then the vowel, next the con- sonant, and lastly a vowel or circle, if any. See lines 6 to 10. 69. The circle j is written within the hook when preceding words written with the ro-hook. See line II. See Copy Book Exercise, p. 126. we-p weep T s-we-t sweet we-d weed we-d-i weedy < Ol s-we-p sweep T s-we-d swede 7 J "gxtvctst on initial Sl BooH. r r 8 .(T w-i-n wn II s-w-a-r swear ^ 46 PALMER'S NEW MANUAL OF SHORTHAND. DOUBLF CONSONANTS. 70. In the English language the liquids / and r are very often found uniting with other consonants, forming, as it were, conso- nantal diphthongs. These sounds blend so imperceptibly that it re- quires no more effort to pronounce them than it does to pronounce the single consonants, as will be observed on pronouncing the fol- lowing words : Single : /ay, FL, SFL VL SVL FR SFR VR SVR 85. When the \ spr series of consonants occur in the middle of a word, it is necessary to write both the circle and the hook. (see lines 10 and 1 1 except after j t or | d, where the circle must be turned to the right in order to join the treble consonants skr, sgr, sfr, or svr. See line 12. 86. When vocalizing the spl or spr series of consonants, the cir- cle is invariably read first (in accordance with the rule explained in paragraph 46), then the vowel, next the double consonant, and lastly a final vowel or circle if any. See line 6. 87. When the treble consonants occur In the middle of a word, it is sometimes difficult to write the circle within the hook very ac- curately ; in such words the circle is lengthened into a loop, still Detaining the hook form. See lines 9 and 13. See Copy Book Exeicise, p. 127. iss on gveblt Cousouants., ipr-i spr-i-ti'j- spree spray sffiag spl-i-s splice 4 5 6 C 1 s-a-fr s-i-vl "*^/ . TTV t- ^ l - C s f ^ ' r "r r ~^\ U sJ. ! '^^tx ^ tft ^ 52 PALMER'S NEW MANUAL OF SHORTHAND. THE ASPIRATE, OR BREATHING H. 88. In English, the aspirate, or breathing h, is invariably fol- lowed by a vowel ; far this reason the sounds indicated by it are as numerous and unlike as are the vowels it precedes. 89. To express the aspirate h by an absolute sign would occasion graceless and awkward outlines. It is, therefore, represented in several ways, viz. : 1. The stroke form f ' h which is invariably written upward, and used when h is the only consonant in a word. See line i. The stroke h is also used with other consonants. See lines 2 and 3. 2. By writing a small dot before the vowel sign preceded by the aspirate. See line 4. 3. By a small slanting tick struck downward, in the direction of ck, at the beginning of k, g, stroke z, /, downward r, m and TV. See lines 5 to u. The tick aspirate may sometimes be conveniently joined to the double consonants. See line 12. And also be used in the middle of a word. See line 12. The tick aspirate is always read first when it begins an outline. 4. When the aspirate precedes words written with the iv hook, it is conveniently expressed by thickening of the hook. See line 13, opposite page. 90. The dot aspirate should be placed at the side of dash vowels tnd not at the end. When preceding dot vowels the dot aspirate should be so written that a line connecting the two dots would be at right angles to the consonant. 91. When s follows an initial h, as in husky, hasten, house, etc., the stroke h should be used. See line 14. 92. There is no danger of the dot aspirate being mistaken for a short vowel, as a short vowel never occurs, in English, before an- other vow<5l in the same position. See Copy Book Exercise, p. 128. h-aw* haw _. hoe hiss 3 - h-a-k hack house h-a-z haze j A t .H- V V \ ^ V h--w-e-l w/ieel 14 r 54 PALMER'S NEW MANUAL OF SHORTHAND. THE N HOOK. 93. A convenient and beautiful way of representing other than by the stroke form ^ , which has been given, is to express it by a final hook, written on the left-hand side of upright and sloping characters (see lines I, 2 and 3), and on the under side of hori- zontal strokes. See line 4. 94. After curves the n hook follows the direction of the curve. See lines 5 and 6. 95. The n hook can be joined to any of the single consonant strokes, straight or curved (see lines I to 6), and to any consonant with an initial appendage. 96. Like the circle s, the n hook is always read last when it ends an outline. 97. The student will now understand why the outline ^ can not represent ski, when standing alone. See paragraph 79. Such outline, when standing alone, or written downward, being shn. See line 5- 98. The n hook may be used with advantage in the middle of a word, when the stroke form, would give a poor outline. See line 7. 99. By making the n hook on straight letters into a circle, s or z is added ; thus, \, pns, J ins, _,, kns. See line 8. To express a simple stroke with j or * attached, would be to write the circle on the other side of the stroke ; thus, o ks, \o /?> I & e * c - 100. After curved letters, followed by the hook, s or z is ex- pressed by writing the circle within the hook. See line 9. 101. The n hook, followed by s or z, may sometimes be conveni- ently employed in the middle of a word. See line 10. 102. To express a vowel after n, the stroke n must be used to give position to the vowel, thus : V^^_^ Fanny, . ~~L> money, etc. See line II. 103. To express n-ses, as heard in dances, prances, tenses, etc. , the ns circle on straight letters may be made twice the usual size. Sea lines 12 and 13. ~S>\\\. fences, flounces, etc., must be written with the stroke> , as it is impossible to write a large circle within the hook. See Copy Book Exercise, p, 128. J /-^ V /-*^> pine pain 3 JA IT p-a-n-s pains bone tone plain S, -* s-p-^ spine 3- r j" C C J. J- tf^a-tt-sa Mances 13 H 56 PALMER'S NEW MANUAL OF SHORTHAND. MP, MR, AND NR. 104. The sound mp, as heard in pomp, pump, plump, jump, etc., being of frequent occurrence, is conveniently represented by a sepa- rate sign, namely, a shaded s~* m ; thus, -^ mp. See lines i, 2 and 3. The student will notice, by referring to page 19, that up to this time the shaded form of m has not been employed. 105. The sign >~s (used to represent mp} may sometimes be used to represent the sound mb, as heard in embargo, mfellish, etc. See line 4. The sign should never be used to represent mb when the word written with it is liable to conflict in meaning with one em- ploying it as mp. 106. The tick h may be written to mp or mb in such words as hemp, hump, etc. See line 5> 107. R may bemadded to the consonants ^-^ m and by a small initial hook written to the shaded form ; thus, , the stroke form must be used to give position to the vowel. See line 6. 117. The circle s or z may be added to an f or v hook by writ- ing it within the hook. See line 7. 118. The/ or v hook may be conveniently used in the middle of a word. See line 8. 119. The f or v hook is read in the same manner as the n hook, and the circle s when it ends an outline, that is, being al- ways read last. DOUBLE-LENGTH CURVED SIGNS. 1 20. The frequent occurrence of thr, tr, dr, etc., in the English language, has led to a briefer mode of representing such sounds, other than by the use of the double consonants explained on pages 46 and 48. 121. When a curved consonant is written twice its usual length, it expresses the addition of *) thr. See line 9. 122. Doubling a curve also adds tr (see line 10) andaV-. See line II. 123. Doubling the consonant ing adds kr or.fr. See line 12. 124. Mp or mb may be doubled to add er. See line 13. 125. Vowels and diphthongs when written to lengthened curves, must be read before the added consonants thr, tr, dr, etc. ; but when a double-length curve ends with a circle or n hook, the added con- sonants must be read before the circle or hook. See line 14. See Copy Book Exercise, p. 130. X, p-u-f puff L ch-d-f chaff t-u-f br-e-f brief H> T bl-u-f bluff str-i-f strife pr-oo-v prove I x, L 5xcvcisc on pottblc-lcugth C r uvuts. f-e-thr feather m-d-tr matter w-ii-n-dr wonder t-i-ing-kr tinker ^S ^^ t-e-mp-ers tempers f-i-ing-gr finger ^ -^ t-i-tnb-er timber 60 PALMER'S NEW MANUAL OF SHORTHAND. THE WA Y HOOK. 126. The semi-consonant w, following /, d, k and g, coalesces with these letters in a manner similar to the liquids / and r (which form the double consonants), producing the sounds tw, dw, kw and gw. These sounds are represented by a large initial hook written on the / hook side of the consonant, thus : r r ^ o_ TW DW KW GW 127. These signs are vocalized the same as the single and double consonants (see paragraphs 31 and 32), the vowel being read first when placed before the sign (see exercise), and last when following the sign. See lines I to 6. 128. The circle s, when preceding these signs, must be written within the hook, and vocalized according to the rule for reading the circle s, given in paragraph 46. See line 6. 129. The large initial hook, for the expression of way, is not con- fined to the strokes /, d, k and g , but may be written to \ p and \ b, when writing words of foreign origin. THE SHUN HOOKS. 130. The termination shun, zhun, etc., as heard in the following words, caution, nation, fashion, option, derision, vision, is expressed by a large final hook, which is generally written on the most con- venient side of straight letters (see line 7), "but always following the direction of curved letters. See line 8. 131. When / or d, without an initial appendage is followed by the shun hook itshouldbe written on the right hand side of the stroke, but when the stroke takes an initial appendage, write the hook on the side opposite the appendage to avoid giving a curved appearance to the outline. 132. On all other straight strokes without an initial appendage the shun hook is written on the side opposite the accented vowel (see , o 1 Jv _ b v tiv-i-n tw-i-s twine tic ice 3 f r a-M-I dwell. L t-v-a-n twain tu-i-l f, tu>ill t , 0n the jlhun p-a-shun faaion J-a-s^itn p-o-s-i-shun T o-sh-n ocean 62 PALMER'S NEW MANUAL OF SHORTHAND. line 7), except when the hook is used in the middle of a word, where a non-observance of this rule sometimes secures a better out- line. See line 9, p. 61. 133. The circle s or z is added to the shun hook by writing it within the hook. See line lo, p. 6l. 134. Shun is also expressed by a small hook, formed by continu- ing the line of a circle (either s or ns) through the stroke. See lines II and 12, p. 61. This is called the backward shun hook, and is vocalized for a first or second-place vowel only, first-place vowels being written before the hook, and second-place vowels after it. See lines II and 12. p, 61. 135. The backward shun hook may be convenienty used in the middle of a word. See line 12, p. 6l. 136. The circle j or z is added to this hook, as in line 12, p. 61. 137. When sh and n are the only consonants in a word, the letter sh with the n hook must be used. See line 13, p. 6l. See Copy Book Exercise, p. 131. LOGOGRAMS. 138. Though the English language contains many thousands of words, it is an established fact, that a little more than one hundred and fifty different words, by being frequently repeated, forms more than one-half of all that is contained in a sermon, speech, news- paper, or debate. Such being the case, it has been thought best to give these words abbreviated forms; that is, to write only zflartof their true outline, that part being chosen which will best represent or suggest the full word. 139. In Phonography the most frequent words in the language are represented by the single and compound letters of the phono- graphic alphabet. To write such words as the, and, an, that, etc., in full would occasion an unnecessary waste of time and labor, nor would these words, thus written, be more legible than when ex- pressed by one simple and distinct character. 140. Abbreviating words thus does not detract from the philo- sophic nature of Phonography, nor should the student, for a moment. PALMER'S NEW MANUAL OF SHORTHAND. 63 suppose that he is memorizing arbitrary signs for the brief expres- sion of certain words. 