THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES . 0. LA 33 flRNFLL tW]?7ST FONOSTENOGRAFY A Modern system of Rapid and Readable Shorthand; based on the laws of linear, vocalized, connective- vowel phonography; formulating and applying an en- tirely original principle of legibility and brevity the Fonostenografic Root. A New Method of Shorthand Self -Instruction * 0. WILLIAM McDEVITT WASHINGTON, D. C. : JUDD & DETWEIIvKR, PRINTERS, 1895. Copyright, 1895, by WILLIAM MCDEVITT. a THE GENESIS OF SHORTHAND WRITING. Many of the profoundest masters of philology deem it a funda- mental principle of the science of language that without speech there could have been no thought, without thought no reason, without reason no conscious being, no barrier between animal existence and humau life. That conceptual ideas cannot exist in a naked state, unclothed with language, is a postulate which possesses for one school of philologists the authority of an Jr-j axiomatic truth, while an equally eminent array of linguistic ** learning stands in stalwart opposition to such a principle and > assails every assumption that language and thought are one and >- indivisible. The question, therefore, is and, in the nature of the j problems involved, must perhaps always be sub judice. But altho this scientific dogma of the causal connection of speech with thought cannot claim for itself universal acceptance, it ^ seems not at all unreasonable to assume that the earliest awak- ^ ening of man's rational faculties into conscious activity was z attended and attested by that utterance of articulate sounds r> which, in the narrower sense of the term, we call language. All our thoughts and emotions are expressed by the human voice in an infinite series of varied utterances. Ideas are the JJ spirit of language, articulate sounds its substance, and the vocal organs its instruments. In speech, language addresses itself H to the ear by means of its phonetic embodiment in sound. To image forth to the eye the substance of language, to fix and perpetuate the phonetic embodiment of speech, became early in human development absolutely essential to the evolution of mankind ; and when this necessity realized itself, writing was invented. (3) 449503 4 AMERICAN FONOSTENOGRAFY. "The discovery of some rude form of the art of writing," says Taylor in his monumental work on the alphabet, " was the first permanent step that was taken in the progress toward civiliza- tion." In its primitive form, writing was simply an imperfect essay in the drawing of pictures. These rude pictorial represen- tations of objects came by degrees to be conventionalized into ideograms, a pure ideogram being the picture of an object taken as the symbol of an abstract thought or idea. Through the cul- tural process of the ages these ideograms were developed into phonograms, or graphic symbols of sounds. Phonograms, or symbols of sounds, may be divided into four species : signs for words, signs for phrases (or combinations of words), signs for syllables (or components of words), and signs for letters (or ele- ments of words). The letter signs are alphabetic symbols repre- senting the elementary sounds into which syllables may be resolved, and the syllable-signs stand for those combinations of letters which form the primary division of a word. The letters of our ordinary alphabet are phonograms which have been sub- jected to so long a process of detrition as to reach an ultimate stage of symbolism in form and value. For ages after human civilization had attained that epoch in the art of writing which is marked by the evolution of the primal ideograms into those conventional phonograms which make up the alphabets and scripts of common use, these scripts and alphabets proved adequate to the exigencies of graphic repre- sentation. But when advancing material progress augmented its demands upon the capacities of the longhand writing of ancient times, this system of graphic representation, magnificent factor tho it had been in the world's progress, failed to afford the facili- ties required for fluent copying of all kinds, for the expeditious transcribing of commercial correspondence, and for the rapid reporting of legislative and judicial proceedings. Hence, having taxed the strength of longhand script to its utmost, its writers began to search for its elements of weakness ; and as soon as AMERICAN FONOSTENOGRAFY. 5 attention was drawn to the imperfections and desiderata of the style of writing in vogue, and to the attributes of a more perfect system of script, it was seen that the longhand method fails by reason of its lack of two qualities: it is neither brief nor true, neither terse nor exact, neither concise nor precise. The letters of the longhand alphabet are cumbrously long and complex in the writing, and their value as symbols is shifting in use and unstable in power. The divergence and disparity between spoken words and written words, between the sounds of speech and the symbols of speech, have grown so great that the character orig- inally intended as the sign of the sound has come to be merely a sign of the sound. Imperfectly as the longhand alphabet had in the days of its invention and earliest practice fulfilled the aims and capacities of a scientific symbolization of thought, it was now clearly perceived that this alphabet had, as a result of its forced and incongruous adaptation from the early tongue of Phoenicia to a variety of diverse modern languages through Greek and Latin channels of speech and of script, lost half its ancient truth as a system of phonetic characters and lacked immensely the modern requirements of graphic fitness and accomplishment. To afford, therefore, a system of symbolization so concise as to match the celerity of vocal articulations, so susceptible of rapid execution as to record words as fast as they are uttered, so practicable as to subserve all the purposes of expeditious transcribing and reporting and meet all those necessities of modern writing which are beyond the capacity of the longhand alphabets, a vast number of graphic systems, based on every imaginable principle of abbreviated script, were devised and practiced. All of these systems of writing are known by the generic term of shorthand. AMERICAN FONOSTENOGRAFY. THE EVOLUTION OF SHORTHAND SYSTEMS. By the records that come to us from the earliest times we are told that the hand of writing is older than the tongue of speech. The memories of script outlive those of language, and science, when it explores the wisdom of the past, is keener in sense of sight than in sense of hearing. Between the ancient days of pictograph and phonogram and the modern era of phonograph and kinetoscope, so vast is the stretch of ages that only a small portion thereof is contemplated and surveyed in the daylight of history ; around the rest close the twilight of fable and the shadows of tradition. Legends of primitive systems of short- hand carry us back to the very dawn of history ; but, though we are told that the practice of shorthand was known in early days to ancient Greeks and Hebrews and flourished in the time of Cicero, whose amanuenses wrote stenography, and of Vespasian, who strove to popularize a system of brief script, yet so scant is our knowledge of the methods employed and the results obtained before the year 1588, (the date of the issue by Dr. Timothie Bright of the first system of English short writing), that we may well limit the era of shorthand to the last three hundred years. This lapse of time is divided into two periods : the first is the age of Stenography, extending over 250 years ; the second is the age of Phonography, which begins practically with the publication in 1837 of Isaac Pitman's Stenographic Soundhand. Though Pitman's system was in no sense of the term an invention, as it not only appropriated from Harding's improvement on Tay- lor's old method the principle of paired cognate strokes and triple-position vowel dots and dashes, but was also preceded by other systems which to a degree were, and which styled them- selves phonographies (Phonographic World, iv, 294) ; yet as the AMERICAN FONOSTENOGRAFY. 