THE 
 
 IROGRAFIK TEECHER. 
 
 ADAPTED VOU L 
 
 TICXT 150 OK IN- 
 
 COMMON SCHOOLS. HIGH SCHOOLS. ACADEMIES, 
 
 AND COLLEGES. 
 
 " It would he mailings ami : se that tilings which have 
 
 never yi't IICCMI pcrlovinL-il van be performed without emr.ioying sonic liitherto 
 untried means." Lonl linc<t's ".\- 
 
 By JOHN BROWN SMITH, 
 
 Author ol' "Tin niiij," ETC. 
 
 SECOND 
 
 AMIir.IIST. MASS. : 
 
 PrULISHED BY J. B. AND E. G. SMITH. 
 
THE LIBRARY 
 
 OF 
 
 THE UNIVERSITY 
 OF CALIFORNIA 
 
 LOS ANGELES 
 
\ 
 
 UW.YER 
 . AS, TEXAS 
 
THE 
 
 KIROGRAFIK TEECHER. 
 
 ADAPTED KOK USE AS A TEXT BOOK IN 
 
 COMMON SCHOOLS, HIGH SCHOOLS, ACADEMIES. 
 AND COLLEGES. 
 
 " It would be madness and inconsistency to suppose that things which have 
 never yet been performed can be performed without employing some hitherto 
 untried means." Lord Bacon's "Novum Organum." 
 
 By JOHN BROWN SMITH, 
 
 Author of "THE STENOGKAFIK TEECHEK," ETC. 
 
 SECOND EDITION. 
 
 AMHERST, MASS. : 
 
 PUBLISHED BY J. B. AND E. G. SMITH. 
 
 1878. 
 
Entered according to Act of Congress, in the year 1878, by 
 
 JOHN BROWN SMITH, 
 In the Office of the Librarian of Congress at Washington, D. C. 
 
 ROBERT A. MAUSII, 
 PRINTER, 
 
 Amherst, Mass. 
 
 J. H. KKLI.Y, 
 
 ENGRAVER, 
 Springfield, Mass. 
 
 BOSTON TYPE FOUNDRY, 
 
 KLKCTKOTYPEKS, 
 \o. 104 Milk St., Hoston. 
 
INTKODUCTION. 
 
 The appreciative reception extended by some of the most pro- 
 gressive and best informed writers of the old short-hand systems, 
 M to the first edition of the imperfect and hastily prepared small 
 fc[J pamphlet issued under the name of the "First Fonakigraflk 
 Teecher," has insured its existence as an established aggressive 
 ^ system of writing, which aspires to supplant the cumbersome long- 
 ^ hand script, as Avell as the old imperfect systems of short-hand. 
 
 In naming the new system, the author followed in the footsteps 
 of the authors of one hundred different English Stenographic sys- 
 tems, who have selected a special name to designate the most 
 5 prominent feature of their special system. A more extended expe- 
 gl rience and investigation of the past history of Stenography, has 
 g: impressed the injustice of such practice upon the mind of the 
 ' author. In truth, it would be rightly considered as utterly pre- 
 sumptuous, for any person who may have made additional discov- 
 eries in any of the established sciences or arts, such as Geology or 
 g Sculpture, to insist upon appropriating all the past labors of his 
 5 predecessors, in building up, under a new name, already established 
 sciences or arts. To aid openly or silently in perpetuating such in- 
 justice oil the rights, labors and honors of the glorious old pioneers 
 of English Stenography, is a thing the author can no longer aid or 
 countenance in any manner whatever. Hence, as per a previous 
 
 448438 
 
2 INTttODUCTION. 
 
 announcement, the Literary style of this system shall be known sim- 
 ply as Chirography (Kirografy), and the reporting style as Steno- 
 graphy, (Stenografy). 
 
 The author has endeavored to supply a long felt need in England 
 and America. The English speaking people have suffered patiently 
 for generations, because of a barbarous orthography. The time has 
 now arrived when the teachers, of both England and America, are 
 ripe for changes which shall go to the bottom and reform our sys- 
 tem of spelling in our Common Schools, High Schools, Academies 
 and Colleges. Tiro, the father of short-hand, who lived in the days 
 of Cicero, did not live to see it introduced in the public schools ; 
 but after his death it was further improved by Vipsanius, Philargy- 
 rus, Aquilla, and Seneca the philosopher, and introduced into 
 schools by the practical Romans, where for centuries it was taught 
 as a branch of study. Can our people afford to be less practical? 
 The success which has attended the introduction of Stenography 
 into the primary schools of France, in teaching a phonetic orthogra- 
 phy and enunciation and in teaching deaf-mutes, has been remarkable. 
 In England and America there has been marked success in the same 
 direction wherever the attempt has been made. Experience has 
 demonstrated that children can acquire the rudimentary elements 
 of an English education in from one to two years less time, even 
 where the clumsy expedient of diacritical marks arc resorted to for 
 teaching a phonetic orthography. 
 
 Teachers and parents will readily appreciate the great practical 
 value of using a Kirograflk or Literary style of writing, which is 
 founded upon a Stenographic alphabet for the purpose of teaching 
 children a phonetic orthography and correct enunciation. Its value 
 cannot be overestimated in aiding children to acquire a correct 
 pronunciation of their native language, and also foreign languages. 
 The most important point that can come before teachers and school 
 boards, will naturally be to arrive at an intelligent decision in 
 regard to the real merit, for this purpose, of the various systems of 
 short-hand. This question can be determined by a few simple tests. 
 The system of Kirografy employed for this purpose, should be en- 
 tirely devoid of all Stenographic contraction ; it should have simply 
 an alphabetical basis of a simple sign or letter, or each simple or 
 compound sound ; the vowels and consonants should be regularly 
 
INTRODUCTION. 6 
 
 interpolated or inserted in their natural order, as in the com- 
 mon script; the system should be devoid of shading except for 
 ornamental purposes, or it will be illegible when written with a 
 pencil, and the vowels or consonants should never be pointed in 
 laterally (inserted afterwards) as it is a damage to speed. The sys- 
 tem presented in this manual is the only one now in use which 
 fully meet these essential conditions in every particular. For a 
 more complete examination of the subject the reader is referred to 
 the following review of the leading Stenographic Alphabets of the 
 world. 
 
 STENOGRAPHIC ALPHABETS. 
 
 The Stenographic systems of the world may perhaps be classed, for 
 the sake of comparison, as resting on four entirely different funda- 
 mental ideas, principles, or lines of thought, viz : 
 
 1. The first line of thought, dates in origin, back to the begin- 
 ing of human drawings on sand or bark to represent objects of 
 nature. Its history is seen in the hieroglyphics of the ancients, 
 and its developement has given us the common long-hand script. 
 Another stage of developement began about 63 B. C. when Tiro 
 invented the first Stenography and made an approach toward the 
 geometrical basis for signs or letters, but still imitating the com- 
 mon script. Gabelsberger's German Stenography is perhaps a 
 leading exponent of the modern development of this principle. 
 2. The second line of thought centers on the idea of having mathe- 
 matical signs the same shape, but light and shaded for cognate 
 pairs of sounds. Pitman's English Phonography is the leading 
 exponent of this principle. 3. The third line of thought centers 
 on the idea of having the pairs of cognate signs the same mathemati- 
 cal shape, but long and short. Duploye's French system represents 
 this principle to a great extent. 4. The fourth competitive system 
 iu the World's market, centers upon the principle of having cognate 
 pairs of mathematical signs the same shape, but written in the 
 reversed direction. The new Stenography, of which the author is 
 the inventor, is believed to be the first system ever built upon this 
 alphabetic principle. We will briefly compare the three old founda- 
 tions for systems with the new innovation, as follows : 
 
 1. Taking Alfred Geiger's Stenography (an adaptation of Gabels- 
 
4 INTRODUCTION. 
 
 berber's Principles to the English language) as a good specimen of 
 the first alphabetic basis, it is found that the alphabet is con- 
 structed upon the basis of the common long-hand script with cir- 
 cles, hooks, dots, meandering lines, loops, slanting strokes and 
 waving thin lines. The new Stenography on the contrary has 
 mathematical simple lines, curves, loops, circles, strokes, hooks 
 and waving thin Jines. There is an absence of shading in both sys- 
 tems. The Gabelsberger alphabet has a number of coumpound 
 signs, but the new Stenography has none all being made with a 
 simple mathematical movement. Gabelberger's system is not 
 strictly phonetic the new Stenography is. 
 
 What appears as the strongest point in favor of Gabelsberger' s 
 system, is its capacity for adaptation and use as a Universal Euro- 
 pean Stenography, to a certain extent at least. This advantage may 
 be secured in that system by conformity to the foundation upon 
 which it is built, viz : by writing similar words in the different 
 European languages with the same outline, as far as it is possible 
 to do so on account of their different orthographies and variable 
 prefix and affix terminations. This desirable advantage has been 
 entirely overlooked and consequently unprovided for in Mr. Pit- 
 man's Phonography and all is reduplications and differentiated re- 
 duplications in America they can never aspire to the position of a 
 Universal system for Europe or the Aryan family of languages. 
 The new Stenography (the reporting style) on the contrary has 
 been developed with this view in the mind of its inventor ; conse- 
 quently the principle has been introduced of writing the prefixes 
 and affixes of compound words with uniform signs according to 
 their meaning. The reader will perceive at a glance, that if the pre- 
 fixes and affixes of the whole Aryan family of languages are written 
 with uniform Stenographic signs according to their meaning, there 
 will be secured at once a nearer approach to a Universal European 
 system of short-hand than even Gabelsberger' s system ever dreamed 
 of. In fact the languages of the whole world (those which have 
 advanced beyond the primitive or monosyllabic period of develop- 
 ment) can be written with, at least, uniform prefixes and affixes if 
 we adopt this new principle of writing them by their meaning. 
 This new principle is strictly in harmony with language building, 
 and in fact, is so extremely simple that it is astonishing to think 
 
INTRODUCTION. O 
 
 that all previous Stenographies have entirely overlooked it. 
 It is "as simple and easy as nature itself." The old Steno- 
 graphies generally use arbitrary signs without regard to either the 
 meaning or sound of prefixes and affixes. 
 