141. Abbreviating words, for the most part, is simply omitting the vowels, and expressing the word by its simple outline, thus, ( t represents it, \ d, do, and *^p, up. 142. If the word tJie be pronounced and its sound continued, it will flow, as it were, into the sound e. This word, therefore, is expressed by writing the vowel e (a heavy dot) above the line the height of the letter [,/. See next page. 143. Words so abbreviated are called grammalogues, or sign- words, and the shorthand letters that represent them are called logograms, or word-signs. METHOD OF PRACTICE. 144. The table of logograms on the next page, and those that follow, should be memorized by the student. This is best done by writing a line of each in the copy-book several times, pronouncing the word as its outline is being struck. Associating the word and its outline in this manner will soon lead the student to strike the abbreviated form without hesitation, and to become so familiar with all words so abbreviated that it will require no effort to recall its sign. 145. While it is of great importance that the student should be able to write the logograms correctly, it is of no less importance that he be able to recognize them when called upon to read what he has written. It is therefore recommended, that after writing the logograms repeatedly in the copy-book, as mentioned in the above paragraph, the sentences on the page accompanying each new table of logograms be read and carefully copied, after which they should be transcribed into longhand, and written from another's dictation and compared with the engraved exercise. Should it be found to contain many errors, it may be accepted as sufficient evi- dence, that the lesson has not been mastered, and he is strongly advised to rewrite it. The time thus spent could not be better employed. 6 4 PALMER'S NEW MANUAL OF SHORTHAND. the.* a. SIMPLE LOGOGRAMS. N to. ) was. /"will. c we.* / which. ./are. : or. /shall-t. . an or and. is or his.* ^- i r - v I.* o as or has. ( think. ^ m* v aye* (yes). ' he.* V.have. \ up. A how I it. ^-when.* ( you. \be. me or my.* /" we ll. s of.* I do. _^him. x (period). 146. The logograms in the above table, and those that follow are written above the line when followed by an asterisk [*]. 147. The two most frequent words in the language are the and a, they are therefore provided with the briefest possible forms, namely, a heavy dot, the being expressed by writing the dot on the upper line when double lined paper is used, and above the line (the height of | t), when single line paper is used ; a is expressed by writing the dot on the lower line. 148. When the name of a letter is the same as the sound of a word, it is termed a natural grammalogue, thus^-s.fo, v I t ^you, etc. 149. The words and&ndt. an are represented by a small dot written on the lower line. 150. A distinction is made when writing the logograms for /and aye by making the down stroke on the character representing aye slightly shaded. See table above. 151. When great precision is required the logograms is, as, may be aspirated for his, has, by writing a small dot before the circle. See examples in lines n and 12, 152. The ordinary period being employed to represent words, a small cross is used to represent this mark of punctuation. See Eabia above. See Copy Book Exercise, p. 132. X I X 3 1-* . 4 A C "V. ">, S 51_._ C _... I XI, _1 7lT > I f j ^ f\ ' c/ X I o n _x . V __ . I f r r- v. c- _L r > r c ^ \ r C r x I x 13. v 66 PALMER'S NEW MANUAL OF SHORTHAND. VOWEL LOGOGRAMS. all* too- two already* before ought* who x I / - X 1 / of* to or* but on* should 153. By writing the stroke vowels aw, o, oo, in each of the direc- tions as shown in the above table, six distinct characters can be obtained, which are used to represent the words all, too-two, already, before, ought, -who. On pronouncing these words carefully it will be noticed that all contain broad, open, sounds, for this reason the signs used to represent them are slightly shaded. 154. By making the same characters light, provision is made for another set of very frequently occurring words ; namely, of, to, or, but, on, should. It will be noticed in these words that the vowel has a more acute accent than those mentioned in the above paragraph, for this reason their signs are made light. I 55- When writing the vowel logograms on double lined paper (which is recommended), those in the first position should just touch the upper line, and those in the second position should rest upon the lower line. See table above. When single line paper is used, those in the second position should rest upon the line, and those in the first position should be written above the line the height of the letter) t. 156. The logograms in the above tables are all struck down, except on and should, which are invariably written upward in the direction of^r, to avoid making the stroke heavy, and to dis- tinguish them from the logogram 'he, which is invariably struck down, in the direction of ch. See table, p. 64. 157. The vowel' logograms can be easily committed to memory, by repeating them in the order in which they are presented in the above paragraphs, writing each as its name is pronounced in the Copy Book. See Copy Book Exercise, p. 133. x _L 5 I I . ( r ^-\ n / 8 ^__ \ i_ .f 9 ( (_!_/.!_ 10 A ' \ \ / i )- r> c- / c r 12 Vit V 13 / L x \ \ >/ ^ c- v 68 PALMER'S NEW MANUAL OF SHORTHAND. W AND Y LOGOGRAMS. e e c we* with* were what* would ye* yet beyond* you ^ r c / way your well where f when* <5_x J. (.one 158. By the position of a logogram, is meant the place it occupies with reference to the line of writing, whether on or above it. In the Corresponding Style of Phonography there are but two positions, namely, above the line, or first position, and on the line, or second position. When using double-ruled paper, the upper line is the first position. In the above table, we, -with, what, ye, and beyond are in the first position, and -were, would, yet, and you in the second position. I 59- We and with, having the same sign, a distinction is made, by making that for we slightly shaded to indicate its broad or open sound, and writing the sign for with light because of its light or brief sound. The signs for ye and you are also shaded. 160. With the exception of we, ye, and you. The stroke forms ~"^ w and f y, should be employed when writing words that contain only vowels in addition to these letters. The stroke "^ w should also be used in all words where w is preceded by a vowel as in away, awakt, await, etc., and when writing words where w is preceded or followed by the s or z sound, as in sway, swab, wise. 161. When two words, joined by a brace, are placed to one sign, as when, one, in the above table, it signifies that the word in the upper line is represented by writing the sign in the first position, and the word in the second line by writing the sign in the second position. See Exercise on the opposite page. See Copy Book Exercise, p. 133. r -> . _ A ~\ ... ( X A V. 8 r 9*1 D N r ioi_r xi ^ CL^ c i I c ii v_ U, v _ 12 I 6 <^ - 13^-1 _, \-L (. c 14 \ s-?^ __ A . c C _ r 70 PALMER'S NEW MANUAL OF SHORTHAND. SIMPLE STROKE LOGOGRAMS. \ up \ be it | do / which / advantage /" w ill / are Vfor V_have ( think ( t h em ) so ) was .y shall-t J usual-ly f kingdom, common* / give-n* ~ \ come \ together, go ( me or my* f in or any* f thing* ""^ i him or may ^ \ no or know *""' \ language 162. When a sign has a word printed opposite it with more than one termination joined by a hyphen as shall-t, usual-ly, give-n, or two words joined by the word or as, me or my, in or any (see table above), the same sign is used to represent them. There is no danger of such words clashing, as the context always determines which word is intended. 163. The position of a horizontal logogram, whether on or above the line is usually determined by the accented vowel of the word it represents. The logogram being written in the first position for words containing first-place vowels as, me, my, etc., and in the sec- ond position for those containing second-place vowels as may, nv, go, etc. 164. Though the words any and no contain second-place vowels, being of opposite meaning, a distinction is made by writing the sign in the first position for any, and in the second position for no. See table above. 165. Logograms which fill the whole line of writing, as \/, \ be, etc, are only written in the second position. 166. The circle s or z may be added to a logogram, to form the plural number of a noun ; as, ^, language, ~^P languages, or the third person singular of a verb in the present tense ; as, (, think, (, thinks, or the possessive case ; as, | it, (, its. See Copy Book Exercise, p. 134. / V n r \ x r / v n Y_ _ .../.. 1..I ^ ( .. ( c , r \:L./ .1 . u, c r x i i c \_l_/x 72 PALMER'S NEW MANUAL OF SHORTHAND. LOOPS ST AND STJ?. 167. The sound st, as heard in the words past, po st, boa st, etc., is expressed by a loop written on the right hand side of upright and sloping strokes (see line I), and on the upper side of upward r, A and horizontal strokes. See line 2. 168. After curves the loop st follows the direction of the curve. See line 3. 169. The loop st is read the same as the circle s. See paragraphs 46 and 47. 170. The loop st may be written to any consonant stroke, with or without an initial appendage. See line 4. 171. After C I, / r, ^-n, and ^ h, ad is expressed by shading the down stroke of the loop. See line 5. 172. When used initially, the loop st is written as in line 6. and vocalized as for the circle s. 173. The loop st may be used before the straight letters of the pr series of double consonants to write such words as steeper, stutter, stagger. See line 7- 174. By continuing the hook on straight letters into a loop, nst is expressed, as heard in pranced, entranced, and. glanced. See line 8. 175. The circle s when following the loop st is written as in line 9. 176. When convenient, the loop st may also be used in the mid- dle of an outline. See line 10. 177- A loop made twice the size of the loop st, expresses sir, as heard in pla ster, po ster, bli ster, and may be written on both straight and curved consonants. See line n. 178. By writing the loop sir on the n hook side of straight conso- nants the sound nstr is expressed, as heard in spinster, punster, etc. See line 12. The loop nstr can not be used on curved consonants. 179. The circle s when following the loop str or nstr is written the same as when following the loop st. See lines 12 and 13, 180. The loop str may be used initially, or in the middle of an outline. See line 14. See Copy Book Exercise, p. 134, lEzcrcisc on goops jst anil 1 NT p-a-st fast 2 /\ p-o-st p osi b-o-st boast.- t-a-st taste b-e-st beast V tr-u-st trust kr-i-s-t-a-l-i-zd .crystallized -^ st-e-p st-e-pr steeper \y pr-a-nst pranced ,, a-r-l-i-st-i-k artistic ^ pl-a-str Blaster b > s-p-i-n$tr spinster H p-o-slr-s posters I str-i-ng string f Tr JT e s-p-i-nstr-s spinsters e I 74 PALMER'S NEW MANUAL OF SHORTHAND. INITIAL HOOK LOGOGRAMS. % principal-le-ly \ / member p tdl tm (, remember-ed 1 truth 1 dear ^ { SLlt-y ^-care V. full-y \ from ^ every, very 5 three 5 their, there n a , f Mr., remark* J'sure J Pleasure ^{ more ^_, near, nor* 181. The characters of the// and pr series of double consonants, and other strokes written with an initial hook, are used as logograms, forming what is termed The Initial Hook Series of Logograms. See table above. 182. The horizontal strokes of this series, are written in two positions on and above the line, according to the words they repre- sent. See paragraphs 158 and 163. 183. The student will find it very profitable when studying these logograms, to pronounce the character and then the word it repre- sents, the close relationship existing between the two, being so pro- nounced that many by repeating them twice, will have them com- mitted to memory. 184. When the same logogram is used to represent the present and past tense of a verb, as remember, remembered, or an adjective and adverb, as full, fully, they are such words as will not conflict in meaning. See table above. 