7 introduction of Pitman's method so popularized shortwriting as to make a new epoch in the history of the use of shorthand, it is well enough to establish as the day of demarkation between the period of stenography and the period of phonography, the date of the appearance of the Pitmatic system. Of the scores of shorthand systems devised during the first period nearly every one was a system of stenography that is, a system of shortwriting composed of brief characters repre- senting the letters of the longhand alphabet, and no more gov- erned by phonetic laws than is the conventional alphabet of ordinary script. These stenographies failed to fulfil, even in theory, the whole requirement of a competent method of short- hand ; they afforded no provision for remedying one of the two essential defects of longhand writing they were not phonetic. Moreover, besides this radical imperfection arising out of the ignoring of phonetic principles, the stenographies were found uniformly faulty when viewed from a point of regard for the rules of rapid writing and the qualities that make for speedy and fluent hand-movement. With interminable lists of arbitrary characters and contractions, with signs as complex in composi- tion and cumbrous in curve and stroke as could well be con- trived, these systems gave little heed to the principle that only those outlines which are facile in form and simple in design, only those outlines which involve clear mental processes and accord with the natural movements of cursive script, can be traced with so high a degree of rapidity as to prove serviceable for the purposes of shorthand. Hence the stenographic systems, like the longhand alphabets before them, were superseded by a series of phonographic methods, nearly all of which are based on the Pitmanic prototype. Isaac Pitman's phonography was the earliest method of rapid writing that in either of the two essential respects of theory and practice is perfect it is perfect in theory. The phonetic basis on which it is founded and the phonetic analysis which charac- 8 AMERICAN FONOSTENOGRAFY. terizes its exposition, are in as close accord as is practicable with the principles of phonology. As a system it affords a theoreti- cally precise and simple symbolization for every radical sound of English speech ; its formal substance consists of characters that are facile and distinctive ; its organic development attains a marvelous degree of structural specialization and correlation ; analytical^ 7 and synthetically it is perfect in theory. But altho the system is founded on an adequate recognition of both of the inherent defects of longhand writing and professedly is fitly formed to fulfil the purposes of a successful shorthand, yet in practice it has sacrificed so much to the exigencies of rapid writ- ing as to violate fundamentally the principles of symbolic pre- cision. Vowel representation is subjected to a standard of dis- tinction which is based on the position of each character in the outline, without regard to the fact that very many of the outlines consist of more than one character, each of which requires for the correct indication of its accompanying vowel sound a differ- ent position from the other character or characters. Hence the vowels are practically suppressed and the outlines are thereby so divested of self-determining factors as to be devoid of distinc- tion and stripped of individuality. In other words, the unvo- calized style of phonography sacrifices theory to practice and abandons legibility in transcribing to speed in executing the alphabetic forms. As was recently said in an article in the lead- ing shorthand journal of America by one of the most capable of ritmanic teachers, "There is little truth in the claim that in phonography, as fitted for reporting, we write by sound." To repair this lack of legibility, to afford that representation for which shorthand writers insist the "vowels are crying," there sprang up a new species of phonography, a method of vocalized, connecting-vowel shorthand. These new systems were at first acclaimed as the acme, at last, of stenographic per- fection, the paragon of brief script. The problem of legibility, it was thought, was now finally and forever solved ; consonants AMERICAN FONOSTENOGRAFY. 9 were represented and vowels were represented ; and so all the phonetic elements came, not only in theory but also in practice, to be contemplated in a scientific representation of the radical sounds. But, alas ! the advance along one of the lines of brief and true writing was merely an indication of a retreat along the other. In most of the new systems of connecting- vowel short- hand it was soon manifest that the outlines increased in prolixity directly with the increase in legibility ; it was seen that many of the methods were devised out of a boundless ignorance of the requirements of the language, were absolutely devoid of organic development, and were addressed to a class of learners whose illiteracy is as large as their expectation, and who long for the royal road of "a few easy lessons " to the goal of short- hand acquisition. And so through the evolution of shorthand systems there came to be two well defined classes of phonographies the one com- posed of methods based, as a rule, on the original Pitmanic systems and efficient for every reporting purpose, but, by reason of complexity and illegibility, capable of acquirement only by the exceedingly gifted or the supremely industrious ; the other made up of methods of shorthand which are so simple as to be readily mastered, but whose simplicity results from such limita- tion in principles and development as necessarily renders them absolutely incapable of reporting power. The former class appeals to a high standard of culture; the latter addresses itself to a lower plane of mental capability and development ; the former taxes too heavily the head, the latter demands an impossible dexterity of the hand. American Fonostenografy. " Several years ago I studied shorthand with a view to taking notes ; but on examining several systems I found that the scien- tific systems were not sufficiently practicable and the practicable systems not sufficiently scientific. It seemed to me, after exam- ining some dozen popular forms, that the system which success- fully grapples with the vowel difficulty has yet to be invented." THOMAS HARDY.