 PHONOGRAPHY. 
 
 2. The second alphabetical principle is represented by Mr. Pit- 
 man's Phonography. This system is founded upon the idea of mak- 
 ing the cognate signs the same shape, but using thin and thick 
 lines for the distinction of cognate sounds. It also disconnects the 
 vowels by inserting them afterwards by using light or heavy dots 
 or dashes. 
 
 Willis, in 1602, introduced the phonetic principle in Stenography 
 by omitting the c from from his alphabet. In 1635 Maud left the q 
 out of his alphabet. Lewis left all silent letters out of his system. 
 Tiffin in 1750 published the first phonetic system of short-hand. 
 Roe in 1802 published a phonetic system. Hardiug's modification 
 of Taylor's system was the first system to introduce the principle 
 of shading it was used first to distinguish v from/. Mr. Radclifle 
 of Plymouth introduced the idea of leaving out vowels in writing. 
 Taylor introduced the idea of writing vowels by a dot in any posi- 
 tion. Harding introduced about fifty years ago, the principle of 
 writing a, e, i, by a dot for each, in three positions Gurney also 
 wrote five vowels by three dots classing a and e together and o 
 u together. Mr. Pitman gathered up those points of his predeces- 
 sors and brought out his Phonography in 1837. An examination of 
 his system reveals the fact that he borrowed outright the signs for 
 t, m, and n from some of the older systems. 
 
 Mr. Pitman seemed to gather what appeared to him the good 
 material from the older systems and systematized it into one of his 
 own. All honor is due him for this and for his long persevering 
 labors in this field ; but we must not forget that the verdict of pos- 
 terity will soon correct the extravagant claims of some of his well 
 meaning admirers. It is now beginning to be realized by progres- 
 sive Stenographers in both England and America, that Mr. Pitman 
 utterly failed to make the best possible arrangement of the material 
 in his possession. It is a remarkable fact that in Mr. Pitman's 
 Phonography and all its reduplications up or down, to Mr. Linds- 
 
6 INTRODUCTION. 
 
 ley's differentiated reduplication of Pitman's alphabetical principle 
 (which he calls Tachygraphy), the fundamental idea of their alpha- 
 bet is violated in all their reporting styles. It is a common thing 
 to strike signs for prefixes and affixes and other purposes, in the 
 two opposing directions, for the sake of good angles in the join- 
 ings. As their alphabet is based upon the idea of having the same 
 shape for cognate signs, this practice is a concession to the weak- 
 ness of their alphabetical principle. It produces inharmony be- 
 tween their alphabets and their reporting styles, and is in direct 
 conflict with the vital foundation principle of their systems. Such 
 a fact is a positive demonstration that their alphabetic basis is 
 wrong, because they had to change it when they advanced to their 
 reporting styles. The same objection is found in the Duploye 
 French principle and also in the German principle. 
 
 The inventor of the new Stenography saw that the old systems 
 were self-coudemed, and unscientific in their very foundations, and 
 developed the new Stenography upon the idea of having the alpha- 
 betical cognate sounds written the same shape, but in reversed 
 directions, thus securing complete harmony between the funda- 
 mental principle of the alphabet and the actual practice in the 
 reporting style. It is impossible to remedy this defect in the old 
 systems only change to the new principle will rectify such incon- 
 sistencies. Shading is universally acknowledged as impracticable 
 in pencil reporting and injurious to speed in pen reporting. 
 
 DUPLOYE'S STENOGRAPHY. 
 
 3. It is unnecessary to consider the third alphabetical principle 
 as seen in Duploye's French system, for the same objection applies 
 to it as to Mr. Pitman's system. These objections will finally rule 
 any system out of the field in the contest for "survival of the 
 fittest." 
 
 THE NEW STENOGRAPHY. 
 
 4. The fourth alphabetical principle of writing cognate sounds 
 the same shape but struck in the reversed direction, is seen to be 
 an actual necessity in practice in the reporting styles of other sys- 
 tems, and what is established as sound practice for a reporting 
 style, must be as sound when applied as a fundamental principle 
 for an alphabet. Other systems admit the superiority of the prin- 
 
INTRODUCTION. 7 
 
 ciple by using it in actual practice. 1. Shading is not employed 
 in the new Stenography, which is a strong point in its favor. 
 2. As now improved, the circles, hooks, loops, etc., are all read in 
 the order of writing them thus making all the principles of con- 
 traction as " simple as nature itself." The old systems never 
 dreamed of realizing such order. 3 The Alphabet introduces the 
 principle of writing the short sounds with forward motion, and the 
 long cognate sounds with backward motion. The consonantal signs 
 have been classed so that the Guttural, Palatal, Dento-palatal and 
 Labial sounds, have signs struck in uniform directions for each 
 class. These points are not found in old systems. 4. The Liter- 
 ary style is the first Kirogratik system in the world, that has a Sten- 
 ographic alphabet, from which is developed a system of writing 
 without any contractions whatever. 5. Another feature is, that the 
 improved Literary style is now written by joining vowel and conso- 
 nant signs together in words in the order of reading them no 
 vowels are inserted afterwards, as in other systems. The Report- 
 ing Style writes words of one syllable without omission of vowels, 
 when necessary- The liule of Position is also employed to express 
 cognate pairs of sounds without the necessity of writing them. 
 Tachygraphy, to a certain extent, also returns to this practice of the 
 old Stenographies, but throws away the valuable material of Positions 
 for expressing vowel sounds ; while Phonography expresses vowel 
 sounds in the same position, which have no relation, or are not sug- 
 gestive, thereby, making it difficult for the Reporter to read prompt- 
 ly his notes. 6. All the principles of contraction (except shading) 
 found in English systems, and what is valuable in European systems, 
 besides original principles never found in any previous system, are 
 introduced in the Reporting Styles thus, making a truly Steno- 
 graphic system. 7. The new principle of contraction introduced 
 in this system of writing prefixes and affixes by their meaning, 
 points out the way of securing an International system of Stenog- 
 raphy, which shall be in harmony with the fundamental principles 
 of the Science of Language. 
 
 ILLEGIBILITY OF SHADED ALPHABETS. 
 
 The illegibility of shaded alphabets, is one of the many draw- 
 backs which render them unfit for a Literary Style of penmanship. 
 
8 INTRODUCTION. 
 
 The following Phrases, when written rapidly in a shaded alphabet 
 with a pencil, forcibly iliustrate this fact, as they may be read for 
 two, three or more meanings, viz : 
 
 I got it on " tick " or I got it on Dick : let us have peace or let us 
 have peas : an old time man or an old dime man : he caned his wife 
 or he gained his wife : wait for me or wade for me : ask for his Jane 
 or ask for his chain : a poor rack or a poor rag : good bye sir or got 
 pie sir or cod pie sir : etc. 
 
 ACKNOWLEDGEMENTS. 
 
 The author desires to return his heartfelt thanks to those who 
 came forward so nobly in the hour of weakness of the new system. 
 Mr. E. C. Hoyt, author of the most perfect system of Phonography, 
 besides being a first-class Law Reporter in the Courts of Mich., 
 is a noble example of firmness and backbone among Stenographic 
 authors towards new systems. The comprehensive, progressive, 
 unflinching men with opinions of their own, who abandoned the 
 old systems and stood bravely through thick and thin for the new 
 Stenografy, have the everlasting gratitude of the author. They all 
 have rendered valuable aid in various ways. Many of them possess 
 talents of a very high order which enables them to thoroughly 
 appreciate a new system which has merit. Amongst this number 
 are D. N. Waterbury M. D., Dr. Wm. J. Vogt, John Shock P. M., 
 Daniel Guerin, Wm. C. Albro, Atty., Wm. U. Dame, M. L. Free- 
 man, F. M. Bowell, E. B. Parke, Prof. W. C. Stewart and others. 
 
 The author acknowledges his indebtedness to the labors of the 
 ancient pioneers in Chirography and Stenography, as embodied in 
 the common Roman Script and Tironian Notes and their differen- 
 tiated applications, as seen in Gabelsbergers Principles and Pitmans 
 Phonography. To Mr. Liudsley's differentiated reduplication of the 
 Pitman principle the author looks for paternal affection, because he 
 remembers with pleasure, that he was taught the rudiments of 
 short-hand from Mr. Lindsley's own pen. While the new system 
 is the progressive offspring of Tachygraphy, it is far more, because 
 it reaches out and claims for its paternity the whole Stenographic 
 World of thought past and present. 
 
THE KIROGRAFIK TEECHER. 
 
 LESSON I. 
 
 1. "Write the signs and letters for the follow- 
 ing vowel sounds on the blackboard. 
 
 Ee I Ay Ai E A Eu U Ah Aa 
 
 The names and sounds of these signs and let- 
 ters are the same. They are heard in the words 
 eel, ill, ail, air, ell, at, her, up, are, ask. 
 
 a. For the purpose of distinguishing between the Kiro- 
 grafik characters and the corresponding letters in print and 
 script, the former are called signs and the latter letters. 
 
 b. These signs are arranged in cognate pairs, long or 
 voiced, and short or voiceless. 
 
 c. It will be observed, that the general principle govern- 
 ing in the assignment of the characters in so-called cognate 
 pairs, is that of having the signs for the long and short sounds 
 the same shape, but struck in different directions. Signs 
 formed of a straight line are exceptions to the rule. 
 