185. It is not necessary for the student who finds it a task, to memorize all the logograms as they are presented, though of course it is better to do so. Those who experience this difficulty may grad- ually adopt such of them as they feel the need, and can conven- iently remember. 186. The circle s or z may be added to the Initial Hook Logo- grams as explained in paragraph, 166. See Copy Book Exercise, p. 135. J v I s- - II f v r _ 12 3 n ^A p . X n ^- I r 14 76 PALMER'S NEW MANUAL OF SHORTHAND. THE HALVING PRINCIPLE. 187. By halving any of the single, double, or treble consonants (except those in paragraph 188) with or without a final appendage, t or d is added, according as the stroke is light or heavy, / being generally added when the stroke is light. See line I and d when the stroke is heavy. See line 2. 188. The strokes -^s ng, ~^\w, f ~y, a.r\o./^mp are never halved. Mp may be halved when final hook is used impend, impound, impugned. 189. A vowel written before a half-length stroke is read before the consonant, and added t or d. See line 3. A vowel written after a half-length stroke is read next to the primary single, double, or treble letter but before the added / or d. See line 3. 190. When a half-length stroke terminates with an n,forv or shun hook, the added d is expressed by shading the hook. See line 4- 191. The circle s or z written to half-length strokes, is read after the added t or d and in accordance with the rule for circle s. 192. A distinction is made between the strokes -^ nt, ~^ rt, C It, and mt, and those taking the added d, by giving the latter shaded forms thus, ^ nd, "> rd, f id, and ^ md. See line 5- 193. The stroke C It when standing alone is written upward, but when used in the middle of a word may be struck either upward or downward being vocalized from the point at which it is struck. ~> rd and r Id are always struck downward. See line 6. 194. A half-length j is generally struck downward, but when more convenient it may be struck upward. See line 7. 195. Strokes written with the initial w or final /, v, n, or shun hooks may be halved for either t or d. See line 8. 196. When the present tense ends with a full-length stroke, halve it to form the past tense, but when the present tense ends with a half-length stroke, add a full-length d to form the past tense, and when it will not form an angle, disjoin it. See line 9. 197. When writing such words as liked, kicked, mapped, etc., the full-length t or d should be used to form the past tense. See line IO. 198. When t is the last consonant in a word, and forms no angle with the one preceding it ; the past tense is formed by a half- length / disjoined. See line II. 199. The advanced writer may use the halving principle to ex- press either t or d. See line 1 2- See Copy Book Exercise, p. 136. piK-t puked, trdk-t tracked, bak-t baked -7^7 ^_!^_ n kaj-d caged plag-d plagued f ben-d bend kaj 3-^-5- riib-d rubbed beg-d begged \ _ pat-pat r >'-/ night CL \-^^ pel-t-ng pelting read V lenes-t leanest 8 .C r II l-l ^1 da-ted dated 1 &! xr- 12 bu-t-ifiil beautiful,, 13 -14 ren-t rent nam-d named 78 PALMER'S NEW MANUAL OF SHORTHAND. FINAL HOOK LOGOGRAMS. The N Hook. % open, upon % been ( than, then =,can _, again, gain j ten /'alone J done ^* Phonography / general-ly ^_^ f men* __^ f opinion* \ man \ known The F and V Hook. **""* above u whatever I differ-ed-ence-ent = gave The Shun Hook. x^ objection ^ generation occasion S. ^ ^nation, notion o subjection -^motion 200. The upward r, when standing alone is never halved, except when written with an initial or final appendage. See line 13, p. 77. 201. As a rule the halving principle should never be used, unless the stroke halved makes a distinct angle with the stroke preceding it, but when a light stroke is written to a half-length heavy curve, a non-observance of this rule sometimes secures a more convenient tmtline. See line 14, p. 77. 202. The final hook logograms are all written in accordance with the rules explained in paragraphs 163 and 165. 203. Writing words in position should not be confined simply to logograms, but should be observed when writing words whose out- lines do not fill the whole line of writing. Outlines containing first- place vowels, as king antiknock' being written in the first position, and those containing second and third-place vowels being written in the second po'ition. 204. The circle s or z may be written to any of the final hook logograms. See lines i and 8. See Copy Book Exercise, p. 138. \ N S^ ^L / \ V ^ 1 , x p c O I V 5 6 "_ 7 c / g -o - ; ^> ).. 3 \ 1 y N J 9 A _: N, . v, -/ V f, / 3, \ ^...__:......^- ^ . i...:_..x r _ ( i ^/ (T\ V - J <^f> , A I ^ r. i s~* ijL \j> ./) 'r _ S <^x -o /- o /i i 14 / /I? v r \ -p 80 PALMER'S NEW MANUAL OF SHORTHAND. HALF-LENGTH LOGOGRAMS. s particular-ly* - j light* I (let, late \ opportunity, part f child* e_ glad -> J Lord - read * (word ^spirit* f |S2* ^eat ld ^'Iboir -could V. after . (brought* (called* v. jfind* , immediate-ly* ' (bread ^ jcold * I*** "- jmade ^ (behind* laccord-ing-ly* \_ vote ** mind* ) bent, bend "' {cared _ i thought* f told c -~ l . }not* qu"e* | nature 1 toward, trade -, | account * I 'without ' went, wont I did* J God* j short* 1(1 - I good + " under 205. The strokes formed by the halving principle, afford abund- ant material for the representation of a large class of words con- taining but one vowel, and terminating with t or d as thought, brought, quite, great, build, cold, etc. See Table above. 206. The half-length strokes are also used to represent words containing more than one vowel or consonant, when the name of its outline readily suggests the word, as/rt 1 represents particular or particularly. In the following sentences: I am very prt about such things would be readily understood I am very particular about such things, and, 1 prt dislike him to be / particularly dislike him. The context in every case will determine the exact word. See exercise opposite page. 207. It will be seen by referring to the table above, that upright and sloping logograms are written in position as well as horizontals. This can be done only with the half-length strokes as their outlines do not fill the whole depth of the line of writing. 208. The word read; present tense of the verb, is written with the half-length shaded r (see table above), and the past tense and participle with the upward r and stroke d, vocalized. See Copy Book Exercise, p. 139. 0trthe |fctIMengtft gogogjrams 7 x e < 4 v 5 _ 6 C _ 7^ P ( L ( JL.^ .^^ \ r . CN. x V L r y r r . o/ *v c i X" N V- II 12 n \ "S x _^ / C . . P n ^ J ) i r ' /> C / r 82 PALMER'S NEW MANUAL OF SHORTHAND. SPECIAL VOCALIZATION. 209. For convenience in writing, as well as to secure graceful outlines and greater speed, the double consonants (especially those of the // and pr series) are intervocalized, by expressing the vowel between the stem, and the / or r expressed by the hook, for such words as dear, cheer, dark, etc. This is effected in the following way : 210. To express dot vowels when long, write a small circle before the stroke, in the same position which the simple vowel would occupy, and when the vowel is short, write the circle after the stroke in the same manner. See lines I and 2. 211. When, however, the position of the consonant signs render it inconvenient to observe the above rule, the circle may be written on either side to express a long or short vowel. 212. Dash vowels and diphthongs, both long and short, are struck through the stroke, except when a first or third place stroke vowel would interfere with an initial or final circle or hook, in which case the first place vowel must be placed just at the beginning, and the third place vowel at the end of the stroke. See lines 3 to 8. 213. As the large circle ss is understood to represent a syllable containing the vowels e, u, or i, thus, ses, sus, or sis, it may be suggestively vocalized to express a vowel or diphthong. See line 9. 214. THE DISSYLLABIC DIPHTHONGS. The following words, being, clayey, etc., contain diphthongs dissimilar to those provided for by the scale on page 42. They are called dissyllabic diphthongs (see line 10), and are given an additional scale, as follows : 1 H J 1 >1 >! ! 6-1 a-I ah-I aw-i o-I So-I 6-8 being clayey hurrahing gnawing stoic Louis Owen 215. First and third place diphthongs and coalescents, may be conveniently joined to consonants. See lines n to 14* 216. For convenience in writing the word now, the last stroke of the diphthong ow is joined to the n stroke, and in writing the word new the diphthong u is slightly inclined. See fourth and fifth words; line 14. See Copy Book Exercise, p. 140. , 1 N, d-e-r dear a K t-e-rm term / t_ t-v-rment torment 5 k n-o-rth north h m-e-r mere sA-J-rt short d-ng-k-o-r anchor s-u-stan sustain 10 b-e-i-ng being II U^ /V 12 13 item bough V\ C 5 i-s ice 14 CXs -A ^Vk Xc pr-ow pro~M I I ^ "^^ V. > Na rt / I ^ ^ y" V 84 PALMER'S NEW MANUAL OF SHORTHAND. PREFIXES. 217. The Prefixes com- and con-, as heard in complain, comprise, com- pose, console, concave, etc., are expressed by writing a simtll dot near the beginning of an outline. See line I 218. When com-, con-, or cog- occurs in the middle of a word, it is expressed by omitting the outline for that syllable, disjoining the outline where it occurs, and writing the remainder of the word close to, and, if convenient, a little below the commencing syllable, which need not be vocalized. See line 2. 219. When cog- is used initially, as in the words cogna.ie, cogniz- able, etc., it is expressed with k, g. 220. Magna-, magne-, or magni- is expressed by writing the stroke m partially over the remainder of the outline. See line 3. 221. A half length stroke n written near the following letter, expresses inter-, intro-, or enter. See line 4. 222. A small disjoined tick written near the beginning of an outline, expresses contra-, contri-, contra-, or counter-. See line 5. 223. In-, en-, or un- is expressed by a small backward hook when preced:~:* tne treble consonants of the spr series, or s followed by a curved stroke. See line 6. 224. Circum-, or self- is expressed by a small circle written near the center of a stroke. See lines y and 8. AFFIXES. 225. 'Ing as an affix should be expressed by the stroke ^^ , but when more convenient, express it by a small dot. See line 9. 226. -Ings is expressed by a disjoined circle s written near the end of an outline, and -ing the by a small slanting tick written in the same position. See line 10. 227. -Self as an affix is expressed by a small circle, and -stives by a large circle. See line 1 1. 228. The termination -ly is generally disjoined when following final hooks. See line 12. 229. Any consonant when disjoined from that which precedes it, expresses the addition of -lify, or -rity, together with the vow< 1 pre- ceding the / or r. See line 13. 230. -Ship is expressed by a disjoined sh. See line 14. 1 r -q 'QX,-- t J' I ^ corn-plan complain con-tan contain r-com-end recommend T ^ iHugni-tud magnitude Intcr-vu interview \ I v 'v 3 contrd-aikt contradict r-cog-niz recognize enter-tan entertain *\ ^i ) counter-nu un countermine in-scrib inscribe o o >V I >^_ d- circum-spekt circumspect ^ jJ selj-estem selfesteem tj. rs en-slav enslave iin-salabl ^unsalable, -r v j \- hunt-ng hunting mak-ng making s\ i r / ^-*. ^ L/ L, ^ rit-ngs writings hdv-ng-the your-seif yourself your-seivr yourselves Jrend-Iy frie-iJlyf ^~ f~ - i nstrument-ality 86 PALMER'S NEW MANUAL OF SHORTHAND. IRREGULAR LOGOGRAMS. object ^^ ( important-ce* \ improve-d-ment O-only /""~ letter ^_ first --ta most, must / just C this f neither* \ another C yours J theirs i its t>J pleasure N matter 231. An examination of the above table of logograms, will show that they differ very widely in their formation. For this reason they are termed the Irregular Logograms. 232. The small tick joined to b, forming the logogram for object, is the first-place light dash vowel sign. See table above. 233. The logogram forjirsf, should not be mistaken for a circle. It is an oval, slanting in the direction of ch, and made half the length of a stroke. See table above. 