* American Fonostenografy is a compromise between the scientific and the practicable systems of shorthand ; its development sprang from a perception of the advantages that necessarily inhere in the older consonant phonog- raphies, and from a recognition of the defects that have not been remedied in the newer vocalized methods. When it was finally demonstrated that the Pitmanic phonographies fail to afford a perfect system of brief writing, the shorthand reformers in their zeal for progress began to eliminate much of the most vital element of these systems ; they devised methods of constant vocalization, they eradicated the prin- ciple of shading, they attempted to abolish all distinctions based on position, and they reduced to an impossible min- * Author of " Tess of the D'Urbervilles," " Hearts Insurgent," and other masterpieces of fiction. (10) AMERICAN FONOSTENOGRAFY. II imum the old interminable lists of wordsigns. To secure legibility, ease of acquirement and a socalled " simplicity," they destroyed nearly everything that gives to phonography its marvelous brevity; to the attainment of a readable and an easy style, they sacrificed everything, unmindful of the fact that these qualities comprise by no means the whole of what is necessary for the perfection of shorthand. American Fonostenografy is, it is believed, a distinct advance over any of the systems that purport to be improved methods of phonography ; and it bases its claim to this su- periority upon the fact that its aims are more moderate and practical than those of the other methods in the same sphere of improvement. Its maxim is, Obtain legibility but retain brevity; be readable and rapid. In the conviction of the necessity of brevity it has been deemed more than wise, it has been deemed absolutely essential, to retain the device of shading ; while in the conviction of the need of read- ableness in shorthand writing it has been found equally es- sential that so ample, and only so ample, a representation should be given to the vowels as would materially increase the general legibility of the outlines without decreasing the ultimate speed-capacity of the method. American Fono- stenografy shuns the two extremes; it aims to furnish the practically perfect mean between the too-much legibility of longhand and the too-much brevity of (Grahamized) short- hand ; and it is the author's sincere conviction that this system " successfully grapples with the vowel difficulty." Again, American Fonostenografy affords a reform in the method of presenting shorthand instruction, and it is based 12 AMERICAN FONOSTENOGRAFY. on an entirely new manner of setting forth the phonographic principles a manner which has been suggested by the modern method of learning languages, a manner, indeed, of learning to write by writing. A practical exemplifica- tion of applied fonostenografy is given in the very first lesson, and each succeeding lesson is so arranged as to develop in order all the principles of the system, and to enable the student to practice at the same time that he learns each of the phonographic devices. This manner of acquir- ing a mastery of shorthand follows, it is believed, the pre- cept of Horace to combine the useful with the pleasant economy of time in learning, with the enjoyment of interest in studying; it saves the capable student many hours of needless labor and many days of superfluous drudgery in learning to write multitudinous lists of segregated and barren words, words shorn of context, connection, and utility ; its standard of shorthand study and practice is the sentence, the clause, or the phrase, and not the solitary and isolated word; it is, in brief, the natural method of learning to write shorthand by writing shorthand. All systems of writing are conditioned by context ; a real method of short- hand owes its very existence to context. Now in mere words context cannot inhere; it is only to be found in phrases and clauses and sentences, only in combinations of words, for it is the result of relation ; and therefore he alone learns to master contexts, who regards the composition and the significance of phrases and clauses and sentences ; and he who has learned to master contexts has acquired the prime requisite of successful shorthand practice. AMERICAN FONOSTENOGRAFY. 13 Another advantage accruing from this method of setting forth a shorthand system is that it requires as a prerequisite to the study that amount of mental development and literary culture which is absolutely essential to success in the use of phonography. Learners who are destitute of this necessary modicum of intellectual training will find it a hard task, consequently, to make much progress in mastering the first lessons of this manual. But, so far from endeavoring to avoid this seeming hindrance to the popularity of American Fonostenografy, the author is led, by experience in striving to teach shorthand to students whose lack of intellectual culture and of the sense for language utterly unfitted them for the study, to hope that many such students will be deterred from an unwise attempt to learn Fonostenografy before they have repaired their inaptitude for shorthand work. The one great lack of fitness for phonographic study arises usually out of ignorance of our mother-tongue ; and since this same ignorance is, among even the applicants for matriculation at the leading English universities, Oxford and Cambridge, so manifest as to have been made the subject of a recent report by the university examiners, it is far from surprising that a large number of students of shorthand should be affected by a like incapacity to practice or comprehend their native speech. To such intending learners the author can only recommend as absolutely essential to progress in the mastery of phonography an assiduous study of English with a view to attaining a rational comprehensian and ap- preciation of the language as a highly organized vehicle of expression. 14 AMERICAN FONOSTENOGRAFY. On the other hand, every student who at the beginning of his study is equipped with a moderate degree of trained intelligence and a sufficient knowledge of English, will most assuredly find American Fonostenografy as easy of acquisition as it is simple in design and capable in practice. It has been the purpose to provide in this manual as large an amount of necessary text and as little superfluous matter as seems best adapted to the requirements of the learner. Hence (and for the further reason that it is thought the legibility of the system precludes the need of such aids) all keys and "reading matter" have been excluded, and the space which the insertion of such keys and cognate matter would consume, is devoted to fonostenografic outlines and to the elucidation of the principles and devices of the system presented. AMERICAN FONOSTENOGRAFY. 