 REM. 1. The Phonetic method of teaching is adopted, as being 
 most in harmony with the simple indications of nature. The be- 
 
10 THE KIROGRAFIK TEECHER. 
 
 ginner should observe a single sign at one time, and then learn its 
 name, which, in all cases, is the sound it represents. If the teacher 
 prefers the word method of instruction it can be used, either with or 
 without the Phonic method. The absurdity of teaching children to 
 recognize even a small proportion of ordinary words, before they 
 can analyze their phonetic elements, is apparent. Less than fifty 
 Phonic elements mastered, give a key that will enable any child to 
 recognize any ordinary word in print, after a short period of drill ; 
 but it would require many hundreds, or even thousands of word hi- 
 erogliphics to express the ordinary talk of children. Such a tax on 
 the child's memory is unreasonable; it may be a good way to master 
 the present barbarous orthography, but it is out of place in any 
 natural method. Phonic analysis first, then word reading without 
 analysis is nature's progressive method. The present unphonetic 
 orthography can best be mastered by combining it- with Phonic writ- 
 ing- 
 
 REM. 2. After the student or class has learned the names, 
 sounds, forms and directions of these signs, they should then put 
 them on paper with pen and ink. It is best for the teacher to dictate 
 the lesson, as the pupil becomes familiar with the sounds in this way. 
 
 11 KM. 3. A pen is the best instrument to use in writing for 
 new beginners. The pen should be held between the first and second 
 fingers and steadied with the thumb, as it is when held in the usual 
 way. It should also be held so that the pen-holder and elbow point 
 
THE LITERARY STYLE. 
 
 11 
 
 away from the body. Both sides of the pen-points should press 
 equally upon the paper. A smooth motion is secured, by adroitly 
 turning the pen while tracing the curved signs. The preceding cut 
 illustrates the manner of holding the pen when writing the Kiro- 
 grutik signs, although, for writing common script, the usual method 
 is best. The practical experience of tho teacher will be the best 
 guide in mastering further details on this point. 
 
 RE.M. 4. The following method of drill will be found to serve 
 as a guide to the teacher's dictation exercises. The pupil may 
 practice privately on these exercises, and they should be repeated 
 until thoroughly mastered. The aptness of the pupil will deter- 
 mine the length of time to be spent on each exercise. 
 
 DRILL NO. 1. 
 
 COO ooo 
 
 VVV \\\ VVv 
 
 v vv-'o-o. 
 
 KKM. o. The writing exercises should be written on ruled 
 paper, at first, the pupil leaving every other line vacant, for correc- 
 tions by the teacher, with ink of a different color. The pupil should 
 then go over the exercise and correct errors, then re-copy it as many 
 times as is necessary to secure a fair degree of speed and accuracy. 
 Writing from dictation should begin with the first lesson, and as 
 every new principle and new combination of signs is mastered, it 
 should be turned into matter for drills. Only by persevering atten- 
 tion to the minute details of both the elements and their subsequent 
 practice, can the highest degree of success be attained. The teacher 
 may safely leave the dictation to an assistant, or to one of the 
 members of the class, after the first exercise, but invariably the 
 
12 TUP] KIROGRAFIK TEECIIER. 
 
 exercises should be corrected by the teacher himself, or herself. A 
 good plan, is, for the class, or a portion of it, to meet together and 
 take turns at reading the exercises. When not convenient to meet 
 in this way, students should secure the services of a friend to read 
 the exercises to them for practice. It is also a good plan for stu- 
 dents to pronounce aloud, or mentally, 'the name or sound of each 
 sign while tracing it upon the paper. Master only six or eight 
 signs in this way at one time. When the alphabet is thoroughly 
 learned so that the sign for, and power of each sound comes in- 
 stantly to the mind, commence and go through each succeeding 
 exercise very carefully, tracing the lines as though drawing with the 
 pen ; this should be done slowly and accurately. 
 
 2. Write the signs and letters for the follow- 
 ing- vowels and dipthongs on the blackboard. 
 
 Au O Oh Oe Oo Uu le Oi On In 
 
 The names and sounds of these signs and let- 
 ters are the same. They are heard in the words 
 awe, on, owe, obey, ooze, put, eye, boy, how, hew 
 and unite. A double uu is used for the sound in 
 put, and a double oo for its cognate in ooze. lu 
 is used to represent the dipthong in hew and 
 unite. 
 
 d. The proper size to make the vowel signs in ordinary 
 writing is as follows : The circle for long En should be one 
 thirty-second, and for short 1 one sixty-fourth of an inch in 
 diameter ; the semicircles for long Ay and short Ai, and for E 
 and A should be made one thirty-second of an inch in diame- 
 ter ; make the sign for Eu, short U, long le, Oi and Ou one 
 
THE LITERARY STYLE. 13 
 
 sixteenth of an inch in diameter ; and make the curved lines 
 for Au^ 0/t, Oe, O, Oo, Uv and lu about three thirty-seconds 
 of an inch in diameter or length. 
 
 DEILL NO. 2. 
 
 REM. 6. It is proper to give a brief presentation of the 
 reasons why the vowel scale has been classified as above. Although 
 it is not intended to give a treatise on the pronunciation of the lan- 
 guage that is beyond the scope of this book yet it is not our 
 purpose to avoid the issues which the Phonetic Science of the future 
 must grapple with. While the author's individual views are given, 
 they are not intended to interfere with the practice of teachers who 
 differ in opinion. Science alone can settle it. 
 
 REM. 7. The division of the alphabetical sounds in the lan- 
 guage, into different classes, has been in accordance with their or- 
 ganic formation. The liugualized vowels Ee, I, Ay, Ai, E, A, Eu, U, 
 Ah and Aa, are classed as cognate pairs. A dipthougal glide is com- 
 bined with the short ay element in ai before r. The organic forma- 
 tion of vowels of this class is similar all being produced through 
 a flattened or horizontal slit mouth aperture. The labialized vow- 
 els Au, 0, Oh, Oe, Oo, and Uu, are classed as cognate pairs. The 
 organic formation of this class is similar all being produced 
 through a rounded mouth aperture. The extremes of each scale, 
 Ah and Au, Ee and Oo, approach closely in organic character. The 
 dipthongs le, Oi, Ou, and lu, are compound unions of simple ele- 
 ments. Long ie is a union of ah and ee, oi of au and i, ou of ah 
 
14 THE KIROGRAFIK TEECHER. 
 
 and tm or uu ; / is a union of a slight y or i element, with an oo or 
 uu element, as in hnr, mute., union. 
 
 HEM. 8. The signs are classed together in pairs, formed by the 
 same organs, and representing as closely as possible, cognate, 
 voiced and voiceless sounds. The classification of the vowels is 
 somewhat different from the old system, but it is believed to be 
 much better and approaching nearer scientific truthfulness. The 
 greatest point of divergence is in classing e and a, and eu in her and 
 , as cognate pairs. The introduction of n among the lingualixed 
 vowels, (instead of leaving it among the labialized vowels as in 
 other systems) is, perhaps, the greatest innovation. It can be readi- 
 ly determined by a few simple experiments, that this change is in 
 accordance with its organic formation. Let the teacher or student 
 stand before a mirror, and observe carefully the organs of vocal 
 utterance : then sound the aa, in ask, slowly, followed by u in us, 
 and he will mid, that the position of the vocal organs are organi- 
 cally identical. The same experiment can be repeated, by placing 
 the aa, in ask, before k, with a like result. Then, perform the same 
 experiments with the labialized vowels au, or o, and it will readily 
 be seen by a series of such experiments, that it is a lingualizcd 
 vowel in organic formation. A series of similar experiments with 
 e and , will result in finding that they are more closely related 
 with each other, (although not perfectly cognate) than with the 
 long ah or ee , or, indeed, any of the other vowels. The truth of the 
 matter is found, in the fact, that many of the so-called cognate pairs 
 of vowel sounds, are really not perfect cognate pairs. Prof. March, 
 President of the Spelling Reform Association, recognized this diffi- 
 culty, in his address before the International Philological Conven- 
 tion at Philadelphia in 1876, when he said : 
 
 " The e of met is different in quality from its long as heard in may, 
 the t of fit from its long as heard in fee, ; so that it is doubtful 
 whether one character will do for both, whether we must not have 
 different characters for each short and long, after the manner of old 
 time-observing tongues. " 
 
 Again, a quotation in point is given, taken from the article on the 
 " Principles of Pronunciation of Webster's Pictorial Unabridged 
 Dictionary. " In speaking of the character of the sound e in met, 
 it is said : 
 
THE LITERARY STYLE. 15 
 
 " This is not a short sound of the long ee. It has usually been 
 considered as the shut or extreme short sound of ay in fate ; but 
 most orthoepists at the present day, while allowing it to be a nearly 
 related sound, regard it as distinct, being slightly more open than 
 the radical part of ay, and lacking the vanish : bothrare intermediate 
 between ak and ft:, the tongue not being so much depressed as for 
 the former, nor raised so high toward the palate as for the latter." 
 
 Again, Webster says of the short a in add : 
 
 " With respect to its position in the scale of sounds, it is a palatal 
 vowel, intermediate between ah and ee, the tongue being raised 
 higher than for a/i,.aud not so high as for ee. " 
 
 It will be observed that Webster classes both e and a as inter- 
 mediate between ah and ee. Taking the same view of their organic 
 formation, they have, in consequence, been classed as a pair, al- 
 though not perfectly cognate. 
 