234. Double-length /, used as the logogram for letter, is struck upward, being commenced on the line of writing. 235. A logogram representing a primitive word is generally used to represent one or more of its derivatives, as important-ce, improve-d- ment. This can be done with perfect safety, as the context always determines which word is intended. 236. The above table of logograms and those already given, are designed pi'incipally for convenience and speed ; it is, therefore, strongly recommended that the entire list be memorized as speedily as possible. The student is especially cautioned against writing the grammalogues. with their full outlines; it occasions waste of time, and if persisted in will become a fixed habit, which may be difficult to overcome ; after thoroughly committing their abbreviated forms, it will be easy for him to write the full outline if desired. See Copy Book Exercise, page 142. L ->* \(] _y VD /, V. L J. ^ ) \ * / 'I 6 8 !_1 ^ l^ x I 1...., T x I \ * s-\ \^/ i o i 9 ..._. . s^z> _ \ I - s I s(\ /-A f S JQ / ,/V / V I_ ^ / -P ^ / ^*-s M v ^ /5 \/ 12 , I ^^ ) t \~. I (/ 88 PALMER'S NEW MANUAL OF SHORTHAND. THE TICKS. 237. THE. The being the most frequently occurring word in the English language, it has been found necessary to provide an additional sign to represent it, other than the dot form given in paragraph 147. The best, because the most convenient for joining, is a small tick written to the preceding word, and struck .down, in the direction of ch, or up, in the direction of upward r. See lines I and 2, 238. A, AN, or AND are also provided with additional forms con- venient for joining, namely, a small tick, always struck either in a vertical or horizontal direction, and used at the beginning or end of a word. See line 3 239. The phrase and he, should be written above the line, and, and the on the line. 240. The ticks for the, a, an, or and never stand alone. OMITTED CONSONANTS, ETC. 241. The consonant k, when occurring between ng and sh, or ng and t, may be omitted, as also /, when occurring between m and /. See line 4. 242. The consonant /, occurring between j and another consonant, may often be omitted without fear of illegibility. See line 4. 243. Two VOWELS CONCURRING. In words where tivo vowels occur either before or after a consonant, the vowel that is heard nearest the consonant should be written nearest to it. And when two vowels occur between two consonants, one should be placed to each. See line 5. 244. Verbs ending with the sound, form their past tense with the circle z and stroke C? distinction / s -I. T. IX- pleased 7 ^X _y to-morrow 8 6/L wherefore 10 i x k ^\ p" 1 * 4 -.rs ) i .f T . J- 4. 11 x fy Period ,[ Exclamation ; Interrogation < ^ Laughter <3 Cheers y ' * 12 | Grief = Hyphen ##" Capital .^^a. ^^ ,- Dash 13 . Comma , Semicolon * Colon Quotations 14 iParenthesis if Paragraph ^ Asterisk LJ.. Brackets A Care 90 PALMER'S NEW MANUAL OF SHORTHAND. 246. The general rule to be observed when writing such words, is to write the first logogram in the position it would occupy when stand- ing alone, and to let the other accommodate itself to the first. 247. Figures are best written in the usual way ; namely, I, 2, 3, etc., but the words may be expressed singly as in line 9, p. 89. NOMINAL CONSONANT. 248. When it is necessary to express one or more vowels or diphthongs without a consonant for initials, as, E. Jones, A. Brown, I. Clarke, or for the words ah!, oh!, a-we, owe, etc., it is effected, by writing the dot vowels and diphthongs to the letter | t with a small slanting tick joined to the stroke, which deprives it of its value as a consonant, yet serves to indicate the position therefore the name of the vowel placed to it. Dash vowels are best expressed by striking them through the stroke, and omitting the tick. See line 13, p. 89. PUNCTUATION, ETC. 249. While it is of great importance that one should properly punctuate that which he has written, it is by no means necessary that the writer should indicate all the minor pauses when taking a rapid report. It is, however, important that the full stops be in- dicated by an appropriate sign, in order to convey to the writer a clearer conception of his notes when transcribing them. 250. THE PERIOD is indicated by a small cross, or a stroke made double the length of ch. See line 14, p. 89. 251. THE PARENTHESIS should have a single or double line struck through them, to avoid mistaking them for the stems th and s. See line 16, p. 89. 252. Proper names, and words commenced with a capital are in- dicated by underscoring them with two short parallel lines. 253. A word intended to be emphasized, should be underscored with a waved line, And more than one word by a straight line. 254. Initials of titles, as LL.D., M.D., A.M., M.A., etc., are best written with the longhand letters. The other marks of punc- tuation given in lines 14 to 17, p. 89, are self-explanatory. PALMER'S NEW MANUAL OF SHORTHAND. 91 CONSONANT OUTLINES. 255. The major portion of the letters in the phonographic alpha- bet being represented in more than one way, namely, by the circle, hooks, dot, shading, etc., as well as writing others either upward or downward, it often becomes a matter of conjecture to the student, as to which outline will best represent a word, or be the most ex- peditiously written. The following suggestions, it is believed, will be found useful in assisting the writer to determine the best outlines for words. 256. The general rule to be observed, when writing an outline, is to choose that form which is most easily and rapidly written, and which admits of clearest vocalizing. 257. In applying the above rule, the student should not let his eye deceive his hand when determining which of two or more outlines is most easily or rapidly written. It is very often found, that an outline which appears to the eye very simple, requires very dexter- ous movements of the fingers to write. The student's aim should be, to choose flowing, rather than cramped outlines, though the lat- ter may occupy less space. 258. Special attention should be paid by the student, to rules governing the use of consonants expressed in more than one way, as : The circle, or stroke s and z ; The hook, or stroke f, v, and ; T and d expressed by the strokes, or by the halving principle, as well as the different forms for the expression of h. Paragraphs intended for special notice, and which generally relate to formation of outlines, and the choice of the best mode of writing these conso- nants, whether with a circle t hook, etc., will be found to contain words printed in italics and will be seen at a glance, by referring to the respective page of explanation given with each principle. 259. The student will derive great benefit by reading and copy- ing from engraved Phonography, carefully noting the forms given. The selections commencing on p. 108 should receive this attention. Rules for writing upward and downward /and r\ given on next page. 9 3 PALMER'S NEW MANUAL. OF SHORTHAND. RULES FOR WRITING L AND R. INITIAL L. DOWNWARD. 260. When / is the first consonant in a word, and is preceded by a vowel, write the downward /. See line I. When / precedes the stroke ing, it is generally struck downward. See line 2. UPWARD. 261. When /begins a word, and is immediately fol- lowed by k, m, or any of their derivatives, write the upward / (see line 3) ; but when followed by other consonants, use the upward or downward / as may be most convenient, FINAL Z. DOWNWARD. 262. When / ends a word, and is immediately pre- ceded by the strokes f, v, upward r, A, or two vowels, write the downward /. .See line 4. UPWARD. 263. When / is the last consonant In an outline, and is followed by a vowel, write the upward /. See line 5. When / is preceded by m, as in the words, mail, meal, mile, etc., write the upward /. See line & INITIAL R. DOWNWARD. 264. The downward r should be used when joining with the tick aspirate, for such words as hear, hark, etc. See line 7. 265. When r is preceded by a vowel, or followed by m or any of its derivatives, as in the words ear, air, arm, etc., write the downward r (see line 8) except for such words as are given in line 9, where the upward r secures better outlines. For rumor use the upward r. See last word, line 10. UPWARD. 266. When r begins a word, write the upward ^-(see line 10) ; also when r, preceded by the circle J or loop st, is preceded and followed by a vowel. See line II. FINAL R. DOWNWARD. 267. When rends a word, write it downward. L. 12. UPWARD. 268. When r is the last consonant in a word, and is preceded by m, mp, upward r or two descending strokes, or followed by a vowel, use the upward r. See line 13. 94 PALMER'S NEW MANUAL OF SHORTHAND. ON FOREIGN SOUNDS. 269. The number of foreign words incorporated with the En- glish language makes it sometimes necessary for the Phonographer to write one or more words of foreign origin. Those who are ac- quainted with either Italian, German, Scotch, French or Welsh will find the scheme given in the table on the opposite page very suggestive. 270. The French language possesses several vowels unknown in English, and gives nasal utterance to others used in our language. The vowels are represented by short strokes written parallel with the consonant, and in three positions. See Nos. 5, 6 and u. The nasals, by a small double curve written as in No. 13 to 16, and conveniently struck through the stroke as ^v^' Bonbon, C^-4- Encore, <^ sain. ^ te ** 271. The guttural ch t heard in Scotch, German, Irish, Welsh and other languages, is expressed by a small double curve struck through the stroke, thus: 5- ch ; as heard in /^ loch (Scotch lake}, ; ich (German /), L^ dach (German roof). The German g, as heard in sieg, is written thus: 04- sieg (victory). These con- sonants belong to the class of Continuants. See Nos. 17 and 18. 272. The Welsh //, as heard in Llanelly, is the whispered form of the English /, and is produced by placing the tongue in the po- sition for uttering the English /, emitting breath instead of voice. This whispered form of / is represented by a waved line struck through the stroke. See No. 19. 273. By careful speakers, in this country and in England, a dis- tinction is made between e in mercy and e in merry ; between a in dare and that in dame ; as well as a difference between a in at and a in balm. For the correct expression of such sounds see table, opposite page. 1 PALMER'S NEW MANUAL OF SHORTHAND. 05 _ ,,, et. FOR THE REPRESENTATION OF FOREIGN SOUNDS. ABBREVIATIONS . English. G. German. /. Italian. S. Scotch. F. French. W. Welsh. LONG VOWELS. SHORT VOWELS. I 1 e earth, .; le, ^. 7 1 i ici, F. 2 ' 4 air, .; frre, /\ 8 '1 6 6t6, F. 3 J a pate, F. 9 J a patte, F.; ask, E. 4 1 o Konig, G. 10 1 6 Bocke, G. 5 \ eu deux, F. ii '] o bonne, F. 6 J u rue, F. 12 J u Kunste, G. NASAL VOWELS. CONSONANTS. 3 si in fin, /". 17 _J_ ch ich, G.; loch, S. 14 1 en en danse, F. 18 J gh einig, G. 15 'I un brun, F. 19 r 11 Llanelly, JF. 16 ^ on bon, ^. 20 v r amor, 7. 96 PALMER'S NEW MANUAL OF SHORTHAND. gafcU 0t OHfrotipccT Ccmsomtnts. -r- S-F- SS-f- -FR- S-FR- -FL- S-FL- sr-r 274. To find the S ig n ifi c a tion of any consonant com- bination trace the line in which it oc- curs to the top and then to the left, thus the char- acter marked * in the fifth square of V. V. e_ ^ ^ V, ^ JL i V^ ^ ^ ^ *^ ^ ^ ^ ss V) < ^ a s ^0 \0 V5 N w ^ ^ ^ 5 I* ^ ^ MS V. ^ 5 ^ ^> I. tl V. UN <0 ^b ^ ^ ^ ^0 ^> ^0 this fage repre- sents FRN. 275. The hyphens placed before and SHHS V2> 13 ^3 ^ 5 Va ^2 ^2> S-SHN Vf V ^e ^ % V ^e V S-SHNS ^ V 8 "V ^\ ^ % 5a the top and side of the table on this and the page oppo- site, show -where vowels may be in- serted. 276. The table on this page illus- trates the forma- tion of Grouped Consonants from curved strokes of the phonographic alphabet, and that on the opposite page those from straight strokes. There are of course a large number of the com- binations which tiever occur in writ- ing Phonography. ST J* ^ ^> a 3 ^> ^ ^ STS V, ^ ^ ^ 2 V> t jb ST-SHN w ^ & 3 3 W U ^j- OWN) w ^ * 3 fe b fc STR ^> ^0 ^ s S <^ ^D VD STW ig fe fc 3 5 fc) 8b %=> I7T-5HN te to fe ^ ^ jb RD b STR-SHNS )SO Sb fo 3 S te s b T \^ !L e ^ ^ Every ^ have r. letter V, Faint ..'