15 PRELIMINARY SUGGESTIONS RESPECTING THE METHOD OF PRACTICING FONOSTENOGRAFY. The best instrument for the writing of Fonostenografy is a suitable /'-hook. The sign for the consonant is shaded to represent the sound-value ng (etrg, ing, ung), and this shaded character is halved and doubled to represent respectively the added sounds of r and of / or d. So, in like manner, the sign which signifies m is shaded to represent mb and mp, and, when so shaded, is halved to indicate mbr and mpr (as in member and temper}, and doubled to represent mbt or mpt, and mbd or mpd (as in gambit, 'stamped, etc.) The small half-ellipse facing upward to the right and traced downward from left to right, is used to represent that combination of sounds which is usually designated in the ordinary alphabet as fin. This sound-combination is of very frequent occurrence and requires a brief method of representation, such as is afforded by the half-ellipse char- acter. The reverse half of a like ellipse is employed to in- dicate en, which sound-combination also requires an espe- cially brief symbol. These half-ellipse signs for en and ?///, tho identical in appearance with the half-lengths of the stems /and ch, do not in practice in any wise conflict with the latter characters. The primary phonetic principle that a single sign should represent only a single sound, is an ex- 42 AMERICAN FONOSTENOGRAFY. ceedingly good principle which all practical shorthand systems judiciously violate. The light tick used to indicate a \ o \ , ^ J (// x\ / ^t> \ o Y ' vo >1^ / ^ 2^- 2 / / ^ b ^~> 54 AMERICAN FONOSTENOGRAFY. resenting e, which he has not previously had occasion to learn. Long e is a sound of very frequent occurrence and, being nearly always a strong and significant element in the syllable or the word, requires constant specific representa- tion. It has, therefore, been found necessary to give it as facile and brief a sign as possible. In a very large major- ity of all the fonostenografic outlines in which short / oc- curs medially, the hook, it was observed, could be joined in two ways either (i) to the first stem, or (2) to the fol- lowing stem. So, for the purpose of economizing the shorthand material, an economy which all capable short- hand systems have to carry to the highest degree of perfec- tion, the principle was established of limiting the joining of the hook in the first manner to the expression of short /. and the joining of the hook in the second way to the sym- bolization of long 2 / t. , 66 AMERICAN FONOSTENOGRAFY. for practice the writing exercise ("The Size of Shorthand Characters") presented on pages 63-73. The learner should attempt to master only a small portion of the exer- cise-matter at a time. Let him first read over about half a dozen lines of the shorthand forms, note carefully the vari- ous fonostenografic principles and devices applied, and after the matter is fully apprehended begin to write the portion read and studied. Then the shorthand outlines of this first division of the exercise should be read and reread, written and rewritten, a dozen times before the next portion of half a dozen lines is taken up. In the outlines for such words as size (63, i), times (63, 3), prize, lies, descries, tries, the sound of z or s is indicated by writing the / with the combined ticks that is, by writing it in the abnormal or irregular way. In the words tie, pry, lie, descry, try, etc., the final vowel is represented, of course, by the single-tick I ; and therefore when the double-tick i is used in such cases, it signifies the addition of the sound- value s or z. It should be noted that the sounds iz, is, when initial, are not represented by the double tick, but by the single tick and the stem s, and that wherever the double tick is used initially it indicates either the sound merely of I (in cases in which it may be necessary to draw both ticks in order to get a facile joining), or it indicates, as previously explained on page 36 (and this is the usual case), the com- pound sound of wl (poi), as heard in the word while (63, 6) or wise or white. In representing the sounds whi (why) the aspirate h is given no representation, as the A-sound here is neither strong nor significant. AMERICAN FONOSTENOGRAFY. 6 7 68 AMERICAN FONOSTENOGRAFY. Some additional wordsigns of frequent recurrence are in- troduced into this exercise, viz : Sma!/(6^, 4), equal (63, 7), into (65, 2), same (65, 5), large (65. n), smaller (67, 2), circumstances (69, 9), object (69, n), amount (69, 12), larger (71, 8), and movement ( 7 r , 10). The final unaccented syllable -$. -., in representation and hundreds of other words) is represented by the hook a, the com- bination of the two affixes into the final syllables sentation, is expressed by the stem st and the hook a. See presenta- tion (63, 1 1). The final syllables ^///and ment (unaccented) are likewise represented respectively by the double-length d and the double-length m. Note, for example, students (65, 10), elements (71, 2), and movement (71, 10). The final hooks a and z, used to represent the affixes dtion and "ition in such words as illustration (63, 12), r#//- sideration (63, 2), and expedition, are, in order to represent the plural forms of the affixes, written as disjoined hooks that is, as hooks joined with an angle in the manner ordi- narily followed for the indication of added s or z. Note that in the stenograf for textbooks (6$, 12) the sound st, and in the stenograf for copperplate (65, 2) the syllable per, are given no specific representation, because this sylla- ble and that sound are entirely negligible, being neither strong nor significant. The syllable con or com is of exceedingly frequent recur- AMERICAN FONOSTENOGRAFY. 70 AMERICAN FONOSTENOGRAFY. re nee as a simple prefix in such words as consider, constant, complete, competent, and company, or as part of a compound prefix in such words as reconsider, inconstant, incomplete, accomplish, and accompany. Now, (a) this prefix, when it occurs unaccented (in such terms as condition and compete], is represented merely by the stroke k (condition = k d /, and compete = k pet}; in many cases, indeed, as will appear later, the specific representation of the unaccented prefix con or com may be entirely omitted. But (/>) when con or com is stressed or accented, and oc- curs be fore k orchard or g soft,/ or b, t or d, s or z, etc., as in conquer, constant, competent, consequence, congener, congre- gate, contents, conference, convert, conscious, it is represented by the signs for k and b. See accomplish (69, 12), in con- nection with which stenograf it should be noted that ordi- narily both the simple prefix com and the compound prefix accom are represented by the characters k and o, since there can be no confusion between the two. When (V) the prefix com is accented and is pronounced as if spelt with short u, as in comfort, company, it should be represented by the characters k and m. Where (d} the con or com is followed immediately by a vowel, as in conical ov comedy, or by r, as in comrades, it should be written in full, k o n or k b m. It may be noted that in the three words just given (conical, comedy, and com- rades} the syllable con or com is the basis of the word in sound and is not to be regarded either as a phonetic prefix or as an etymologic prefix; this syllable (con or com} is not a AMERICAN FONOSTENOGRAKY. s~l / /fc. 'p V / ^ - x N i r-, s*. ~ ) <- 7 \ &~~<. 