 RKM. 9. The vowel sounds in air, et, at, urge, ut, ot, occur only 
 before a consonant. The o has two sounds as found in the words 
 or, nor, and on, but such minute varieties of sound will confuse 
 many ; hence, for a practical alphabet, it is thought best to avoid 
 making too many signs. The vowel sound before r in monosyl- 
 lables should be written with Au in such words as or, nor, form, 
 lord, north; and also in such accented syllables as for'mer, orchard, 
 abhor 1 , but an accented syllable followed by a vowel should have 
 the o sign, as in for'tiyn, or'ange, tor'rid. On the contrary the 
 short vowel sounds in ill, ask, obey and put, occur both before and 
 after single consonants. In such words as pity and kitty the i is 
 more abrupt and explosive than the y, but in the word ability only 
 the first i is abrupt, while the final t and y are softer. It would be 
 impractical to represent such minute distinctions in a common Kiro- 
 grafy intended for the masses. Aa is found in idea, phenomena and 
 Judea ; oe in octavo, calico, studio and vertigo ; and uu in the preposi- 
 tion to when it is unaccented. 
 
LESSON II. 
 
 3. Write the signs and letters for the follow- 
 ing Labial consonants on the blackboard: 
 
 W7i w f v p b m 
 
 The names and sounds of these signs and let- 
 ters are : Whi, Wi, Fi, Vi, Pi, Bi, Mi. They 
 represent the sounds of these signs and letters 
 as heard in the words whip, wit and twit, fifth, 
 vivify, pip, Mb, mimic. 
 
 a. It will be observed that these labial or lip consonants 
 are all written inclined to the right, or slanting upward at an 
 angle of forty-five degrees. The principle observed in the as- 
 signment of the signs to this class of sounds, is that of strik- 
 ing all the labial consonants in the same general direction. 
 The signs are arranged in pairs, long and short, with the ex- 
 ception of m which has no recognized cognate sound. 
 
 6. These labial consonant signs are generally written with 
 the upward stroke. W7ii and Wi are semi-circles divided at 
 
THE LITERARY STYLE. 17 
 
 an angle of forty-five degrees to the right ; their diameter is 
 about three thirty seconds of an inch. The others are made 
 five thirty seconds of an inch in diameter or length. Pi and 
 Bi are quarter circles, and Fi and 17 are waved lines. 
 
 RE.M. 10. The class should drill on the consonant signs as des- 
 cribed iu Lesson II. As the consonantal sounds cannot be sounded 
 alone, the short i vowel has been placed either before or after 
 (generally after) the sounds, such as Bi, Pi, etc. The class should 
 name the signs by pronouncing the different consonants iu com- 
 bination with the short i sound. When it becomes necessary to dis- 
 tinguish between initial and flual consonants the i element is placed 
 before the final and after the initial signs. Ip, Ib, Ik, etc., denote 
 the names and sounds of p, b, and k, when final. Initial and final 
 consonant dipthongal combinations are designated in the same 
 manner. Tri, Dri, Spri, are the names of initial combinations, but, 
 Itr, Idr, Ispr, are the names of the same combinations when final. 
 The initial combinations are more perfectly dipthongal than the 
 final, and for practical uses this difference is recognized by giving a 
 variation of names for the same consonant combination. 
 
 DRILL NO. 3. 
 
 4. Write the signs and letters for the follow- 
 ing Dento-palatal consonants on the blackboard 
 
 y ^u 
 
 s thi ith d t 
 
 n 
 
18 THE KIROGRAFIK TEECHER. 
 
 The names and sounds of these signs and let- 
 ters are: Yi, lu, Zi, Si, Tlii, Itk, Di, Ti, Ni 
 They represent the sounds of these signs and 
 letters as heard in the words Yi and minion, 
 unite, iz, sis, the, oath, did, tit, ninny. 
 
 c. This class of dcnto-palatal sounds arc formed with the 
 organs of the front mouth and palate. They have signs given 
 them which are struck near the horizontal direction, because 
 they occur more frequently than any other class of sounds in 
 the language. The Kirografik signs, in many words, would 
 look like Oriental perpendicular script, if this class of sounds 
 had perpendicular signs given them. Lineality of writing is 
 attained in a great measure in this waj r . 
 
 d. Yi and lu arc semi-circles cut horizontally, and Zi and 
 Si oval or egg loops, but the Zi loop is left with a slight 
 opening on either end. The diameter of these signs should 
 be three thirty seconds of an inch the latter two, less in the 
 short diameter. Thi and Ith are waved lines, Di and Ti 
 quarter circles, and Ni a horizontal straight line ; the diame- 
 ter or length of these signs are five thirty seconds of an inch 
 in ordinary writing. Students may make all the signs larger 
 or smaller, provided the general proportions arc maintained 
 throughout. The Lessons near the close of the book show 
 the actual size and proportions of signs as used by advanced 
 writers. Full length signs, such as Hi, Ti, Ki, etc., are re- 
 duced in size to about one eighth of an inch in length. The ne- 
 cessities of different temperaments and styles of hand-writing 
 preclude the idea of having fixed limits to the size of signs. 
 To preserve the relative proportions between the sizes of 
 signs is the only possible unvarying rule that can be given for 
 all purposes of writing. 
 
THE LITERARY STYLE. 
 
 DRILL NO. 4. 
 
 19 
 
 HEM. 11. The /?< dipthongal sign has been introduced in both 
 the vowel and consonant charts, because it is really a union of a 
 slight y or i and the oo or uu elements. 
 
 5. 
 
 Write the signs and letters for the follow- 
 
 ing Palatal consonants on the blackboard: 
 
 zh sh il li j ch li 
 
 The names and sounds of these signs and let- 
 ters are: Zhi, Shi, 11, Li, Ji, Chi, Hi. They 
 represent the sounds of these signs and letters 
 as heard in the words azure, flash, ill, late, judge, 
 church, hit. 
 
 e. This class of palatal sounds arc formed with the or- 
 gans of the middle month and palate ; Hi is an exception, as 
 it conforms to the configuration of the organs in any class of 
 sounds with which it is pronounced. The Palatals are struck 
 in a perpendicular direction. 
 
 /. The signs for these letters are made the following size, 
 viz : Zhi and Shi three thirty seconds of an inch in diameter ; 
 H, Li, Ji, Chi, and Hi, five thirty seconds of an inch in 
 length. 
 
20 
 
 THE KIROGRAFIK TEECHER. 
 
 DRILL NO. ;>. 
 
 HEM. 12. The sign for 11 is made interchangeable with Li in or- 
 der to have better angles in joining signs into words, as will bo seen 
 in the succeeding Lesson on Joinings. The Ji and Chi sounds are 
 usually considered as compound elements, corresponding nearly to 
 a union of d and zh, and t and sh. In a practical alphabet it is bet- 
 ter to assign to them distinct signs. 
 
 6. 
 
 Write the signs and letters for the follow- 
 
 ing Guttural consonants on the blackboard : 
 
 och ich g 
 
 k 
 
 ng 
 
 The names and sounds of these signs and let- 
 ters are : Ir, Hi, Och, Ich, Gi, Ki, Ing. They 
 represent the sounds of these signs aud letters 
 as heard in the words fir, rich, loch, Dach, gig, 
 kick, ing and ink. 
 
 g. This class of guttural sounds are formed with the 
 organs of the back mouth and palate. The initial Si 
 
THE LITERARY STYLE. 21 
 
 and final Ir and also Och and Ich signs, arc made interchange- 
 able in order to secure good angles in their joinings -with other 
 signs, as will be seen in a succeeding Lesson. 
 
 h. The signs for these letters are made the following size, 
 viz : Ir and Hi three thirty seconds of an inch in diameter ; 
 Oc/t, Ich, Gi, Ki and Ing five thirty seconds of an inch in 
 length. 
 
 HEM. 13. It will be observed that the Labial, Dcnto-palatal, 
 Palatal and Guttural classes of consonants, have signs which are 
 struck in a general uniform direction, for each class of sounds. No 
 classification of these sounds, however, can be made without seem- 
 ing irregularities such as the two Ir and Hi sounds. Some It's 
 are formed with the root of the tongue and hard palate ; others, 
 with the tip of the tongue reversed and palate ; again, some are 
 strongly trilled, and others slightly or not at all. 
 
 KEM. 14. Diagrams and Mnemonic aids, to the memory of pu- 
 pils who need them, are often of great service. The teacher will 
 find the following appropriate and suggestive for this purpose : 
 
 REM. 15. Let the pupil point out the geometric outlines of each 
 sign, in the above circles, while naming it. Th-i alphabetical signs 
 are all formed on geometrical principles, and drill of this kind will 
 not only teach pupils the first elements of dots, lines, circles, 
 squares, right angles, acute and obtuse angles, but will also prepare 
 them for taking lessons in mechanical and artistic drawing. 
 
 REM. 16. To remember the strokes for t and d, note that the t 
 sign is the T-op quarter circle ; and d is the D-own quarter circle in 
 a circle. The arch 9 and the arch 10 shows that the strokes for p-k, 
 and g-b, form the up and down arches. The initial Ei turns to the 
 r-ight, and the final Ir turns to the left as in the word are. The line 
 7 and 8, divides the circle for the R signs. The line 9 and 10, di- 
 
22 
 
 THE KIROGRAFIK TEECHER. 
 
 vides the circle for Zlii and Shi. In this way the teacher can point 
 out all, the signs, and make it interesting and instructive to the 
 class. 
 