... he r light ..V... find him J>L Lord ? first o his - Made ^ for A how ~* man TN from JL I ^ matter V full-y * immexliate-ly may Gain ~*^ important-ce .Ci. me gave improve-d-ment \ member / general-ly in met I generation o is Z* men j gentleman \ it ~ might gentlemen I its s- S mind give-n t Just ~* most T glad Kingdom - more go know ^ motion "" God y known .fTl Mr. - good ^ Language ^, must " great r late my ioo PALMER'S NKW MANUAL OF SHORTHAND. ^ Nation ^ Part c than - nature _L particular-ly - - that Jrl near Vo Phonography .._.'.... the v^ neither J pleasure ) their . no J pleasures 3 thei.rs SI nor s principal-le-ly < them - not c_ Quite ( then ^> notion JX. Read 3 there X Object _!C1 remark thing Ni objection N remember-ed ( think _^ occasion y Shall-t C this N of ^ short < thought JL on should 5 o " three ^ one ) so f till ^ only a v some N to S open ON. spirit together ..r.. opinion S subjection P told K opportunity ^ sure N too i or f Tell 1 toward / ought \ en 1 trade PALMER'S NEW MANUAL OF SHORTHAND. 101 1 truth f well ( without X two - went way r will r yours. c we c with 102 PALMER'S NEW MANUAL OF SHORTHAND. Phonetically Arranged (FoR THE READER). X 1 P JL >oitd f told s )rincipal-le-ly ^ >read 1 toward X open N. Drought 1 trade X upon -A. Behind 1 do J*- :>articular-ly S bend 1 dear <- opportunity bent J done K part spirit ^ object subjection I 1 differ-ed-ent-ly- ence did X be 1 it / which ^v^ member I its f child ^^^ remember-ed r tell J advantage X been t till J general-ly X above i truth I generation X objection j ten I just ^ bold i whatever J gentlemen PALMER'S NEW MANUAL OF SHORTHAND. 103 j gentleman j gain ( them common -^ gave 4 this kingdom God (V their come - good (V there <=. call - glad \J than - difficult-y *- great ( then c care V. for ) theirs -, can ^. full-y J_ that could ^ from ( without called v - Phonography ) so *. cold v- after c first ^ accord-ing-ly * find ) was o cr- cared ^ faint is C_ Q quite ^ have his ...z_ cannot ^ every o as ^> account "> very o lias give-n ^ vote J shall-t together ( think J sure ___ g o ^ three J) short again thought J usual-ly 104 PALMER'S NEW MANUAL OF SHORTHAND. J pleasure ..- men when J pleasures - man %- one r will *"* important-ce ^f" opinion r well ^ improve-d-ment *- known c alone 21 Mr.- ...^r. near ^ letter ^ remark 2Z nor r light ^ more ^ only r late matter ^^.. neither r let ^ motion -~ another / are ^ most *-" nation Lord met nature ....... read - immediate-ly ~ under s word - made - went ' ' me _.z.. mind - wont -- ^ ninrr him JTL in tiling anguage may way T- some ' no r your PALMER'S NEW MANUAL OF SHORTHAND. 105 / he / ought A how the / who C we a X of c with an x to c were and 1 or D what X all 1 but D would X too on ye V tWO S should - yet 1 already \l I " beyond 1 before V aye ^ you I . io6 PALMER'S NEW MANUAL OF SHORTHAND. OUTLINES. 277. The consonants of a word form what is termed its skeleton or outline, and must be written without lifting the pen. (Par. 35, page 36.) 278. There are a number of words in common use, whose out- lines need not be vocalized, when writing the Corresponding Style of Phonography, for the following reasons : First. The outlines are sufficiently clear in themselves, when pronounced, to readily suggest the words they represent. Second. Because such words, from their frequent occurrence, impress their outlines upon the memory sooner than others of less common use. And (as experience has taught) the placing of vow- els to these outlines tends to confuse, rather than assist, the student, when reading Phonography. 279. On the opposite page, and the one following, will be found a very complete list of outlines unnecessary to vocalize in the Cor- responding Style of Phonography. From these can be derived many others by slightly changing the outline, as : exist becomes existence by adding the ns circle to /; effect becomes effective by joining the v hook to the stroke / in its outline, and furnish to fur- nishes by adding a circle s. Words thus derived need not be vo- calized. 280. It will be noticed that some of the words in this list are composed of logograms, as therefore, something, etc., and others by employing a logogram as a part of their outline, as forward, after- ward, etc. This will in no case prove confusing. 281. The reading exercises, commencing on page no, will be found to contain quite a number of unvocalized outlines. PALMER'S NEW MANUAL OF SHORTHAND. 107 UNNECESSARY TO VOCALIZE IN THE CORRESPONDING STYLE. Accordance According Afterward v . ^^-^ Distinct Distinctly Earnest Against Effect Alphabet i>v ft \ s ^""i ^ Endeavor Also "" 1 Evident Always America- .American /~ s y _^ -^S Evidently Exact Exactly Among Answer Appreciate -^ _^<\ ^^s Exercise Exist Favor Arrange Arrangement *> "} s- V'-W "^ Finish Finished Article i /! Firm Ascertain . . Firmly Assist /** O L, ^\*~j i_ ^^ Forget Association ^V ^ Form Beautiful Former Become X >> X \^^ v^ v - Forward Being \_ >^-s Freedom Believe Benefit % \-^ ^ x *y *> Frequent Furnish Better ^"^ Furnished Between - Further Birth J*~ N X/( "X^ ^\ / f Greater Bring \ Greatly Calculation ^ **-p Habit Century r- ^~r^ V ^f^ s\ ^^^/^ Head Certain ~ -> Henceforth Certainly . 5; -v ^ Honorable Comfortable-y Comprehend ^ r . -^ "x ^N Ignorant Indebted Concern 'X 1 Indifference Concerned -C 5 L ~~~\ *^~ ^"^^/ Individual Condition r Inferior Consequence' ^ i F Instead Consider i i L- v-v. Intellect Consist 1 Intend Constitution p 'i Interest Convenience U VO_P V*^ T " ^1 4 Into Convenient Learn Correspond Corresponding Demonstrate e-\ ^~\^ [^ ^T. ^ r Learned (adj ) Learned (ptirt.) Learning T io8 PALMER'S NEW MANUAL OF SHORTHAND. Likely , Reader Little Long ^- s~ c ^. X cX^ Refer Relation Many Relief Material /" S /^*~ ^X~~N Render Memorandum ' ^"^~^C^/*-^- c/ / X i Require Middle Required' Misses -/" "~^ y' x/ p Reward Moderate / / 1 Said Modern Saying Moreover /? ' ^j > v v Separate Mrs. "*^ <^v \l >J *" ' 1 Separation Nation 1 Service National Natural 3 S r X\o .A ^ Shorthand Simple Nearer ~- Situation Nearly Necessarily ' :: ~^~\ t-S r v_eX J s ? Social Society Necessary Necessity a/ M 3 Something Sometimes Needless *P\ 1 - ^ !5 ^X (T>^-N D y V State Perform Station Perhaps Permanent x^Xv_^ J 1 'o_D Study Success Person V ^x, Successful Personal N. ^^ ^ Q Suspicion Political ^ ' Sustain Possess Possessed % No Vp f^^ I System Therefore Possessing ^*. Third Possessive \ \ *v \/o P Turn Possessor ^Q^ ^_ 0^ ^ . K j) Twenty Preparation ' Unless Prepare President ^v/v/J N *N CLP y d Verge Verse Proportion / Whether Prove 5\. ^N S ^ X. yN. ^V X - >*' X Willing Purpose N^^Nj^X/ A .* *^ Work Quality Quantity Rational 1 'Y > ^ Yesterday PALMER'S NEW MANUAL OF SHORTHAND. 109 282. To become a good writer, it is as necessary to read, as to write Phonography. The former practice trains the eye to distin- guish between the strokes, whether they are written light or heavy, full, half or double length, or in the different positions. The latter is merely picturing what has been seen by the eye, and is in a cer- tain sense making the hand perform the same mechanical part as when writing ordinary longhand. 283. The table of Unvocalized Outlines commencing on p. 107 should be memorized by the student as early as possible, and in whatever way suits him best. It is difficult to describe or point out any specific method, or lay down certain rules to be adopted by the student in accomplishing this, as different methods will be adopted by different individuals. 284. The reading exercises commencing on the next page, employ the logograms, and unvocalized outlines, whenever such words occur, and if the reader should be unable at any time to interpret a logogram or outline to his satisfaction, he should refer to their re- spective tables. 285. If will be found very interesting, as well as profitable, for two students, when they have reached this stage of the Manual to adopt the following plan : Let one read aloud from the engraved page of either of the selections, while the other writes it from his dictation, in Phonography, after which compare with the book, and correct errors. Then let the student who dictated write, while he who wrote first, reads aloud, etc. 286. The learner should not attempt, at first, to bring into use all the abbreviating principles that have been introduced, but should be content to practice for some time a rather lengthened style of Phonography, making use of only those forms which he can use with confidence, and read without hesitation. When he feels the need of a briefer style than that he is using, let him employ other abbreviations. iio PALMER'S NEW MANUAL OF SHORTHAND. .Abcrwt p CHARLES DICKEMS. V, b . x r ir^, / V N V" l v I v. PALMER'S NEW MANUAL OF SHORTHAND. m !L v 4 -N v __ / / ^ P^ \ 1 .XI \ JA , sj*. I o V_ I c ^t *) ) - ^ / r ( X....X *^^^ V ^-1 V N * ^^-C 1 J- : * L. V ii2 PALMER'S NEW MANUAL OF SHORTHAND. / I /~ ^ , 7 5 JJ> N ' -^ "^ > PALMER'S NEW MANUAL OF SHORTHAND. 113 /, v i - O* ' ( v >-i-- > x !. N N L_ o? o ) 6._. t L - - ' ti t , .1 J X, - r , .U -- r ii4 PALMER'S NEW MANUAL OF SHORTHAND. r - ( j V I" . JL /I - /I S. ' V 3 ^ v "v V. , ^ v.. vr V *\ ^ "^^^ ^ L, n i <. \j * ' ^ J L " ' (/ . v X s~ o/\ r PALMER'S NEW MANUAL OF SHORTHAND. 117 ALFRED TENNYSON. , > r, c C - X ^ \, s, X n8 PALMER'S NEW MANUAL OF SHORTHAND. t > , J ~ _r ' x i '*~^-\_ *J *K i . > ^ I /, c i /^~i t &. 6 K c L ^ 1 b "1 PALMER'S NEW MANUAL OF SHORTHAND. 1 19 I-? J i; / \> J~ ^* \ _ , ' ^ C < ^ c, I l N - N f ' X/ /^~ ^ x \. ~ I h >/ "A X I a iz PALMER'S NEW MANUAL OF SHORTHAND. ALFRED TENNYSON. ( -^ _, > 7? ^ I I x JL T ,, f * .! v- = PALMER'S NEW MANUAL OF SHORTHAND. 121 PREFATORY. 287. The series of exercises commencing on p. 122 are designed for the Copy Book and are arranged to accord with the manner of presenting the system in this book. 288. The best instrument for writing Phonography is a gold pen provided it is suited to the writer's hand or style of writing. The advantage a gold pen possesses over a steel one is, that it glides over the paper more freely than a steel pen and is therefore less tiresome to the writer. A short nib No. 4 is the kind generally used. 289. When writing Phonography with a pencil there will be less danger of breaking the point, off, if the pencil be held in a more upright position than when using it for longhand. 290. The Copy Book is made of double-ruled paper, the lines being one-sixth of an inch apart, a little wider than that used by the reporter, though of great assistance to the beginner in acquiring a neat and uniform style of writing. 291. The student will find it more convenient when using the Copy Book to write on every other page, instead of every page, by so doing the page to be written on, will always fall directly in front of him. When the book has been thus filled, it can be reversed and the other pages filled in like manner. 292. The figures seen in the exercises on the next page and those that follow, correspond to the numbers of the paragraphs of explan- ation given with the principle being studied, and should be referred to whenever a doubt arises in the mind of the student concerning an outline. 123 PALMER'S NEW MANUAL OF SHORTHAND. EXERCISE L CONSONANTS. Par. 3: Write the upright and sloping characters of the phono- graphic alphabet. Write the horizontal characters of the phonographic alphabet. EXERCISE II. CONSONANTS COMBINED. Par. 8: p-m p-k p-g b-m b-k t-k t-g t-m t-n d-m d-k d-n d-ng ch-k ch-m ch-n ch-g ch-ng. Par. 9: In the following combinations, strike .T/J and /downward: sh-m sh-ng sh-r sh-v d-sh m-sh n-sh f-1 k-1 t-1 d-1 1-ng 1-ng-k 1-n n-l-m f-l-ng p-1. In the following combinations, strike sh and / upward : sh-1 f-sh f-l-sh p-1 b-1 m-1 v-1 r-1 1-f 1-v 1-p 1-t p-m-1 1-p-l k-l-p 1-r-l 1-t-l r-l-p t-m-1 t-l-t. Par. 10: In the following combinations, the first stroke should be written sufficiently high above the line, that the descending conso- nant shall touch it : k-sh g-sh k-t m-f n-f k-p k-ch n-p n-t n-th m-v k-t-m. The following combinations are written on the line: m-n m-k n-m k-m g-m m-g ng-k k-ng m-ng. In the following combinations, the first stroke should be struck down to the line, and the second consonant below it : t-p p t d-p d-th ch-p p-ch f-p f-t f-th f-r p-p t-t ch-ch. Par. 1 1 : ( Written with an anglf} 1-m th-k f-ng f-n th-g v-n. (Written with no angle] f-r m-sh k-r 1-ng ih-ng 1-k p-n b-n. Par. 12: b-ng p-b f-g v-k t-d ch-j 1-ng d-f d-t v-g m-z. PALMER'S NEW MANUAL OF SHORTHAND. 