7- ^^A ^ X / S ,^y. 72 AMERICAN FONOSTENOGRAFY. prefix in the structure of such words as comic and conical and comity, but is their etymon in derivation. The half-circle for final e long is reversed and written with its open side facing upward, to indicate es or ez, as in increase (65, 9, and 73, 9), decrease (65, 9), pleased (65, 1 2). The stem sh or 2^ is frequently used to represent the suf- fixes tion (sounded shu/i), tian, cean, sion, cion, when these suffixes occur immediately after an expressed consonant, as in the words proportionate (67, i), and instruction (67, 6). But where, as in expedition (65, 10), this suffix and a pre- ceding vowel are represented by the expression merely of the vowel, then the stem sh is used to indicate tious or cious, as in expeditious (67, 2). In many words in which it is necessary to represent specif- ically the sound of s or z, the stem which stands for this pair of cognate consonants will not so join with the preceding character as to preserve completely the preciseness of form with which the s or z and the preceding stroke should both be written. This difficulty arises particularly in those cases in which the stem s or z follows half-length m or double- length ;//. Hence the sound s or z. represented immediately after the half-length or double-length m, is indicated by a heavy dot joined to the end of the w-stroke, as, e. g., in the outlines for elements (71, 2) and commerce (73, 7). The ticks for e and e are used to represent respectively es or ez and es or ez, after the sounds as or az, Is or iz, when these latter sounds have been indicated by the reversed hook a or i. Note the first illustration, given in the phraseogram most- cases (73, i). AMERICAN FONOSTENOGKAFY. V "V I 9 \ 74 AMKRICAX FOXOSTE.\OC;R.\FV. The principles and practice of phrasing will be discussed fully in a succeeding chapter; but to point out here the meaning of some of the more difficult phrase-signs intro- duced into the present writing exercise, may assist the stu- dent in reading the shorthand outlines presented. Among the phrase-signs to be specially noted may be mentioned the following: it-was (6$, 12), there 7^(^(65,3). it-might (6$, 4), they-are (67, i), each-other (67, i), it-will-be (67, 3), as- small (67, 8), we-l>elieve (69, 2), lias-shown (69, 3), as-wcll- as (69, 5), as-to-thc-size (69, 6), that-will enablc-him (71, 2 '), as-long-us (73, 6), there-is (73, 7), and of-a-legible (73, 1 1). The student who has thoroughly mastered such of the principles of fonostenografy as have now been presented in this manual, will have acquired the ability to discriminate between strong sounds and weak sounds, significant syllables and insignificant syllables, salient factors and silent factors ; and this ability to distinguish the weak, insignificant, or silent components of words from the strong, significant, and salient elements of words, will prove of inestimable value to the learner in mastering the shorthand-root principles now to be set forth. AMERICAN FONOSTENOGRAFY. 75 THE FONOSTENOGRAFIC ROOT OR SHORTHAND RADICAL. Every system of shorthand that aims to serve as a suitable means of verbatim reporting, needs an extreme development of speed-capacity. To attain such development the highest degree of contraction and abbreviation is demanded, and to achieve the necessary brevity and at the same time to preserve the necessary legibility, is the most essential con- sideration in the devising of a shorthand script. Now, it has been determined that all legibility rests upon and arises out of that which, either in itself or in the connection or context in which it is found, is an element of certainty, a factor of known significance. The more conspicuous and comprehensive this element or factor becomes, the greater is the resulting legibility. This element or factor may be termed the basis of certainty, and if a method of stenography has a basis of certainty, a foundation of assured significance (commensurate with, let us say, though, of course, not equal to, that basis of certainty which is found in longhand writ- ing and which rests upon the alphabetic letters), such a method has acquired pro tanto the most valuable aid to practical legibility. In American Fonostenografy there is 76 AMERICAN FONOSTENOGRAFY. such a basis of certainty, and it is a more rational and con- stant foundation of known significance than any other effi- cient system of shorthand affords. The basis of certainty in American Fonostenografy is founded upon the principle of the fonostenografic root, the rule of the shorthand radical. It is conceived that in every sentence there is an indis- pensable clause or phrase or word, in every phrase there is an indispensable word, in every word there is an indispen- sable syllable, and in every syllable an indispensable sound. In shorthand writing we deal with words as primal parts of sentences. Words are the ultimate components and the first factors of the writing, viewed from a shorthand stand- point, and it is, accordingly, to the words that we look for the basis of fonostenografic certainty. Now, every word contains as an atomic part, so to speak, or as an irresolvable element, some indispensable syllable (a syllable being the simplest complete combination of sounds); and this indis- pensable syllable contains the strong- and significant* factor or factors in the word's sound, and it gives, therefore, the clearest clue to the determination of the word itself. Hence this essential syllable, this combination of the strong and significant sounds of the term, is regarded as the fonosteno- grafic root or shorthand radical of the word. It should first of all be clearly understood that this shorthand root is not a radical in the etymological derivation or view, nor is it a * These two adjectives are used throughout this work in the special sense assigned to them iu the preliminary pages of the manual. See pages 29 and 42. AMERICAN FONOSTENOGRAFY. 77 radical in the grammatic inflection or philologic structure of tlie word. The fonostenografic root is a root in sound and not in form, a phonetic root and not an etymologic root. Know, for example, is the English etymologic root of the word acknowledge, but the phonetic radical, the fonosteno- grafic root, of this latter term is knowl (V 6 V). Every fonostenografic root, to justify its selection as such, must represent that syllable or that combination of syllables to which it is necessary to give specific representation in order to maintain the legibility of the shorthand outline ; it must consequently signify such a sound-combination as contains the strong and significant factors of the word to be indicated ; it must be, and, should it possess the require- ment just laid down, it necessarily will be, luminously legi- ble ; it must, in fine, be a basis of certainty, a fundamental factor of known significance. Some words contain no fonostenografic root other than the full word itself, the word and the shorthand radical being, in terms of this class, practically identical. This is especially true, naturally, of many words of one syllable. Other words, again, are legibly represented by the radical alone, the expression merely of the shorthand root being amply adequate as a legible outline for a