 REM. 17. The teacher can explain the analogy between the dif- 
 ferent classes of sounds and their signs, by drawing a diagram sim- 
 ilar to the face and head diagram in the engraving. In addition to 
 the classification already explained to the pupil, it can be more 
 strongly impressed upon the mind in the following manner : The 
 classification of the consonants are illustrated, by showing that the 
 sounds formed by the same organs are written in the same general 
 direction, thus : The Labials Whi, Wi, Fi, Vi, Pi, Bi, and Mi, are 
 struck upwards at an angle of forty-five degrees ; the Dento-palat- 
 als Yi, lu, Zi, Si, Thi, Ith, De, Ti, and Ni arc struck in a general 
 horizontal direction, to secure Iiucalit5 r , as they arc the most fre- 
 quent occuring class of consonants ; the Palatals Zhi, Shi, //, Li, 
 Ji, Chi and also Hi, arc written in a perpendicular direction ; and 
 the Gutturals Ir, Ri, Och, Ich, Gi, Ki, and Ing, are written down- 
 wards, with an angle of forty-five degrees to the right. 
 
 DRILL NO. 6. 
 
LESSON III. 
 
 FORWARD AND BACKWARD MOTION. 
 
 7. In order to secure uniformity as far as pos- 
 sible, the principle has been introduced of writ- 
 ing the voiced or long signs with backward 
 motion, and the voiceless or short signs with 
 forward motion. The diagrams numbered 1, 2, 
 aud 3, illustrate forward motion, and the dia- 
 grams 4, 5, and 6, illustrate backward motion, as 
 follows : Put the diagrams on the blackboard : 
 
 Forward Motion. Backward Motion. 
 
 RULES IN RHYME. 
 
 1. When the pen moves as the hands of a clock, 
 Or as driving a screw into a block, 
 
 We say forward in Kirograflk hand, 
 The reverse is backward all understand. 
 
24 THE KIROGRAFIK TEECHEB. 
 
 2. To write the alphabet alone, all should know 
 How the pen for every sign should go ; 
 
 Just trace all the voiced signs with backward motion, 
 Forward for 'voiceless signs without exception. 
 
 a. The teacher may now have the class write from dicta- 
 tion the voiced or long signs of the alphabet with backward 
 motion, as follows : Teacher reads. Ee, Ay, E, Eu, Ah, 
 An, Oh, Oo, le, Oi, Ou, Wi, Vi, Bi, Mi, Ti, Zi, Thi, Di, 
 Ni, Zhi, 11, Ji, Hi, Ir, Och, Qi, Ing. 
 
 The pupils write down as the teacher dictates, and then 
 read the exercises as 
 
 DRILL NO. 7. 
 
 b. The teacher may now dictate to the class the short 
 signs, to be written down with forward motion. Teacher 
 reads. /, At, A, U, Aa, 0, Oe, Uu, lu, WJii, Fi, Pi, Si, 
 Ith, Ti, Li, Chi, Ri, Icli, Ki. (Repeated). 
 
 The pupils write down the above as the teacher dictates, 
 and then read it as 
 
 DRILL NO. 8. 
 
 c. The teacher may dictate the whole alphabet in the fol- 
 lowing order, and the class may write it down and then re- 
 
THE LITERARY STYLE. 2a 
 
 read it. It will be noticed that the alphabet is arranged in 
 so-called cognate pairs, with the classes following each other 
 in regular order. Teacher reads. Ee, I, Ay, Ai, E, A, Eu, 
 U, Ah, Aa, An, O, Oh, Oe, G>o, Uu, le, Oi, On, Wlii, Wi, 
 Fi, Vi, Pi, Bi, Mi, Yi, lu, Z\. Si, Thi, Ith, Di, Ti, Ni, 
 Zhi. Shi, II, Li, Ji, Chi, Hi. Ir. K>. Och. lch< Gi, /it, Ing. 
 The class writes down the above as the teacher dictates, and 
 then re-reads ;is 
 
 DRILL A'O. 9. 
 
 KKM. 18. Pupils should practice on the alphabet ten minutes 
 each day, until they have gained a fair degree of accuracy and speed. 
 The teacher should direct them to practice on large circles and 
 scrolls, to give free and graceful motion to the hand. The teacher 
 should also correct, minutely, the faults of pupils in writing. 
 Pupils should acquire speed enough to write the alphabet as given 
 in Drill No. 9 in from fifteen to twenty seconds, at least, before 
 proceeding with new exercises it is not sufficient to write fast, but 
 it must be written accurately. 
 
 REM. 19. The signs in the and thin, wit and whit, azure and sure 
 are really cognate sounds, and not compound sounds as in the ordi- 
 nary alphabet ; they are given simple signs accordingly. 
 
 REM. 20. The Lessons are not to be taken as samples of how 
 much a pupil should learn at one time, as they are so arranged that 
 they may be divided into smaller lessons, or two may be mastered 
 at a time in some cases. The main point to be gained, is thorough- 
 ness ; have each pupil in the class comprehend fully the minutest 
 details. 
 
 REM. 21. The Continuous Nasals are Ing, Hi, Ne, and Mi. The 
 cognate of Ing is n before k in in*, and it is written with the Ing 
 
26 THE KJROGRAFIK TEECHER. 
 
 sign because k always follows it and thus prevents confusion. (The 
 cognate short sounds of Ing, Hi, Ni and Mi are written with half 
 length signs in the extended Alphabet used for Foreign Languages. 
 These short length signs may be used in English if preferred their 
 names are, Ink, Hie, Nie and Mie. Ink is found in such words as 
 ink, brink, bank and sink : Hie in 'and the pronunciation of hand by 
 some people, as also in the aspirate h of some Foreign Languages : 
 Nie is found in such words as hint and mint ; and Jfie in such words 
 as lamp and limp. But these fine distinctions are rather impracti- 
 cable for use in a general alphabet for the mass of English people. 
 
 RKM. 22. The explosives Gi, Ki, Ji, Chi, Di, Ti, Bi and Pi, are 
 classed together because of their abrupt character. 
 
 The Continuous Dividers are //, Li, Thi, Ith, Vi and Fi. They 
 are distinguished in their organic formation by the fact that the 
 tongue or lower lip divides the mouth in two. For the L the tip of 
 the tongue divides the mouth by coming in close contact with the 
 palate; for the Th the tip of the tongue divides the mouth by 
 touching or projecting between the teeth; and for the Fand .Fthc 
 lower lip divides the mouth by pressing against the upper front 
 teeth. 
 
 The Continuous Sibilants arc Zhi, Shi, Zi and Si, and arc dis- 
 tinguished by their hissing character. The Coalcsceuts are Wi, Whi 
 and Yi, called so, because of their readiness to unite with vowel 
 sounds. The initial Ki is called trilled because of its rough trilled 
 character; it approaches near the Zi in its organic character, and 
 the final or smooth Ir is palatal. 
 
 REM. 23. Common sense and practicality have been duly con- 
 sidered in assigning the signs to the vowels. Long EC. and short 
 /are very common final vowels, and they have given to them the 
 easiest made and joined vowel signs. The two small circles in 
 such words as infinity, ability, similarity, city, depletinyly, defeatingly, 
 and fiecing, illustrate how difficult it would be to write them with 
 the sigu for Ah or Au, which arc very rarely used, as final sounds, 
 in English. 
 
LESSON IV. 
 
 JOINED VOWELS AND CONSONANTS. 
 
 8. If the Right hand be held up, with the 
 first finger bent, forward motion will be seen, as 
 in diagram 1 ; and if the Left hand be held up in 
 the same way, backward motion will be seen, as 
 in diagram 4. 
 
 Joined Vowels and Consonants. 
 
 a. As a general Rule the vowel signs for Ay, Ai, E and A 
 are joined to consonants, as in diagrams 3 and 6 ; Ay and Ai 
 join to perpendicular signs, E and A to horizontal and slant- 
 ing signs as hooks. 
 
 6. Initial Hi and final Ir are made interchangeable when 
 necessary to secure good outlines for words ; they are also 
 joined by a large initial or final hook, to other signs, as seen in 
 diagrams 2 and 5. When a good angle can not be secured by 
 the large initial or final hook, then either Ir or Ri are used as 
 may secure the best angle acute angles are considered the best. 
 
28 THE KIROGRAF1K TEECHER, 
 
 c. The consonantal signs are generally written in one 
 direction, for the purpose of securing uniformity ; the 
 Labials are struck from the line of writing, upward, at an an- 
 gle of forty -five degrees ; the Dento-palatals are struck on the 
 line of writing from left to right in a horizontal direction ; the 
 Palatals are struck downward in a perpendicular direction, so 
 as to rest on the line of writing ; and the Gutturals are 
 struck downward at an angle of forty -five degrees to the 
 right, so as to rest on the line of writing. When more acute 
 angles can be secured in word outlines, consonant signs are 
 struck in two directions. 
 
 d. The vowel signs are struck in two directions, (with a 
 few exceptions,) choosing that which secures the most acute 
 angles. This rule applies to consonant signs in some cases. 
 
 RULES IN RHYME. 
 
 3. 'Twill give better angles in the short-hand school, 
 To Avrite Consonants two ways by rule ; 
 
 Distinctness of outline may sometimes demand 
 For Vowels, both the back and forward hand. 
 
 4. Then on all the consonant strokes that curve, 
 Turn the circles inside, and ne'er swerve; 
 
 With circles / and Ee the same course pursue, 
 Inside of vowel curves trace them too. 
 
 5. Join the Si and Zi loop to voiced vowel curves backward, 
 But for the voiceless curves, loop forward ; 
 
 But small circles for cognate vowels 7 and Ee, 
 Outside straight line angles traced must be. 
 
 6. It adds ease, speed, grace and beauty to written lines, 
 To join with acute angles, many signs ; 
 
 To secure distinct outlines is not so hard, 
 If short-ticks, are added in words like card. 
 
 e. When necessary to secure a good angle in joining 
 vowels and consonants, or consonants and consonants to each 
 
THE LITERARY STYLE. 29 
 
 other, it is sometimes necessary to add an extra short tick, 
 struck in any direction, (though generally at right angles). 
 This tick is made shorter than the dipthongal vowel signs so 
 as not to conflict with them. 
 