123 EXERCISE III. COMBINATIONS CONTAINING THE CIRCLE S AND Z. J Par. 16: s-p s-t s-ch s-b .s-d s-j s-k s-g pjS b-s t-s d-s ch-s j-s k-s g-s. s-f s-v s-th s-sh f-s v-s th-s sh-s r-s m-s n-s ng-s. Par. 17: t-s-k k-s-t p-s-k k-s-p k-s-ch ch-s-k d-s-k k-s-d. Par. 18 : p-s-v p-s-th t-s-th p-s-1 b-s-I k-s-m k-s-th g-s-f g-s-1 d-s-m. Par. 19: m-s-m n-s-n m-s-1 f-s-1 r-s-1 n-s-ng 1-s-r f-s-f r-s-r. In the following combinations write the circle on the inner side of the first curve : m-s-n m-s-v m-s-ng f-s-r n-s-m. Par. 2O: p-s-p k-s-k t-s-t k-s-g b-s-p d-s-t g-s-k g-s-g. EXERCISE IV. COMBINATIONS CONTAINING UPWARD fi. Par. 23 : p-r b-r m-r t-r ch-r d-r g-r j-r sh-r f-r k-r r-p r-t r-k r-ng r-n r-f r-v r-ch r-b r-sh r-p-r m-r-t m-r-n f-r-th r-t-r m-r-ch r-ng-k ch-r-ch r-ch-r. Par. 25:~s-r s-r-j s-r-f s-r-v s-r-ch s-r-k s-r-s s-r-s-p s-r-s-t m-s-r k-s-r t-s-r p-s-r b-s-r b-s-r-v p-s-r-n. Par. 26: p-r-r t-r-r k-r-r m-r-r _ r-r-p r-i-n r-r-ng h-r. EXERCISE V. THE LONG VOWELS. Copy the engraved exercise given on page 35 in the Copy Book. Memorize pars. 31 to 33. 124 PALMER'S NEW MANUAL OF SHORTHAND. EXERCISE VI. WORDS CONTAINING LONG VOWELS. Par. 34 to 38. 1st heavy dot : Tea, pea, bee, see, me, key, knee, fee, sea, eat, each, peak, cheek, meek, beak, keep, sheep, deep, team, beam, reach, ream, cheap. 2d. heavy dot: Pay, bay, day, gay, say, may, ape, take, dame, fame, name, came, maim, cape, bail, pail, gale, knave, mail. 3d heavy dot : Atm, balm, palm, alms, calm, farm. 1st heavy dash: Gnaw, paw, Paul, tall, talk, chalk, saw, bought, taught, -thaw, ball, gnaw, ought. 2d heavy dash : Oat, oak, owes, owed, foam, coach, coal, rope, though, both, comb, no, so, pour, also. 3d heavy dash : Pool, boom, food, loom, coop, hoop, ooze, move, booth, tool, tooth, root, room. EXERCISE VII. WORDS CONTAINING SHORT VOWELS. Par. 40 to 43. 1st light dot : Pick, tick, pitch, nick, mill, tip, ship, nip, nib, bill, pity, chilly, lily billow, minnow. 2d light dot : Fed, peg, check, wreck, deck, peck, neck, bell, beg, red, berry, fellow, merry, penny. 3d light dot: Pack, rat, 'tack, lack, match, latch, back, bat, patch, rag, lag, bag, tag. 1st light dash : Lock, fog, dock, shock, mock, knock, log, top, rock, foggy, jolly, bonny, Polly, poppy. 2d .light dash : Tub, bud, bug, rub, dug, cub, rut, buck, duck, tuck, pug, funny, lucky, money. 3d light dash : Took, book, foot, pull, nook, full, look, push, cook, fully, pully, bullet, pussy. PALMER'S NEW MANUAL OF SHORTHAND. 125 Par. 44: Poem, poet, duel, lower, layer, jewel, Moab. EXERCISE VIII. WORDS CONTAINING S AND Z. Par. 46 to 48 : Speak, spoke, spake, soap, stay, sage, safe, save, soup, said, sail, sake, sale, sane, .scope, scum, seam, seat, seed, sell, set, sleep, sleeve, slake, slew, slope, slow, slowly, smear, smoke, snag, snake, sneak, snow, sod, silk, solo, speck, spool, sunk, sup, space, soreness, solace, sneeze, sluice, sinless, since. Par. 49: Tusk, rusty, tussle, rusk, desk, muzzle, dusk, musk, fusty. In the following words, the third place vowel is written to the first consonant : Rasp, gasp, mask, passive, cask, nasty, bask. Par. 50: The following words, are written with the large circle: Losses, kisses, chases, pieces, tosses, leases, paces, doses, faces, basis, pauses, noses, roses, gazes, amazes, causes, teases, loses. Par. 51 : Zeal, zealous, zeno, zero, zinc. Par. 52 : Us, so, say, see, sea, saw, ease, easy, Esau, essay. Par. 53 : Asp, ask, assail, escape, asleep, essence, Essex, osage. Par. 54 : Busy, fussy, cozy, gauzy, also, racy, pussy, Bessie. Par. 55 : Sissy, saucy, Sicily, sauce, cease, assess, says. EXERCISE IX. DIPHTHONGS. Par. 56 to 61. I. Pike, pile, spike, bile, time, timely, tire, tile, dire, fire, sign, snipe, smile, mile, nigh, knife, mire, ripe, nice, mice, chime, pie, eyes, ihy, alive, type, dyke, my, bite. Oi. Spoil, boil, boy, oil, toy, toil, joy, coil, noise, foil, enjoy, coy, oily, annoy, alloy. iz6 PALMER'S NEW MANUAL OF SHORTHAND. Ow. Out, owl, thou, bow, cow, vow, our, sow, mouth, foul, tower, gouge, vouch. Par. 62: Wipe, wide, wife, wiles, wire, wight, wives. EXERCISE X. THE COALESCENTS. Par. 64: Write the long coalescents we, wq, wah, waw, -wo, woo, before/, t, and/. Write the short coalescents wi, we, wa, etc., before/. /, and/. Write the long coalescents^, ya, yah, yaw, yo, yoo, before /, t, and/. Write the short coalescents ^z, ye, ya, etc., before/, t, and/. Weep, sweep, weed, sweet, Swede, walk, wash, watch, wade, wish, wet, wit, widow, web, wed. Year, yawn, young, yoke, youth, use (noun), few, view, use (verb), mew, cue, knew, pure, due, mule, duty, Lucy, cube. EXERCISE XI. THE INITIAL W HOOK. Par. 67 and 68 : Well, wealth, willow, welcome, windy, win- dow, wane, work, wear, worm, win, wool, wealthy, worthy, worth, wolf, willing, ware, weary, war, wall, William, Wednesday. Par. 69 : Swill, swear, swarm, swallow, swim, swam, swan, swarthy, swelling, swine, swell. EXERCISE XII. DOUBLE CONSONANTS. Par. 70 to 75 : Play, place, plea, please, plow, pluck, plucky, plug, plum, plume, plush, pray, preface, press, prey, price, prickle, prig, prim, prime, priming, prize, prose, prosy, prow, prowl, pry, blab, black, blake, blame, blank, blaze, bleach, bless, blew, blithe, block, blotter, brace, brag, brake, brassy, brawl, brawny, bray, breach, break, breath, breathe, breech, breeze, bribery, bridge, bridle, PALMER b NEW MANUAL OF SHORTHAND. 12J brig, brim, brisk, brittle, broach, brogue, broom, broth, brow, brush, trace, track, tram, trap, trash, tray, treason, treble, trick, trickle, trim, trip, triple, troop, trooper, trouble, trudge, true, try, drag, draggle, drake, draw, draper, dray, dream, dreamy, dressy, drew, dribble, drip, droop, drop, drose.drowsy, drug, drum, drunk, claim, clam, clap, clapper, clash, clasp, class, clatter, claw, clay, clear, clew, climb, cling, clip, cloak, clock, close, cloth, club, clue, clutch, crack, cracker, crackle, crank, crape, crash, cream, creamy, crease, creep, creeper, cress, crib, crime, crisp, crook, crop, cross, crossing, croup. Applause, apple, apply, appraise* able, utter, eider, udder, adder, able, etcher, eagle, eager, acre, ocher, odor. Par. 78: Flag, flake, flame, flap, flare, flash, flask, flax, flay, flea, flew, flock, flog, floor, flow, flue, fluffy, flung, flurry, flush, frame, Frank, fray, freak, freckle, free, freeze, frisk, frizzle, fro, frog, froth, thrall, thrash, three, threw, thrice, thrill, thrive, throb, throe, throw, Awful, offer, evil, f val, over, ether, author, either, other. Par. 79: Freshly, essential, official, special, bushel. EXERCISE XIII. TREBLE CONSONANTS. Par. 82 : Spray, spree, sprig, spring, sprung, spruce, spry, sprinkle, strap, stray, streak, stream, stretch, stretcher, strew, strip, stripe, stroke, struck, struggle, scrabble, scrap, scrape, scraper, scratch, scream, screech, screw, scribble, scrip, scrub, scruple. Par. 83 : Splash, splasher, splice, splicing, splutter. Par. 84: Suffer, civil, swivel, civilize, civility, savor, savory, cipher. Par. 85 : Prosper, extreme, express, expressive, gastric, pastry, peaceable, displace, display, possible, bicycle, disclose, disclaim, disciple. Deceiver, decipher, decipherable, descry, disagree, disagree- able, dissever, deciphers, deceivers, disagrees, disgraces, disgrace, jasper. Par. 87: Despair, rascal, peaceful, gospel, explore, explosive, 128 PALMER'S NEW MANUAL OF SHORTHAND. EXERCISE XIV. THE ASPIRATE. Par. 89: The following words are written with the stroke aspirate: Hah, haw, hay, Hayes, ho, house, hose, haggle, hang, Hannah, hash, haughty, haze, hop, head, heavy, hedge, heetl, hitch, hatch. The following words are written with the dot aspirate: Happy, hope, had, height, half, hide, white. The following words are written with the tick aspirate : Hack, hag, hall, hallow, ham, home, hazy, hare, harem, help, halo, helm, hem, homely, holy, heal, hark, whip, whig, whisk, whiz, whistle, whistler, whack. Hater, hatter.-heater, Hebrew, hobble, Hooper, huddle. Nahum, unholy, unhook, unwholesome. The following words require the initial hook to be shaded. Wharf, wheel, whelp, whim, whimper, while, whine, whale. Par. 91 : Hassock, hasten, hasty, husk, husky, hustle. EXERCISE XV. THE N HOOK. Par. 93 : Pain, pan, pawn, pen, pin, pine, tin, ten, tan, ton, tun, tune, bane, bone, boon, dean, deign, Dan, dawn, din, den, plane, plan, prone, train, drain, drawn, drown, keen, cane, can, cone, coon, clean, clan, crane, crone, spleen, sprain, strain, chin, chain, gin, John, June, join, green, grain, grown, hen, run, ran, rain. Par. 94 to 97 : Feign, fan, fawn, fun, flown, frown, vein, van, even, oven, thin, thrown, thine, then, than, sheen, shown, shrine, line, lean, lawn, loan, loon, slain, mean, main, moan, moon, mine, known, nine, noun. Par. 98: Punish, finish, banish, clannish, vanish, Danish, lining, cleaning, raining. Par. 99: Pins, pens, pans, pines, pains, spans, tins, tones, PALMER'S NEW MANUAL OF SHORTHAND. 1 29 strains, bones, dawns, plans, trains, drains, canes, sprains, chins, joins, greens, grains, cones. Par. 100: Fans, frowns, veins, lines, means, moans, mines, nouns; vines, oceans, loans. Par. 101 : Lancer, cancer, painstaker, fencing, ransom, lonesome. Par. 102 : Puny, bony, bonny, tawny, China, Dinah, money, funny, crony, rainy, pony. Par. 103: Pounces, princes, prances, bounces, tenses, trances, trounces, dances, dunces, chances, glances. Fences, flounces, Francis, lances, minces, evinces. EXERCISE XVI. Mp, Mr AND Nr. Par. 104: Pump, pomp, plump, bump, tramp, trump, damp, dump, camp, crimp, cramp, gimp, scamp, vamp, thump, shrimp, fmpel, impair, impede, impeach, impassive, impose, impure. Par. 105 : Embalm, embank, embargo, embark, embarrass, em- bassy, embed, embellish, embezzle, embody. Par. 106: Hampton, Hampshire, hemp, hempen, hump. Par. 107 : Palmer, plumber, primer, bloomer, tamer, tumor, dimmer, dreamer, drummer, calmer, clamor, glimmer, glamour, grimmer. Banner, dinner, energy, minor, tanner, designe r honor, owner. EXERCISE XVII. Lr, Rl, Ml AND Nl. Par. 109: Color, collar, lurch, scholar, gallery, rural, spiral, barrel, ferrule, camel, enamel, tunnel, canal, funnel, final, channel, colors, scholars, barrels, tunnels, funnels, channels. 