word of this sort. There is, on the other hand, a third class of words, in the representation of which the fonostenografic root can gen- erally be used only as a root, and the legible symbolization of such words consists of the shorthand radical and a prefix or suffix, or both, to that root, in order to distinguish the 78 AMERICAN FONOSTENOGRAFY. particular word represented from all others that have the same root-sound (phonetic derivation) and the same fono- stenografic radical. For example, the shorthand outline for that syllable-combination of sounds which, in its brief- est longhand form, is represented by the letters s I n, is the fonostenografic-root outline of the words sign and sine. Here the shorthand outline for the whole word and the shorthand sign for the root, are identical. Now this same shorthand radical (representing s I ri) may also be used, instead of some of its phonetic derivatives, in cases in which the con- text must show which word is intended ; the fonostenografic root may then signify assign, consign, design, resign, assign- ment, etc. In order, however, to distinguish words of this class one from another, it will often be necessary to com- bine, for the legible representation of a particular word, both the root and a prefix or suffix. It becomes important, then, for the student to master the manner of representing these prefixes and suffixes.* By way of preface to the following paragraphs, which set forth the rules for the representation of the various fono- stenografic prefixes and suffixes, it may be stated that the * It should be noted that when we speak here of prefixes and suffixes, we mean, fonostenografic affixes that is, prefixes and suffixes which are not accented, which form no part of the short- hand radical, and which in themselves are generally weak and insignificant syllables, but which, however, must frequently be expressed for the purpose of differentiating, one from another, words which may be represented by the same fonostenografic root. AMERICAN FONOSTENOGRAFY. 79 rules and examples here given are not designed to be by any means complete in themselves or exhaustive of the sub- ject. It is merely the purpose to show by a series of sug- gestive illustrations. how comprehensive is the principle of representing words by their shorthand roots and affixes; to exemplify the manner in which this principle is to be applied ; and to indicate, by analogy from the words fur- nished for such application, to what classes of terms this principle should be applied and to what classes it should not be applied. The student, therefore, need not endeavor to memorize the entire list of these prefixes and suffixes. All that is necessary is to read them over two or three times very carefully, to write out the proper shorthand outlines for all the examples given, to note attentively the conditions of the use in connection with them of the principle of the fonostenografic root and prefix or suffix, and, by intelligent study of the examples furnished, so to master the principles of the application of the shorthand-radical rules as to be able to apply these principles and rules correctly and effi- ciently in innumerable other analogous terms. i. The prefixes ac (in such words as accept, accented, and accelerated^, ad (\\\ advance, adversity, and advertise], am (in ambition, ambassador, and ambrosia), and an (in an- tagonism, anterior, and antipathy), are represented by the circle-vowel a (or a) joined directly to the sign used to symbolize the shorthand root. The words given as examples in the above sentence should, therefore, be expressed re- spectively as a spt, a s en, a s 1 rt (half-length r being the 8o AMERICAN FONOSTENOGRAFY. suffix for erate), a v a n s, a vr st, a vr t iz (use combined ticks to represent Iz), a b as dr, a b I (final hook t repre- sents "ition), a br o sh, a t a g n Iz, a t e r, a t I p.* 2. The tick /// (2 s is), inspect (I sp e k), intent (1 t en); and (c) inter, in all such terms as those in which it will not be liable to be mistaken for im or in. In intercede, e. g., and interfere and intermission, half-circle /should be used to signify inter ; but generally it should not be so employed in such words as interpose (in which in = inter, I p o s being used to mean impose} and interplead (Spied = implead}. When the sound inter is really the fonosten- ografic root of the word, and not merely a prefix, it should be represented by the half-circle I and the double-length n. Hence interest, interim, and interval should be written re- spectively i nt rs, i nt r m, and i nt v I. 4. The large circle representing b is used as a prefix to signify (a) bb in observe (b s r v), objective (b] kt z>) ; (l>) oc in occidental (b s d en); (tT) om in omniscient (b n I sht), om- nipotent (b nip), omnivorous (b n I v); and (W) on in ontogeny {b t 6 j) and ontology (b t 6 1). 82 AMERICAN FOXOSTENOGRAFY. 5. The downward facing, half-quadrant sign for short it is used instead of the upward facing half-quadrant, to rep- resent the syllable un, occurring before the sounds k and ^-hard, kw and gw (as in uncouth, uncover, uncomfortable, uncompromising, unconscious, unquestionable, unguent), it being the rule that, wherever the character for un will not join freely in the connection in which it is required, the reverse half-quadrant is to be substituted. This half-quad- rant u is also employed to signify the prefix under, in undergo (u g o), underrate (u r a t), underground (u gr ou), under- take (fi t a k), and all similar words. 6. The prefix ba* in such words as Bar abbas, barouche, basalt, ballastic ; be, in become, belay, believe, belike, bereave ; bi, in biennial, bifurcate (accented on second syllable), bi- gesimal, binomial, biography, biology; bo, in beau-monde, bolero, Bolivia; and bu, in bureaucracy, Bucyrus, Bucepha- lous, butyric ; these prefixes (ba, be, bi, bo, bit) are repre- sented by joining the stroke for the sound b directly to the shorthand radical. So, too, the stern-^ is halved to repre- sent the prefix bra, bre, bri, bru, in words like bravado, bravura, Britannic, brutality, Brule, etc. In a precisely similar manner use the stem k to signify ca, in calamity, caligraphy, career, carouse ; ke (ce), in ke- ramic ; chi or ki, in Killarney, chimera, chirography ; co, in coagulate, collect, collide, cooperate, coordinate, Korea ; and *The dot under the vowel indicates that the sound, whether long or short or broad, is unaccented, and to a greater or less degree slurred. AMERICAN FONOSTENOGRAFY. \*/? x-T> \ J '- 6/t<5&7^7'. C/ ! * o J Q -,. A-. ^K ^v >; 1 4 ^^K T <; ^> *-f- ^ -~ ^, ifpp rs~& j . \td'*r ^\\^ I? 3 84 AMERICAN FONOSTENOGRAFY. the halved stem-> to signify ere, in credulity ; cri, in crite- rion, Crimea; cru, in crustacean, crudescence ; and the stem-rf to indicate da, de, di, do, or du, in Darius (d r Is), delay, deliver, dilate, direct, dynamic, dynastic, (but not in dynamo or dynasty, which are written, respectively, as d I n ;// and din j/), domestic, dominical, (not in Dominic or domi- cile'), Duluth, and duration. In connection with the extremely frequent prefixes com and con, the student is referred to the rules and illustra- tions given on pages 68-72. Among