 /. In addition to the Ri and Ir already treated of, the // 
 and Li, and the Och and Ich signs, are made interchangeable 
 with their own cognates. Use the sign which makes the 
 most acute anijle and requires the least number of extra short- 
 ticks in the joinings. When angles are equally good with 
 both signs, give preference to the forward motion Ri, Li and 
 Ich signs. 
 
 REM. 24:. The interchangeable signs may be regarded, practi- 
 cally, as double signs for their respective sounds. Practical con- 
 siderations, of great importance, constrained the author to make 
 these signs interchangeable in this way the student will perceive 
 the advantages of this rule without further comment. 
 
 REM. 25. There are two theories as regards the organic forma- 
 tion of the sounds in imite and mute. The adherents of the first 
 theory, claim that these sounds are vowel dipthougs, formed by a 
 union of short i and oo or uu ; the second theory, claims that both 
 are a union of simple consonant yi and vowel oo or uu elements 
 the element, as in mate, having less of the yi clement. We incline 
 towards the opinion that the second theory is the correct one, and 
 therefore, have made the Yi and lu signs interchangeable, accord- 
 ing as may be required for the best angles. Practically, it is 
 thought best to write this dipthong with a single lu for the elements 
 in such words as mute and wnite, although the sound in unite has 
 unmistakable yi and oo or uu elements. 
 
 REM. 26. A few exercises are given in the common Orthog- 
 raphy, as a Writing Exercise, and then repeated in the Kirograflk 
 Alphabet, as a Phonic Reading Exercise. 
 
 The English alphabet contains three useless letters c, q, x equal 
 to s, k, ks. The Phonic alphabet contains a sign for each sound ; 
 hence, in writing words, use only the signs which represent the 
 actual elementary sounds in them. Perhaps the greatest difficulty 
 will be experienced in catching the true sound of the short vowels. 
 
THE KIROGRAFIK TEECHER. 
 
 Always call the short vowels by the names given in the alphabet. 
 The short sounds in the words ask, up, man, air, ill, not, obey, pull 
 will give the long sound by singing them, nearly as in father, urge, 
 men, ale, eel, naught, old, pool. 
 
 WRITING EXERCISE I. 
 
 Eve, Stee, eat, eel, each, ear, eke. Iv, if, ib, ip, im, is, 
 iss, ith, id, it, in, ish, i-li, ij, itch, i-ri, 5g, ik, ing. Aye, abe, 
 ape, aim, ayes, ace, aid, ate, ale, age, aitch, air, ache. Ev, 
 ef, ebb, ep, em. ez, es, eth, ed, et, en, esh, ell, edge, etch, 
 e-ir, egg, ek, eng. Av, af, ab, ap, am, az, as, ath, add, at, 
 an, ash, al, af, ach, ag, ak, ang. Uv, uf, ub, up, urn, uz, 
 us, nth, ud, ut, un, ush, u-li, udge, uch, eu-ri, ug, uk, ung. 
 As, are, ask, aa-f, aa-m. 
 
 PHONIC READING EXERCISE I. 
 
THE LITERARY STYLE. 
 
 WRITING EXERCISE II. 
 
 31 
 
 Awed, aught, awn, all, aug, auk. Ov, off, ob, op, om, 
 OS, 6s, oth, odd, ot, on, osh, ol. Och ! 6-ri, og, ok, ong. 
 Ope, os, oath, ode, oat, own, o'er, oak, owing. Ooze oot, 
 oos. I'v, I'm, eyes, ice, eyed, Isle, ire, ike, eyeing. Oil, 
 out, owl, ouch, our. 
 
 PHONIC READING EXERCISE II. 
 
 RE.M. 27. Any one who studies this book without a teacher 
 should go through the Exercises and Drills and then correct them 
 with even more care, if possible, than when following the instruc- 
 tions and advice of a teacher. 
 
 WRITING EXERCISE III. 
 
 We, whee, vee, fee, bee, pea, me, }-e, zee, see, thee, de, 
 tea, knee, zhee, she, lea, jee, cb.ee, he, re, gee, key. We, 
 whee, vi, fi, bi, pi, mi, _yi, zi, si, thi, di, ti, ni, zhi, shi, li, ji, 
 chi, hi, iu-i, gi, ki. Wa}-, whe} r , bay, pay, ma} r , yea, Zey. 
 say, they, da}-, tay, nay, shay, la}-, jay, chay, hay, raj-, gay, 
 kay. Fah, bah, pah, mah, yah, ha! Faw, paw, maw, }'aw, 
 saw, thaw, daw, knaw, shaw, law, jaw, haw, raw, gaw, kaw. 
 Yo, whoa, vo, bow, poe, mow, so, though, doe, toe, no, 
 show, low, Joe, hoe, roe, go. 
 
THE KIROGRAFIK TEECHER. 
 PHONIC READING EXERCISE III. 
 
LESSON V. 
 
 ANGLES AND CUKVES. 
 
 9. When signs are joined together, they are 
 written without lifting the pen, the second com- 
 mencing where the first ends. Pronounce each 
 sound aloud as it is written, calling them by the 
 phonetic names in the alphabet, thus : li is to 
 be named Hi, not aitch, etc. 
 
 All signs in words are joined into one outline. 
 As each sign has a fixed form and direction, its 
 union with all other signs is in accordance with 
 geometric laws. 
 
 The angle ot union of signs is, hence, either 
 right, acute, or obtuse. 
 
 Angles and Curves. 
 
34 THE KIROGRAFIK TEECHER. 
 
 a. Every letter in the Alphabet is written in the direction 
 of the strokes in diagram 1 . All the strokes are made in a 
 perpendicular, horizontal, or slanting direction. The slant- 
 ing strokes may vary in direction from 30 to 60 degrees from 
 the horizontal, because such latitude is conducive to lineality, 
 grace of outline and rapid penmanship. Both the initial and 
 final R are classed with the right angles in diagram 5, al- 
 though they are, strictly, more than right angles, in 
 accordance with this principle of latitude for slanting signs. 
 
 6. The signs for insj. hi, mi, and ni in diagram 1 are ri<jht 
 lines. The signs for g-k, in diagram 3, are a lower half 
 circle, while p-b in diagram 6 is the upper half circle. The 
 signs for g-b and j-ch in diagram 2 are facing curves. Most 
 of the vowel signs are small curves or circles. The cognate 
 pairs of signs are all facing curves. The signs d-t in diagram 
 4 are opposing curves in the same direction. 
 
 RIGHT AN ? GLES. 
 
 c. The signs m-ng, ng-m, 7i-n, n-h, ou-ie, ie-ou, ou-oi, and 
 oi-u when joined form right angles. 
 
 The curves p-k, g-b, j-d and t-ch unite in half circles, but 
 the cords of these curves, as shown in the outlines preceding; 
 them, unite in right angles. Such Facing curves always 
 unite without an angle. 
 
 ACUTE ANGLES. 
 
 d. The signs for h-m, m-7t, m-m, 7i-/i-, ng-ng unite in 
 acute angles. The facing curves j-b, p-ch, t-b, unite without 
 angles, p-p and b-b with angles. The cords of these curves 
 unite in acute angles. 
 
THE LITERARY STYLE. 
 
 35 
 
 OBTUSE ANGLES. 
 
 e. The signs for ny-n, n-ng, h-ny, ny-h, unite by forming 1 
 obtuse angles. The facing curves y-d, t-k, j-y, and k-ch unite 
 by forming angles ; the cords of these curves unite in obtuse 
 
 SAME CURVES REPEATED. 
 
 /. The curves for the signs di, ti, thi, ith, vi, fi, il, U, ji, 
 chi, pi, W, gi, ki, zhi, s/u, ir, ri,och,ich, when repeated must 
 form an angle in all cases. 
 
 OPPOSING AND FACING CURVES IN THE SAME DIRECTION. 
 
 g. The opposing curves in the same direction b-p, p-b, d-t, 
 t-d, g-k, k-g, j-ch, ch-j, unite in waved lines without forming 
 angles, but tJii-ith, Mi -thi, v-f, f-v, unite by forming angles, 
 and are Facing curves in the same direction. The invariable 
 rule which enables the student to distinguish between Facin- 
 
 cT> 
 
 and Opposing curves, is, to remember that Opposing curves 
 that, unite with an angle are always struck by reversing the 
 movement of the pen, as in j-t d-ch ; but Facing curves, and 
 
36 
 
 THE KIBOGRAFIK TEECHER. 
 
 Opposing curves in the same direction that unite without an 
 angle, are always struck, without reversing the movement of 
 the pen, as in d-g and g-k. 
 
 DRILL NO. 10. 
 
 OPPOSING AND FACING CURVES IN DIFFERENT DIRECTIONS. 
 
 h. All opposing curves in different directions must join by 
 forming angles. 
 
 FACING CURVES. 
 
 i. 1. Facing curves whose cords would form acute 
 angles : j-b, p-ch, p-d, t-b, g-eh. 
 
 2. Curves that face acute angles formed of right lines: 
 M-ch, h-b, p-h, m-d, ng-ch, t-m, j-m. 
 
THE LITERARY STYLE. 
 
 8. Facing curves whose cords would form obtuse angles : 
 G-d, t-k, j-g, k-ch, p-t, d-b. Such Facing curves always 
 unite with an angle. 
 
 DRILL NO. 11. 
 
 RIGHT LINES AND CURVES JOINED TOO ETHER. 
 
 /-. Right lines and curves joined together become modified 
 by the laws of motion in actual practice. The sharp angles 
 are rounded oft' to a greater extent than shown in the en- 
 gravings. All such junctions should be mastered so that the 
 two strokes are written with only one movement of the pen. 
 Do not make too much of the angles. These junctions 
 exhibit various modifications of angles, but the principal ones 
 are distinct angels, as in h-j and k-ng ; half angles, as in h-d 
 &ndp-nc/; and no angles, as in /i-#, n-fc, p-n, d-ra, and j-ng. 
 In writing with the pen the half angles are usually, however, 
 joined together, as in no angles. 
 