130 PALMER'S NHW MANUAL OF SHORTHAND. EXERCISE XVIII. THE /' OR V HOOK. Par. 113: Deaf, chaff, puff, "beef, tough, strife, chief, proof, bluff, brief, buff, doff, chafe. Calf, cuff, skiff, cough, clef, scoff, cliff, grief. Par. 114: Brave, cave, gave, crave, grieve, grave, grove, clove, groove, pave, clove, dive, Jove, cove; achieve, strove, cleave, en- grave, reprieve, reprove, prove, strive. Par. 115: Rave, rove, heave, hive, hove, serve, deserve, behave, bereave, reserve, reef, rough, rife, serf. Par. 116: Coffee, taffy, huffy, defy, levy, levee, survey, envoy, envy, gravy, Java. Par. 117: Proves, braves, cloves paves, strives, calves, proofs, p\iffs, cuffs, coughs, caves, roves, heaves, reefs. Par. 118: Define, devoid, divide, defense, devote, profane, graphic. EXERCISE XIX. DOUBLE-LENGTH CURVED SIGNS. Par. 121 : Feather, mother, thither, father, smother, smoother, neither, fuither, another, weather, wither, whither. Par. 122: Shatter, flutter, Easter, aster, flatter, oyster, letter, loiter, Walter, smaller, slaughter, swelter, welter, meter, center, winter, water, niter, motor, alter, laughter, mailer. Tender, tinder, wander, thunder, order, fodder, murder, ladder, shudder, surrender, Anderson, gender. Par. 123: Tinker, anchor, franker, thinker, clinker, hanker, rancor. Finger, hunger, anger, longer, linger, younger, Ingersoll. Par. 124: Temper, scamper, hamper, tamper, damper, distemper. bomber, cumber, amber, timber, limber, lumber, December. Par. 125: Feathers, shatters, murders, hankers, fingers, tempers, tampers, cumbers, limbers. PALMER'S NEW MANUAL OF SHORTHAND. EXERCISE XX. THE Way HOOK. Par. 126: Twill, twitch, twig, tweak, twinkle, twirl, twirling, twitter, twaddle, twang, twice. Dwight, dwell, dwelling, dweller. Quick, qaill, quiver, quell, choir, quarrel, quip, quota, quarter, queer, queerly, quoth, quaver, Quaker, quiet, quizzical, require, inquirer, queen, equal, acquire, equip, equity, iniquity, equalize, aquatic, liquid, liquefy, requisite, quarry, equinox. Anguish, Guelfs, guava, lingual, guano. Par. 128: Squire, squib, squawk, squab, squad, squelch, squaw, square, squarely, squall, squaller, squabble, squeezing, squeak. Sequel, sequester, sequence, sequacious, sequin. EXERCISE XXI. THE Shun HOOKS. Par. 130 and 132 : Passion, adoption, option, caution, action, cushion, occupation, implication, portion, education, reaction, dic- tion, application, ration. Fashion, mention, motion, nation, notion, evasion, tension, pen- sion, admission, animation, lotion, invasion, revision, elevation, intimation, ammunition, pollution. Par. 131 : Edition, addition, Station, attrition. Par., 132: Dictionary, actionless, -educational, auctioneer, cau- tionary. Par. 133 : Passions, actions,"'occupations, fashions, motions, na- tions, notions, pensions, admissions, invasions, stations, editions, visions, sections. Par. 134: Position, opposition, supposition, precision, decision. Possession, accession, sensation, pulsation, civilization, accusation. Transition, dispensation. Par. 135 : Oppositional, sensational, transitional, suppositional. Par. 136 : Positions, oppositions, decisions, physicians, transitions, sensations. Par. 137: Shone, ocean, shun, shin, shins, shuns, oceans. 132 PALMER'S NEW MANUAL OF SHORTHAND. EXERCISE XXII. Read carefully paragraphs 138 to 146. SIMPLE LOGOGRAMS. Par. 146 to 152. Fill two lines with each of the Simple Logograms, first writing its Grammalogue in longhand at the beginning of the first line. Pro- nounce each Grammalogue aloud as its sign is being written. (This remark applies to each exercise given on logograms) The, a, an-and, I, aye, how, you, of, to, we, is-his, as-has, he, it, be, do, was, which, for, think, have, when, me, my, him, will, are, shall-t, in, up, them, well. SENTENCES CONTAINING SIMPLE LOGOGRAMS! I It will be ready for you in a few days. 2. When he was sick, it was my duty to help him. 3. Do you think I shall have time to take many of them away? 4. You will have tin e to see him if he leaves us Sunday. 5. I fear you will never think as I do. 6. Do you think he will try to do the work for me if he is well ? 7. It will be time enough to reach the train, even if you do see him. 8. I shall try to serve him when I see his papers. 9. He and I took up as much money as they, so you will have to pay us for it. IO. My time for such work, is, when you are at play. II. Which of the boys took the poor fellow to the house. 12. Which of the toys will you take for the baby? 13. Some people think^it is time and money thrown away to help him. 14. As it is his, it will likely remain as his father wishes it 15. I saw them, as I dcew up in my buggy. 16. We think you will like it as much as the other. 17. He will say it is time to go, if they ask him for money. 18. When 1 have time, I will bring you some of my books. 19. He was an^ry when he spoke, so I will drop it. 20. Are you to go so soon ? Do try and stay for supper. PALMER'S NEW MANUAL OF SHORTHAND. '33 EXERCISE XXIII. VOWEL LOGOGRAMS. Par. 153 to 157. All, too, two, already, before, ought, who, of, to, or, but, on, should. SENTENCES CONTAINING VOWEL LOGOGRAMS. I. All I have to say, will be sahl when he leaves. 2. He will go on the early train I think. 3. I have already said how much money it took to pay for it. 4. It" you bring too much silver I will be angry. 5. He ought to do it before they ask him. 6. If you are in trouble, ask him to help you before he goes away. 7. Try to be at the office before two o'clock, or before it is taken away. 8. I ought to do all of his work, before he pays me. 9. Two or three are already on the way to town. 10. Who do you think I saw on the train? n. Two of my boys will go, before I eat my dinner. 12. I should like to help you, but all of my money was taken by the thieves. EXERCISE XXIV. W AND Y LOGOGRAMS. Par. 158 to 161. We, -with, were, what, would, ye, yet, beyond, you, way, your, -well, where, when, one. SENTENCES CONTAINING W AND Y LOGOGRAMS. I. We were with you when we spoke of his troubles. 2. What would you have me do with your books, should you leave the city? 3. If ye love me, keep my holy laws. 4. I will take it, for I think it will prove useful when I engrave. 5. If we live beyond our means, we will have to suffer. 6. He is well, and on his way to your house, where I think you will see him. 7. He said he would try it, when you spoke of all it would do. 8. When one of your plans fail, try another. 9, We will go with you, if they will show us how to' do it. 10. If your way is right, do all you can to keep 134 PALMER'S NEW MANUAL OF SHORTHAND. in it. n. You will think I was right, when you are beyond help. it. He has yet to show me how I can make it of use. EXERCISE XXV. SIMPLE STROKE LOGOGRAMS. Par. 162 to 1 66. Up, be, it, do, which, advantage, will, are, for, have, think, them, so, was, shall-t, usual-ly, kingdom, common, come,give-n, together, go, me, my, him, may, in, any, no, know, thing,. language. SENTENCES CONTAINING SIMPLE STROKE LOGOGRAMS. I. He said it would be taken up, as soon as you are ready for it. 2. I will try to have them before we go "to see him. 3. You shall receive all the advantage possible, for your success in business. 4. They will show him which of them you are to take. 5.. If you think they are for me, I will keep them. 6. Though I have the advantage of him, yet will I spare him the disgrace. 7. So it was you who spoke when they took the vote. 8. As usual, the matter was taken to him for his advice. 9. I usually keep two or three of them on my table to write with. 10. Thy kingdom shall be taken before many days. n. We will go and give him the help he asks of us. 12. They have given you no common advantage, so you should strive to please them. 13. If you will come with me, I will show you a thing or two. 14. He will use no such language if my presence. 15. If you wish any thing please ask for it. EXERCISE XXVI. LOOPS St AND Str. \ Par. 167: Post, boast, best, beast, past, taste, test.-chest, dust, attest. Roast, wrist, rust, raced, roost, hissed, hast, haste, host, hoist, cast, cost, gust, guessed. Par. 168: Fist, fast, fussed, feast, faced, voiced, vast, assist, zest, must, nest, whist. PALMER'S NEW MANUAL OF SHORTHAND. 135 Par. 170: Placed, priest, pressed, twist, trust, traced, dressed, cre*t, crossed, classed, quest, graced, grist. Par. 171 : Crystallized* razed, roused, noised, hazed, housed, sneezed.' Par. 172:' State, stout, stiff, siaff, stave, stove, steam, stem, stone, sting, stung, stuff, study, style, stun, stony, still, steal, stimulation. Par. 173: Steeper, stupor, stopper, stutter, stagger, stager. Par. 174: Pounced, bounced, chanced, danced, pranced, glanced, enhanced, canst, trounced. Par. 175 : Trusts, lists, crests, invests, tosts, coasts, nests, mists, tests. Par. 176: Investigation, mystify, artistic, statistics, justify, testify, de->tiny, majestic, elastic. Par. 177: Pastor, poster, blister, duster, jester, bluster, coaster, carter, plaster, cluster, trickster. Faster, foster, vaster, feaster, songster, luster, master, muster, minister, bolster. Par. 178: Punster, spinster. Par. 179: Dusters, posters, coasters, clusters, blisters, pumters, spinsters, masters, ministers, monsters, musters, flusters. Par. 180: Strength, strengthen, string, stiange, strangely, stran- gle, strong, distraction, distribution. EXERCISE XXVII. INITIAL HOOK. LOGOGRAMS. Par. 181 to 1 86. Principal-le-lv, member, rememl>cr-eJ, (ell, till, tntth, dear, call, dif- ficult-)', care,fnll-y, from, ezery, very, three, tlieir, there, mre, pleasure, Mrj, remark, more, near, nor. 1 SENTENCES CONTAINING INITIAL HOOK LOGOGRAMS. I. I am sure it will give you pleasure to see your mother on this occasion. 2. To tell you the truth, I can do no more for you. 3. Mr. James, do you remember what he said when he gave you the money? 4. The principal members of the club will leave us if 136 PALMER'S NEW MANUAL OF SHORTHAND. he goes. 5. Tell the truth always, and you will have no difficulty. 6. " Remember the Sabbath day, to keep it holy." 7. I will call and see you, every two or three days, and will do your work, till you are stronger. 8. They tell me, the difficulty was principally over a matter of business. 9. It is difficult to tell how many people will be there. IO. From his remarks, I would judge he thinks of a new plan of action, n. Neither you nor I live near enough to call aiul see it. 12. I will inquire into the case more fully when I have ti.ne. 13. You should care more for work, and less for pleasure. 14. He is a man of principle, so you may trust him. 15. "How well do I remember, the house where I was born." EXERCISE XXVIII. THE HALVING PRINCIPLE. Par. 187: Pack, packed, patch, patched, peak, peaked, peck, pecked, pick, picked, pinch, pinched, back, backrd, bake, baked, balk, balked, banish, banished, blotch, blotched, botch, botched, touch, touched, tack, tacked, tap, tapped, tip, tipped, track, tracked, deck, decked, vouch, vouched, leap, leaped, slip, slipped, slap, slap- ped, mock, mocked, nick, nicked, nip, nipped, ink, inked, hitch, hitched. Peg, pegged, page, paged, plug, plugged, pledge, pledged, budge, budged, gauge, gauged, nag, nagged, drug, drugged, beg, begged. Par. 189: Apt, wept, walked, oft, aft, east, etched, ached, aunt, art, eked, wiped, ebbed, edged, egged, eased, oozed. Pit, pet, pat, put, cheat, chit, chat, cat, cut, caught, cute, feat, fit, fat, knit, not, nut, night, note, mite, moat, meet, meat, vied, void, vowed, viewed. Par. 190 : Pinned, penned, pawned, pined, pained, spend, sprained, strand, band, trained, twined, gained, drained, friend, cleaned. Paved, proved, caved, grieved, grooved, achieved, craved. Cautioned, cushioned, motioned, fashioned. Par. 191 : Pits, pets, pats, cheats, chats, cuts, fits, skates, sheets, fleets, pants, paints, shouts, fights, thoughts, spots, spits, streets, PALMER'S NEW MANUAL OF SHORTHAND. 137 splits, bids, goods, glides, dreads, grades, deeds, beds, bleeds, breeds. Par. 192 and 193 : Aunt, knits, nets, note, sent, scent, knot, night, neat. Art, heart, artery, return, heartless, hurt. Light, let, late, malt, colt, lot. lout, lute, light, slight. Meet, mite, mat, mate, mute, moat, smite, smote, smut. In the following words, the half-length stroke is shaded : End, hand, need, nod, needle, sound, sand, sinned, signed. Oared, hoard, hired, heard, hard, erred, sword, redeem. Write /./downward, reckoning tlie vowei from the top : Lead, lad, load, lid, slide, slid, yield, field, fooled, filled, filed. Aimed, hemmed, hummed, hymned, mid, mud, mode, mewed, mnd, mead, Maud, meddle, muddle, middle. Par. 194: (Write half-length s downward) : Keenest, greenest, meanest, leanest, cleanest, thinnest, plainest, elocutionist (Write half-length s upward) : Bravest, roughest, nicest, gravest, vainest, finest, briefest, gruffest, oftenest. Par. 195 : Waned, weaned, welt, wend, went, whined, wilt, wind, won't, wound. Puffed, paved, cuffed, caved, gift, grieved, cleft, cleaved. Can't, coined, scant, scanned, grant, grand, grunt, ground. Cautioned, stationed, fashioned, motioned. Par. 196: Peopled, labored, measured, baffled, cleaned, frowned. Acted, tended, sounded, handed, pelted, lighted, mated; noted. Doted, treated, loaded, dreaded, founded, fainted Par. 197: Liked, leaked, mapped, kicked, lagged, propped. Par. 198: Doted, dated, awaited, dotted, edited, situated. Par. 199: Beautiful, between, editor, alphabet, better, beautify, credit, freedom. Par. 200 : Raft, rained, rant, raved, reefed, reigned, reined, rend, rent, rift, rind, roved, served, surround. Par. 201 : Warmed, shield, cleared, fared, named, coward, fiied, feared. 