the numerous other prefixes constantly recurring in the reporter's practice, the following may be deemed the most important : (a) Ma, in material (m t e r), maternity {m tr nt), madonna (in do n), majority (in j 6 r), malignant (HI 1 I g), malevolent (in lev), malicious (in 1 I sh); me, in medallion (in d a 1), melodious {m 1 o d), medicinal (in d I s), memento (m m en), merino (in r e n), metallic (in t a 1); mi, in minority (m n 6 r), migration (m gr a), millennium (in \ en); mo, in momentum {m m ent), Mogul (in g 1), molest (in \ st); (^) /Vv, in prevail ' (pr v a 1), predominate {pr d 6 m), //-tf/z and trans, in transcend (tr a s en), transcribe (tr as kr I b), transfer (tr as fr), transmit (tr as mt), transformation (tr as f r m a), transcendental (tr as d en), translation (tr as 1 a), trans- parent (tr as p a rt). SUFFIXES. Among the more frequently used fonosteno- grafic-root suffixes there should be noted : t. (a) Able, ible, uble, ble, represented by stroke-^ in such terms as accountable (k on nt <), actionable (a k sh b, double suffix sh b =tio liable), invaluable (iv a 1 b), forcible (f o rs /5), contemptible {k t mpt b}, soluble (s o 1 b), voluble (v o 1 b~) ; (b) Ability, tbility, ubility, bility, represented by the strokes b and /, in words like credibility (kr d b 1), conformability (k f o r m b 1), respectability (sp kt b /), legibility (1 j b /) ; (c) Ble and pie, after m, represented by the shading of the ;//-curve (the character )nb or ;/// = mble or mple), as, e. g., in the words gamble or gambol (g a m^), ramble (r a m^), sample (s a m/), ample (a m/), shamble (sh a m^), temple (t m/), humble (u m), crumple (kr m/)) ; (^/) ^4/^/^ and /M 7 , /?^r j or z, represented by the shading of the j-curve (the character sb = unaccented sable or sible), as in peaceable (p e s^), dispensable (//sp en s^), accessible (a s s^), expres- sible (e pr s3), compressible (k pr s^). AMERICAN FONOSTENOGRAFY. V -; : (a) \ cr-r I I 11 ^ ^ ^ *5 88 AMERICAN FONOSTENOGRAFY. 2. Unaccented cent (sent), dent, lent, ment, nent, sent, tent, vent, represented respectively by the double-length strokes s or z, d, I, m, n, s, t, and v, as in innocent (\ n j/), recent (r e st}, resident (rs dt}, redolent (r d //), ornament (o r n ;/*/), prominent (pr 6 in nt}, represent (r p st), impo- tent (i mp //), advent (a d z'/). Unaccented cant, as in mendicant (m en d >/) ; lant, as in stimulant (st i m //) ; _/#;//, as in elephant (e 1 ft}, and the whole class of similar suffixes, are represented in like manner by the doubling of the consonant character preceding the final ///-sound. 3. Unaccented bate, cafe, dale, gate, late, mate, nate, rate, represented respectively by doubling the character for b, k, d, g, I, m, n, and halving the r-stroke, as in reprobate (r p r bt}, delicate (d e 1 kt), antedate (a nt dt}, delegate (d e 1 gt}, postulate (p o st //), animate (a n mf), coordinate (k o rd nt}, accelerate (a sir/). 4. The suffixes tion and sion, in the terminations ation, ition, ision, ession, etion, otion, ution, usion, are, as has been already indicated in many of the previous illustrations, always omitted in the shorthand outline, when they occur after an expressed vowel sound ; and the specific repre- sentation of these suffixes is also frequently omitted, when they follow a specifically represented consonant sound ; as, e. g., in abolition (a b 1 I), accusation (a k s a), acquisition (a kvv s I), addition (a d i), adoption (d 6 p), affliction (f 1 I k), agitation (a jt a), application (a p k a), apprehen- . sion (a pr en), procession (prs e), profession (pr f e), com- pletion (k p 1 e), depletion (//p 1 e), commotion (k m o), de- AMERICAN FONOSTENOGRAFY. 89 votion (it v o), promotion (/ r m o), diminution (d i m n u), revolution (r v 1 oo), collusion (k 1 oo), corruption (k r p), seclusion (s k 1 oo). OMITTED AFFIXES. As has already been shown, the pre- fixes and suffixes may in many outlines be omitted alto- gether, the fonosteiiografic root affording of itself a suffi- ciently legible symbolization of the word. This omission of the ordinary simple affix is governed by numerous con- siderations, such as the number of other terms for which the outline written would serve as a shorthand radical; the familiarity of the writer with the matter to be reported and the particular word or words in question ; the frequency of the occurrence of the special term in the matter being written ; the practical possibility or impossibility of the confusion of the term to be expressed in the shorthand writ- ing with the other terms possessing the same fonosteiiografic root. All these considerations in their turn involve such personal factors as the writer's general culture, his special knowledge of the particular topic that is being discussed, his native or acquired ability to read his notes readily, and the speed at which he is compelled to write. Hence it is that no very precise or definite rules as to the insertion or omission of the simple prefixes or suffixes can be laid down for the reporter's guidance. The one comprehensive pre- cept to be ever borne in mind in this, as in all other parts of the practice of fonostenografy,is In symbolizing sounds be only as specific as legibility demands and as speed re- quirements permit. The demands of legibility and the requirements of speed vary with every individual writer. 7 QO AMERICAN' FOXOSTEXOGRAFY. But, on the other hand, there are many cases in which it is the rule al\va\s to omit one or more affixes. These in- stances are such as arise out of the occurrence of double or compound affixes, like disre in disregarded Is g a rd), nisei in disagreeable (tils gr e <), disbe in disbelieve (d'ts lev), disen in disentangle (tils t a ng), disin in disincline (d'ts c 1 I n), mi she in misbehavior (in i s a vr), miscon in misconception (/// i s sp), misde in misdemeanor (;// I s in e nr), misnnder in misunderstand {in i s st a n), inde in independent (/ // p en), interde in interdependent (j. nt p en), interre in interrelation (i r 1 a), ///^// in inconsiderate (i s I d) ; and, among com- pound suffixes, tional in volitional (v 1 i sh ) or denomina- tional (n o m n a sh), tionery or tionarv in confectionery (f k j/;) and stationary (si a .$//), W/.T/J' in officiously (f i sh /y [large final hook /)']), /V/C/v in accordingly (c o rcl /). The rule with respect to compound prefixes is : Omit the second or intermediate syllable or part of the compound pre- fix. But the rule with respect to compound suffixes is found to vary with different suffixes, sometimes the first part, some- times the second of two or of three, and occasionally the last of three, being the least significant part and therefore the proper one to be omitted. Having, by painstaking study of the above precepts and by carefully writing and rewriting the examples furnished, acquired a working knowledge of the principles and piac- tice of the fonostenografic root, the student is now prepared to take up the exercise ("Phrase-writing") presented on pages 83-87. He should begin with about half a page of AMERICAN FONOSTENOGRAFY. 