88 THE KIROGRAFIK TEECHER. 
 
 RKM. 28. The basis of the Kirograflk signs (being Right lines, 
 Curves, Circles, Semi-circles, Loops and Hooks, written in various 
 directions) constitute lines of beauty and speed. In the actual 
 practice of rapid penmanship, the original geometrical signs be- 
 come modified and filled with the meaning and life which results 
 from all motion. Kirografy engraved with precision appears stiff 
 and angular; this appearance disappears when modified by the 
 spirit of motion imparted by a flowing pen. The laws of motion 
 demand this as a necessity which compensates, by adding ease and 
 flowing gracefulness to the appearance of the penmanship. 
 
 REM. 29. The mechanical movements of the pen in writing be- 
 ing forward on the direct line of writing, all sidcwise movements 
 are more or less subordinated to them. All perpendicular strokes 
 will be shorter than those written slanting upward, or slanting 
 downward or forward horizontally ; this principle applies to all 
 words which extend far below or above the line of writing, as they 
 will be brought more into lineality by making the signs shorter and 
 thus avoid encroaching on the rules of geometrical position. 
 
 REM. 30. Curves and Angles arc modified by motion in various 
 ways : 1, All horizontal curves will be segments of an ellipse cut 
 through the long diameter instead of segments of a circle. 2, The 
 perpendicular curves convexed to the right arc curved most near 
 the beginning, and those curves couvexed to the left are curved 
 most at the end. 3, Upward or downward slanting curves are also 
 irregularly curved near one end, according to the direction of 
 striking them. 4, Motion will be more retarded near the beginning 
 and end of horizontal curves than in the middle, while it will be 
 retarded in the middle of perpendicular curves consequent on 
 change of direction. 5, Obtuse angles are made more acute by 
 changing the angle of slanting straight lines, or by modifying the 
 convexity of curves; thus, the sign //*;/, in the outlines <-{/ will be 
 nearer perpendicular than when standing alone; while in //-/;// it 
 will be nearer horizontal ; and Di before Iwj will be more curved 
 at its termination than when it occurs before downward Mi. G, 
 All junctions of signs where a hook, circle or loop occurs, require 
 a little deviation from the rigid geometrical figure, for the sake of 
 securing graceful uuioas. 
 
 RKM. 31. In ornamental writing it will add to the appearance 
 
THE LITERARY STYLE. 39 
 
 of the penmanship to shade some of the signs, or make them heavy 
 where the laws of motion make it easy and natural. Straight lines 
 should be shaded uniformly throughout their entire length, but 
 curved signs should be shaded heaviest either at, before or after, 
 the middle the shading tapering off gradually toward the ends as 
 is most convenient. Different temperaments will write heavy or 
 shaded, light or flowing as is most natural to them. This capacity 
 for suiting the requirements of different styles of penmanship by 
 using shading only where natural, is one of the strongest advan- 
 tages of the common long-hand script, as well as one of the serious 
 defects of the old Stenograflk Alphabets. 
 
 REM. 32. According to mechanical law, increase of speed must 
 be attended with decrease of force ; hence, in rapid penmanship, it 
 is utterly impossible to shade or write as heavy as when writing 
 deliberately. One of the glories of the old long-hand script is its 
 adaptability for use with either a pen or pencil. A Kirograflk Al- 
 phabet intended to be the basis of a Stenograflk system for the 
 greatest possible speed, should not be limited by the burden of 
 shaded sigus which make it impossible to secure legibility of 
 writing with a pencil. One of the chief defects of Stenograflk 
 Alphabets is overcome in the shadeless Kirograflk Alphabet. The 
 writer will naturally adopt as small a scale of penmanship in rapid 
 writing as is consistent with legibility, because short roads are 
 travelled sooner than long distances. These remarks upon the 
 modilicatious of motion upon outlines, are not in conflict with the 
 geometrical laws of outline for signs, because these modifications 
 are solely the effect of rapid speed or motion upon outlines, and they 
 even appear to a less extent when geometrical accuracy is aimed 
 at by writers. 
 
 REM. 33. Young writers should have their attention called by 
 their teacher, to the fact that Facing curves unite without an an^le 
 in such junctions as T-D, P-K, G-B, P-Ch, and J-B; but such 
 junctions as T-K, P-T, <t-D unite with an angle. Facing curves 
 are more easily written than opposing curves, except where the 
 latter unite without an angle and extend in the same direction. In 
 joining consonants together in one outline many opposing curves 
 can be joined without angles, because the vowels are omitted. 
 Such junctions as P-B, D-T, T,D, G-K, and K-G, unite without an 
 
40 THE KJROGRAFIK TEECHER. 
 
 angle in the same direction, with the exception of P-B, which may 
 be written also without an angle as a facing curve. By a careful 
 assignment of curves to frequently occurring classes of sounds, a 
 foundation is secured for a much larger number of these easy 
 junctions in the reporting styles than is possible with the old Steno- 
 graphic assignment of signs to sounds. 
 
 BEM. 34. The straight line consonant signs Hi, Mi, Ni, and Ing 
 are doubled in length to represent two of the same sound ; or they 
 may be retraced backward near the first sign this method is 
 generally preferable except that it requires two instead of one 
 movement of the pen. 
 
 RULES IN RHYME. 
 
 7. When consonants alone are joined together, 
 A few good rules will save much bother ; 
 
 All opposing curves in the same direction, 
 Unite in waved lines without intersection. 
 
 8. All opposing curves whose cords would form angles, 
 And facing curves whose cords form obtuse angles, 
 
 Should be written to form an angle in all cases, 
 And like Vi-Pi and Pi-Ti take their places. 
 
 9. The facing curves whose cords would form right angles, 
 And those whose curves form acute angles, 
 
 Must be joined together without angles in one, 
 Like Ji-Ni in join, and Pi-Ni in pun. 
 
 10. Opposing curves in different directions, 
 The same curve if in repetition, 
 
 Curves that form acute angles if formed of right lines, 
 All these must make angles in joined signs. 
 
 11. Let the other unions of curves and right lines, 
 Blend in graceful consonantal signs ; 
 
 The angles are sacrificed for speed in writing, 
 Because graceful forms are more inviting. 
 
 WRITING EXERCISE IV. 
 
 Weave, wave, wove, waif, wife, web, weep, wipe, womb, 
 ways, was, woes, woos, wise, with, weed, wade, wed, wad, 
 
THE LITERARY STYLE. 
 
 41 
 
 wooed, would, wide, wit, wait, wet, wight, wean, win, wane, 
 wen, wan, won, wine, wish, wash, will, wail, well, wall, wool, 
 wile, wage, wedge, witch, watch, Weir, ware, war, wooer, 
 wire, wig, wag, weak, wick, wake, walk, woke, wing, wink, 
 winking, winging, winkers, winkingly. 
 
 PHONIC READING EXERCISE IV. 
 
 WRITING EXERCISE V. 
 
 Whiff, whip, whim, whizz, wheat, whit, white, whine, 
 wheel, whale, while, which, whir, where, whig, whack, 
 whang. Viv, vive, vim, viz, vis, vid, vil, vichy, vir, vick, 
 ving. File, feej, fame, fern, fain, fum, foam, fees, phiz, 
 phase, fuz, foes, face, fuss, faith, feed, fid, fade, fed, fad, 
 fud, feet, fit, fate, fat, fut, fought, foot, fight, fin, fain, fen, 
 fan, fun, fawn, phone, fine, fish, feel, fill, fail, fell, fal, fill, 
 fall, fol, foal, full, fool, file, foil, ful, fuel, fudge, Fitch, 
 fetch, fear, fir, fare, fur, far, four, fire, fig, fag, fog, fick, 
 fing, feng, fang, fink, fenk, fank. 
 
42 THE KIROGRAFIK TEECHEB. 
 
 PHONIC READING EXERCISE V. 
 
 WRITING EXERCISE VI. 
 
 Biv, bevy, above, butt', bib, babe, beb, bab, bub, bob, 
 booby, bibe, bap, bup, beam, bim, bem, bam, burn, balm, 
 baum, boam, boorn, bees, biz, buss, bows, boozy, bi^ys, boys, 
 beaus, base, buss, boss, bias, bass, bathe, bath, both, booth, 
 bead, bid, bade, bed, bad, bud, bod, bode, bood, abide, 
 Boyd, bowed, beat, bit, bait, bet, bat, but, bought, boat, 
 boot, bite, about, bean, bin, bane, ben, ban, bun, bon, bone, 
 boon, bine, Boyne, bish, bush, bash, bosh, bill, bail, bell, 
 
THE LITERARY STYLE. 43 
 
 bul, bawl, bowl, bull, bile, boil, badge, budge, beach, bitch, 
 batch, botch, beer, bare, burr, bar, bore, boor, bower, big, 
 beg, bag, bug, bog, beak, bake, bake, back, buck, baulk, 
 bing. bang. bung. 
 
 PHONIC READING EXERCISE VI. 
 
 WRITING EXERCISE VII. 
 