138 PALMER'S NEW MANUAL OF SHORTHAND. FXERCISE XXIX. FINAL HOOK LOGOGRAMS. Par. 202 to 204. Open, upon, been, than, then, can, again, gain, ten, alone, done, Phonography, general-ly, men, man, opinion, known, above, -whatever, difftr-ed-ence-ent, gave, objection, generation, occasion, motion, nation, notion, subjection. SENTENCES CONTAINING FINAL HOOK LOGOGRAMS. I. I will call upon you when you are alone, and can help me. 2. He has been*there, and given his opinion. 3. It will make no difference whatever, on this occasion, who goes with me. 4. When you open your mouth to speak, always say what is true. 5. Beauty and wealth may pass away, but truth can never die. 6. It is better to be an honest beggar, than a rich knave. 7. When you have plucked the mote from your own eye, then you may take it from your neighbors. 8, Again he spake, and said, " Love one another." 9. The love of gain, it is said, is the root of evil. 10. I fear you will have to give at least ten times this amount, before you can take it away. II. If you have done what is right, you generally succeed in your business. 12. On this occasion, the general opinion was expressed by a vote. 13. All the men present were inclined to give the man another' chance. 14. When the truth is known, all will feel sorry for his wife and mother. 15. I think he gave the reason for his objection before he left .the office. 16. His name and repu- tation are above reproach. 17. Motion; as all know, is the change of place. 18. We think such subjection should be met with objec- tion by the whole nation. 19. He will do it when he takes a notion, and not before. 2O. I think Phonography can do more than is generally, supposed. 21 He can work better alone they said, so I left as soon as possible. 22. Whatever you do, remember you have my best wishes for your success. 23. They will call upon you when they hear you are in the city. PALMER'S NEW MANUAL OF SHORTHAND. 139 EXERCISE XXX. HALF-LENGTH LOGOGRAMS. Par. 205 to 208. Particular-ly, opportunity, part, spirit, build, bold, brought, bread, bind, bent, bend, told, toward, trade, did, child, gentlemen, gentleman, , called, cold, accord-ing-ly, cared, quite, cannot, account, God, good, glad, great, after,- Jind, faint, vote, thought, that, 'without, short, light, let, late, Lord, read, ivord, -vorld, might, met, immediate-ly, made, mind, not, nature, -went, wont, under. SENTENCES CONTAINING HALF-LENGTH LOGOGRAMS. I. I told him particularly, that I did not wish it brought on my account. 2. The gentleman took the child and cared for it on ac- count of its mother. 3. After I left, the gentleman immediately sent me word to meet him without fail (hat evening. 4. When I called, he gave me an opportunity to see quite a number of good books. 5. After all, I was glad I let him take it, for he thought it very beautiful. 6. He will build his stable behind the house, but I can- not tell the exact spot. 7. We were told that the cold was -o great, that many people could not stay. 8. It is but a short distance, so I wont mind the walk. 9. " The spirit of God moved upon the wa- ters." IO. As I looked toward him, I met his gaze, and saw by the light in his eyes, that he was angry, 11. We can find very few people in the world without faults. 12. According to the.r account of the robbery, part of the money has been found under ihe floor of hiS" room. 13. He was a brave, bold man, and was rewarded ac- cordingly. 14. "Give us this day, our daily luead." 15 As we made a bend in the road, the train moved faster. 16. When they bent over him they saw that he was faint and sick. 17. The world is full of good, if the heart and mind will open the eyes to see it. 18. I did not care particularly to see him, so thought it best to leave immediately. 19. He was told that he would have an oppor- tunity to see him on his return. 20. I cannot account for his sud- dea departure. 140 PALMER'S NEW MANUAL OF SHORTHAND. EXERCISE XXXI. SPECIAL VOCALIZATION, Par. 210 : Believe, charm, scarlet, parcel, telegraph, merely, guards, marble, hotel, experiment, telephone, skeleton, delicate, telescope, skill, dark, regard. Par. 212: Bird, gold, mixture, skull, Turkey, journal, scourge, court, curve, excursion, volume, moral, creature, culture, secure. Par. 213 : Amanuenses, sustain, suspend, suspect, insist, sister, vicissitude, exercise, system. Par. 214: Saying, hurrahing, sawing, showy, poem, ruin, hurry- ing, gnawing, snowy, Owen. Par. 215: Pew, due, blue, prow, brow, thou, vow, mow, tow, plow, now, new, few, view, doubt, wad, wander, want, war, warm, warn, wash, washer, weed, white, whiten, ice, Ida, ire, Ireland, Irene, item, itemized, ivory, ivy, oil, oily, oil-cloth. EXERCISE XXXII. PREFIXES. Par. 217: Commence, commend, compact, company, compare, compass, compassion, compel, complement, complete, complex, compose, compromise. Concave, conceal, conceit, conceive, concern, concession, concise, conclave, conclusiqn, Concord, concur, concussion, condensation. Par. 218: Decompose, decomposed, decomposition, recombine, recommence, recommenced, recommend, recommit, recompense, recompose, incommode, incompatible, incomplete, incompressible. Reconcile, reconciled, reconciliation, reconsider, reconstruct, re- construction, reconvey, reconveyed. Recognition, recognizable, recognize, recognized, recognizing. Par. 219: Cog, cognizable, cognizance, cognizant, cog-wheel. Par. 220: Magnanimous, magnanimity, magnanimously. Magnify, magnified, magnificent, magnificence, magnitude. Par. 221: Intercept, interception, interdict interfere, mtermar- PALMER'S NEW MANUAL OF SHORTHAND. 14! riage, intermediate, intermingle, intermingled, intermission, intermit, international, interpose, intersection, interspersing, intervene. Introduce, introduced, introducing, introduction, introspection. Enterprise, enterprising, entertain, entertained, entertainment. Par. 222 : Contravene, contravened, contravention, contraband Controversial, controversially, controversy, controvert. Counteraction, counterfeit, countermand, countermarch, counter- mine, countermined, counterplot, counterpoise, countersign. Par. 223 : Insatiable, inscriber, insertion, insolence, insolent, in- soluble. Enslave, enslaved, enslavement, enslaver. Unseemly, unsociable, unsociably, unseasoned, unscrupulous. Par. 224: Circumflex, circumscribe, circumspect, circumspection, circumvent. Self-acting, self-assertion, self-command, self-conceit, self-control, self-defense, self-esteem, self-evident, self-made, self-possession. EXERCISE XXXIII, AFFIXES. Par. 225 : (Stroke ing} : Abusing, accusing, binding, placing, pleasing, poising, facing, voicing, praising, crossing, causing, guess- ing, rising, musing, driving, -blessing, meaning. (Dot ing) : Taking, sleeping, doing, buying, leaping, training, cleaning, making, speaking, cooking, feasting, fasting, bursting, casting, coasting, striking, trying, paying, dancing. Par. 226 : (Circle ings) : Etchings, doings, engravings, writings, callings, knockings, joinings, buildings, greetings. (Tick -ing the) : Making-the, having-the, doing-the, trying-the, keeping-the, considering-the, concerning-the, giving-the. Par. 227: Himself, myself, herself,, yourself, thyself, oneself, our- self. Yourselves, ourselves, themselves. Par. 228 : Queenly, womanly, meanly, friendly, thinly, grandly. Par. 229 : Punctuality, peculiarity, stability, sensibility, prosper- 1^2 PALMF.R'S NEW MANUAL OF SHORTHAND. ity, incorrigibility, incredulity, feasibility, suitability, legibility, responsibility, instrumentality, instabil : 'y, regularity. Par. 230: Kinship, kingship, lordship, juclgeship, apprentice- ship, chairmanship, clerkship, membership, friendship. EXERCISE XXXIV. IRRKGULAR LOGOGRAMS. Par. 231 to 236. Object, some, important-ce, impro-'f-J-ment, only, letter, first, most, mst, Just, t/iis, neither, another, yours, theirs, its, pleasures, matter. I. I have yet to learn the object of his visit. 2. There will be some improvements made in your city this year I am told. 3. The only letter I received from him, was that which I gave you. 4. The first and most important thing to consider is the health of the people. 5. You must do just as he tells you, or he will send you away. 6.. This world is full of good, if our eyes are open to see it. 7. He will neither take nor give, so we can do little with him. 8. He said he would try yours another time. 9. Earth and its pleasures will be a matter of little consequence to him now. 10. This is just the improvement I have wished to see, and am glad you have made it. EXERCISE XXXV. THE TICKS. Par. 237 : After-the, upon-the, when-the, if-the, on-t'he, as-the, of-the, is-the, in-the, but-the, from-the, or-the, at-the. Par. 238: A-firm, a-few, a-great, a-little, for-a, do-a, was-a. An-advantage, an-offer, and-if, and-for, and-few, and-the, and-that, and-this, and-his, and-you, and-how, and-have, and-is-a, and-for-a, and-has-an, and-take-a, and-try-a, and^when-a, and-with-a. PALMER'S NEW MANUAL OK SHORTHAND. 143 EXERCISE XXXVI. OMITTED CONSONANTS, ETC. Par. 24!: Anxious, distinction, distinctive, sanctum, sanctity. Par. 242: Postage, post-office, postmark, post-pone, crest-fallen, mostly. Par. 243: Messiah, oases, oasis, idea, eocene, eolian, iota, Ionia. Ionic, tiara. NOTE: When joining certain consonants, it is sometimes difficult to form a hook accurately, as in the words: attainment, atonement, assignment, etc. The oivlines for such words will be sufficiently distinct, as a rule, if the hook be wholly discarded. See last two words, line 6 p. 89. Par. 244: Gazed, grazed, greased, caused, amused, glazed, paused, dazed, pleased, abused, blazed, amazed. Par. 245: 6^-ward, /-ward, aj'-body, /^/-mighty, W o New Ambiguity ( ~f \ Notwithstanding Capability ^S ^- .._- -^^ N Now Capable 1 Peculia'-ity Catholic-ism Celestial i n / ^ v^_ \ Phono, rapher Phonographic Challenge / ^ Popular-ly-ity Change-d Practicable-ility Chapter / / i Preserve Despicable / \ > Probable-y-ility Destruction Destructive Determination i \ \ V^-^x Proper Proscribe Prospective Determine . \ / y\ Public-sh Develop-ment Disadvantage J L / X Rather Reform-ed-atory Displeasure Dissimilar Distmguish-ed J K IK s~ }^ Nr ' NU-^V Bargain Barley Barrel Befriend Abound ^/"^ N^ N/ \^ Behave Absence >l ~-"5 ^st o Below Abstain . Bench Abundantly Abuse Accept J f > % ^' Bill Black Blame Accident Accumulation ^ f y^ V-. "^o^^v^ Blaspheme Blunder Acense Book seller Accustom Act ^ ~1U \ ('~~\* x Bottom Boundary Tr Address Breadth Ad lit re Adjourn _ / x \ "N^ B'oach Broker Administer Brntal Admire / s~ ^\^s ^^J Burn Admit t~>> ~ ~*t Bushel Adopt III \ r 7 x-^v Cable Adventure Affection _L_U V__ \ / Cage Caliber Affirm Capital Afflict <=v \^_^ \ / Si c \ x 1 ( arpenter Agency 1 ^~") A Carried Agreement Ambitious Ample = "* ' ) x -^ ^r Cashier Cellar Central Amuse i / Certificate A utter ^N^ ^ ^ -C Charm Animal " ~& ''^'''^ | Chiefly Announce Q Q , B Cincinnati Apartment Approach 5._^ ^\ / ^ / ^ V Circulation Civilization Approve, Arise C -^ ^ ; c D Classification Climate Around ^ T> -* Collection Arrest Arrive Artificial ^ xV s\j S^- -x,V^ Comparison Compel Complimentary Ashamed A-k Assessor 2 1_ ^ ^ iX ^ 5- Compromise Compulsion Conclusion Assign \ 1 '\ / xA. Confirm Assume \ K \ L ii 0/ ^^ Conjecture Atlantic f . I ^>- conservative Attention , -_ ^ ; c .. Consuming Available-}' Awkward 1 Convict Corruption 152 PALMER'S NEW MANUAL OF SHORTHAND. Crime Fatal Cruelty Cultivate HI21 ,_/1 "X t S v - Favor Favored Dally Dauiage Dashed r ^ i, .^_v^ v^ Fearlul-ly Fervent Finance Dealer / , > Fire Deceive r x "~~\ ^"^v 5 ' V^ Fla'h Decern II b "\./t Harmless Eminence ^y^ jd i/^ 1 p Harsh Encourage . -^P^"^/ 6 G 6 Harvest Enfranchisement c4 Haste Enterprise . . Ht ./ Hazardous Erratic ~-^\o /\ ' ^* 6 Heaven Escape ^ Heroic Esteem Exasperate Excursion bL-^ _