9! this matter, should peruse and re- peruse it until he can trans- late freely every stenograf, and should then write and rewrite this half page of translated matter until he has thoroughly committed to memory for instant use in his future practice all the shorthand roots and wordsigns and phraseograms. This writing exercise is specially designed for the presen- tation of a number of good examples of fonostenografic roots, and in order to render the translation of the matter less difficult for the learner, his attention is hereby drawn to the meaning of the following shorthand radicals afforded for practice : Together (83, 2), belong (83, 3), illegible (83, 3), practice (8;, 5), second (83, 6), nature (83, 6), effort '(83, 6), written (83, 7), wonderfully (83, 10), legible (83, u), era (85, i), impro vement (8 5, 2), children (85, 4), imagine (85, 4), better (85, 4), carry (85, 5), little (85, 1 1 ), experience (85, 1 1), banish (85, u), reduced (85, 12), between (87, 3), reason (87, 4), produce (87, $}, perpendicular (87,10), below (87,11). The following are some of the more difficult new phrase- signs introduced in this exercise: Which do not (83, 3), just as (83, 8), />/ advance (85, 7), at first (83, \o),for ah (85, 12), any reason (87, 4). The student should note that final ly after half-length curves and strokes is preferably represented, as a general rule, by the stroke /and not by the large hook ly, (V. the wordsign certainly, 83, 8). Note that the signword all is represented by the large circle-vowel aw (V. 83, i ; 85, 12, and 87, n), and that the signword- a/ is symbolized by the small circle-vowel a (V. 83, 10, 85, 10). 92 AMERICAN FONOSTENOGRAFY. PHRASING IN SHORTHAND. In all methods of writing much time is lost through the constant discontinuance of the writing at the end of the outline of each word, and the recommencement of the wri- ting at the beginning of the next outline, this process of constantly discontinuing and recommencing entailing such a loss of graphic impetus and fluency as lessens materially the speed-capacity of the script employed. To reduce in every practicable manner the time required for the tracing of the outlines which stand for the spoken words and phrases and sentences, has always been a desideratum in every species of rapid writing. Now, one of the most important princi- ples of abbreviation adopted in nearly all systems of short- hand for the purpose of increasing the rapidity of the writing and thereby saving time, is the joining of words together into shorthand phrases or phraseographs. To phrase in shorthand means to indicate by a single outline more than one word, the characters representing, the phrased words being combined so as to form but one fonostenograf. That such joining of words, resulting as it does in a largely de- creased number of penliftings and pausings, effects a ma- terial saving of time, is absolutely indisputable; but there has always been much doubt and uncertainty as to which classes of words properly require the application of the AMERICAN FONOSTENOGRAFY. 93 principle of joining together or phrasing the shorthand out- lines. The writer who once grasps the import of the follow- ing precepts for phrasing and who learns the rules expressed in the shorthand notes on pages 83-87, herein again set forth, will rarely find himself perplexed to solve aright the oft-recurring problem, To phrase or not to phrase. The most comprehensive precept for shorthand phras- ing a precept which, it is of course true, would, were it not explained and defined by the rules below, be of little service to the learner may be stated as follows : Phrase wherever you can phrase advantageously. When it is an advantage and when it is not an advantage to phrase, is shown in these rules : RULE i. Whenever the fonostenografic outlines are sym- bols in writing of phrases in speaking (/'. - / (, " - 98 AMERICAN FONOSTKNOGRAFV. kinds, viz: (a) Those in which the component outlines of the phraseogram are so modified (usually by contraction) as to afford for the set of characters slightly different phrase-outlines from those which would represent the same words when they occur as separate stenografs ; and (^) those phrase-signs in which one or more of the words to be signified are afforded no specific representation, but are nec- essarily implied from the context and the specific symboli- zation of the other terms which make up the phrase. In the following list the simple phrases and those which belong to the former class of the developed or advanced phrase- signs, are presented first, their stenografs being given on pages 95-103, 6. Immediately following these, come ex- amples of advanced phrases of the second class (103, 6-105). It is not necessarily desirable that the student should set out to memorize all these forms, but he is exhorted (a) to practice reading and writing them, (<) to endeavor to grasp and apply the principles which they are designed to exem- plify, as explained in this chapter, and (V) to use this list for purposes of reference in his reporting work. 95, i About it, about to 95, 2 and it according to and it could be after it and it could be said after it has and it is after it has been and it may after it is and it was after it may and it will after it was and it will be after it will AMERICAN FONOSTENOGRAFY. 99 100 AMERICAN FONOSTENOGRAFY 95, 3 and its 95, 8 as much as and itself as shoul 1 appear any one 9 as should be any one else as the any one less as to its 4 as alone as to sue i as appears as to thac as becomes, as comes as to these as being as to thi , as below, has been alone as to those as cannot as to w lat 5 as could be done 10 as wel'. as as could have as wo aid seem as far as at all events as fast as at las as for that 1 1 at least 6 as for us at length as follow, as follows at on ; as full as at on':e as good as at -one time as great as at times as have been at whose (?) 7 as if it were as if it will 12 Bank account as it appears be required as it has been believe it as it is better so as it may book account as it should by and by as it was 97, I by some means as it were 8 as large as Can it as lon = bee (be); C = eee (s e) ; D = dee (d e) ; E= e (e) ; F= ef (k f ); g=gee (j e) ; H = aitch (a ch) ; j =jay ( j a) ; Q = kit (k u) ; W = tiouble-u (d b u) ; Z = zee (z [that is, s with light tick drawn through it] e). Titles are indicated in like manner e. g., LL. M. is represented by e I, e I, e m ; Ph. D., by / paper cover . . . . S o 50 f paper cover . .100 Complete (parts I and II), K (_ cloth binding . i 25 For information concerning AMERICAN FONOSTENOG- RAFY, text-books, personal instruction, etc., Address the author WILLIAM McDEVlTT, LL. M., 507 E Street northwest, Washington, D. C. FONOSTENOGRAFY BY MAIL Thousands of students are learning short- hand through correspondence lessons, such instruction, in cases in which it is impractica- ble to have direct personal lessons, affording the most advantageous method of acquiring a knowledge of the art. The author of AMERI- CAN FONOSTENOGRAFY has taught shorthand by mail to many pupils, and will furnish such instruction, at the usual rates, either to indi- vidual students or to correspondence classes. For information as to methods and terms, ad- dress the author. 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