 Pave, pev, putt', pib, peb, peep, pip, pep. pap, pup, pop, 
 pope, poop, pipe, pirn, poem, peas, pays, paws, Poe's, pies, 
 poise, pews, peace, pace, pussy, pass, p6zy, pith, path, paid, 
 
44 
 
 THK KIROGRAFIlv TKKCI1KR. 
 
 pud, pawed, pod, pooed, pied, peat, pit, pate, pet, pat, pot, 
 put, pout, peony, pin, pain, pen. pan, pun, pawn, upon, 
 pony, pine, puny, push, peal, pill, pail, pel, pal, Paul, pol, 
 pole, pull, pool, pile, Powell, podge, peach, pitch, patch, 
 poach, pouch, peer, pair, purr, par, pore, poor, pyre, pure, 
 pig, peg, pug, pog, peak, pick, peck, pack, puck, poke, pike, 
 puke. ping, pang, pawing, pooing. 
 
 PHONIC READING EXERCISE VIT. 
 
LESSON VI. 
 
 PHONIC ANALYSIS. 
 
 10. Phonic Analysis is the art of minutely 
 analyzing vowel and consonant sounds, so that 
 they may have uniform unvarying letters, signs 
 or digraphs assigned them in the orthography of 
 words. One letter, sign, digraph or trigraph for 
 the same simple or compound sound is the funda- 
 mental basis of all correct Phonic Analysis. The 
 orthography of the English language, on the 
 contrary, is founded upon arbitrary, erroneous, 
 contradictory and unreasoning principles of 
 Phonic Analysis, which must be abolished before 
 any real progress in the art of writing by sound 
 can be attained. A brief key is furnished to aid 
 teachers in teaching their pupils to easily com- 
 prehend the differences between the common 
 orthography aud Phonic spelling. Words are 
 
46 THE KIROGRAFIK TKKCHER. 
 
 given illustrating the varieties of letters and 
 digraphs, used for the same sound in the com- 
 mon orthography. The letters or digraphs 
 representing the same sound are italicized. 
 
 VOWEL SOUNDS. 
 
 a. 1. I is found in the words it, been, myth, barley, 
 plaguey, bsy, women, circuit, forfeit, English, sieve and 
 mountain. 
 
 2. Ee is found in the words eel, eve, eave, mien, marine, 
 people, key, quay, conceit. 
 
 3. Ai is found in air, care, where, their, bear. 
 
 4. Ay is found in aye, ale, ail, may, they, able, gaol, 
 gaitge, veil, great, fete, eight, straight, and Coquet. 
 
 5. E is found in ell, many, said, head, says, and guess. 
 
 6. A is found in at. 
 
 7. Eu is found in her, earth, word, jormie3 r , urge, mirth 
 and myrrh. 
 
 8. U is found in up, bwt, love, dowble, hiceowgh, wonder, 
 blood, bl/tdgeon and region. 
 
 9. Ah is found in ah! father, bazaar, braAma, awnt and 
 gttard. 
 
 10. ^la is found in ask, a (indefinite article), away, 
 America , Hanna/i and lawgh. 
 
 11. Au is found in all, awl, aught, ought, awe, order, for, 
 God, George. 
 
 12. is found in on, what, co?*gh, ftonor, and encore. 
 
 13. Oe is found in obey and chromo. 
 
 14. Oh is found in old, toe, 0! Oh! owe, below, though, 
 oat, fowr, door and beaw. 
 
 15. Uu is found in pwll, to, wolf, cowld and foot. 
 
THE LITERARY STYLE. 47 
 
 16. Oo is found in who, pool, two, drew, trae, recruiting, 
 brute, soitp, through, lieu, gho?/l. 
 
 DIPTHONG SOUNDS. 
 
 6. 1. le is found in / (pronoun), eye, ayes, idle, die, 
 dye, nigh, height, style, Isle, choir, my, Guy, geyser. 
 
 2. Oi is found in oil, boy, and chamois. 
 
 3. Ou is found in how, plow, plough, owl, our, hour. 
 
 4. lu is found in mute. unite, hew, beauty, hue, feud, 
 \iew, ewe and eulogy. 
 
 CONSONANT SOUNDS. 
 
 c. 1. Wi is found in we, one, queen, Tweed, and buoy. 
 
 2. Whi is found in why. 
 
 3. Vi is found in of, nephew (sometimes), and vivid. ' 
 
 4. Fi i9 found in i/, fife, muff, tough, phonic, and 
 lymph. 
 
 5. Hi is found in babe, and snu&fted, 
 
 6. Pi is found in people, mapped and hiccougr/t. 
 
 7. Mi is found in mum, mammon, thu?7i6, salmon, 
 damned, apothegm and limp. 
 
 8. Yi is found in union, yet, and million. 
 
 9. Zi is found in zest, is, days, buzz, hens, robs, places, 
 chaise, schism, Xenophon, discern and suffice. 
 
 10. Si is found in siss, sits, place, cite, quartz, sword, 
 schism, science. 
 
 11. Thi is found in then, father and bathe. 
 
 12. Ith is found in thin, bath, viithe, fifth, width and 
 hundredths. 
 
 13. Di is found in deed, muddy, bobbed, odelium, treated 
 and deeded. 
 
 14. Ti is found in tight, tuft, butt, Thomas, phthisic, 
 yatch, hoped and snatched. 
 
48 THE KIROGRAFIK TEECHER. 
 
 15. Ni is found in wight, known, impugrn, pend, demesne, 
 gnaw, 
 
 16. Zhi is found in azure, decision and measure. 
 
 17. Shi is found in she, wish, sure, ancient, motion, con- 
 science, mission, crustaceous. 
 
 18. L is found in all. Isle, lull, and Ll&n (Welsh). 
 
 19. Ji is found in Joy, (/em, age, edge, and singe. 
 
 20. Chi is found in c/iill, each, wretch, Dutch. 
 
 21. Hi is found in he and be/iold. 
 
 22. R is found in are, air, myrrh, burr, rich, poor, horrid, 
 wrong, Rhine. 
 
 23. Ich or Och is found in Loc/t, Ocht and Dach. 
 [Scotch, Irish, German and Polish c/t.] 
 
 24. (?i is found in go, ghost, sagged, gagged. 
 
 25. Ki is found in Jdck, cap, c/iromo, gueen, ac/ie, sceptic, 
 C/trist, school. 
 
 26. Ing is found in sirzgf and single, The n and g have 
 the Ni-Gi sound in such words as en-grulf ; and the Ni-Ki 
 sound in enquire. 
 
 DOUBLE CONSONANT SOUNDS. 
 d. 1 . Ks is equivalent to X in explain. 
 
 2. Gz is equivalent to X in exact. 
 
 3. Ngk is found in ink, thinA:, uncle, 
 
 4' Ngks is found in \Anx and Imcc-eyed. 
 5. Ng-Gi is found in hunger liung-ger, singer sing-ger, 
 linger ling-yer, finger iing-ger and congress kong-gres. 
 
 REM. 35. E before / is silent in shovel, (vl~) hazel, ravel, mantel, 
 shrivel, snivel and weasel; but in most words the e is sounded. / 
 is also silent before I in devil, (vl) evil, civil, but sounded in civilian 
 Most words ending in en and on have the e silent as in golden 
 goldn, hohlen, reason reazn, and treason treazn; but they are 
 sounded in chicken, sudden, women, linen, woolen, kitchen, hyphen, 
 upon, thereon and whereon. 
 
LESSON VII. 
 
 JOINED SIGNS. 
 
 11. When consonants are joined together 
 cither with or without vowels, they are written 
 without lifting the pen the second commencing 
 where the first ends, etc. They are always 
 struck in the direction which will secure the 
 most acute angles in the word outline. In cases 
 where equally good outlines are secured by 
 striking in two directions, the choice always 
 should be in favor of the slanting upward or 
 horizontal direction. 
 
 a. The following signs are written in two directions when 
 good angles demand it, viz. : Tf7, Wlii, Fi, Fi, Bi, Pi, Mi, 
 ZJii. Shi, L, Ji, (7/a, //*', R and Ing. Zi and Si may be 
 written in any direction, but usually horizontal when alone, 
 and slanting up or down forty-five degrees when joined to 
 other signs they are also joined with the open and shut 
 loop to other signs when convenient. (See Phonic Reading 
 Exercise IX and Drill No. 14.) 
 4 
 
THE KIROGRAFIK TEECHER. 
 DRILL NO. 12. 
 
 JOINED CONSONANTS. 
 
 a. 
 
 A A n A 
 
 REM. 36. If these exercises are thoroughly mastered, the prac- 
 tical application of the general principles governing in joining 
 signs will be familiar to the student. Practical illustrations of this 
 kind are much preferable to a profusion of rules, which necessarily 
 most have exceptions. The best angles and most beautiful word 
 
THE LITERARY STYLE. 
 
 51 
 
 oittline*, are the only rules governing in these joinings. These com- 
 binations are all made in harmony with the geometrical principles 
 explained in Lesson V. The pupil should read these Exercises by 
 mentally, or otherwise expressing the name of each joined con- 
 sonantal combination, as already alluded to in a previous Lesson. 
 
 PHONIC READING EXERCISE VIII. 
 
A 2 
 
 THE KIROGRAFIK TEECHEli. 
 
 WRITING EXERCISE VIII. 
 
 Moove, miff, muff, mob, Mapes, map, mop, mope, mim, 
 maim, mem, mam, mum, maze, muzzy, miss, mace, mess, 
 mass, muss, moss, moose, mice, mouse, muse, mith, meth, 
 math, moth, mouth, meed, mid, made, med, mad, mud, 
 Maud, mode, mood, mewed, meet, mit, mate, met, mat, mut, 
 motto, mote, moot, mite, mute, mean, minnie, mane, men, 
 man, money, moan, moon, mine, mish, mesh, mush, mash, 
 meal, mill, mail, inell, mal, mul inaul, mol, mole, mile, moil, 
 mule, midge, medge, Madge, mudge, match, much, mere, 
 mare, myrrh, mar, m&r, more, Moore, mire, mig, meg, mag, 
 mug, mog, meek, mick, make, mek, mack, muck, mock, 
 mike, ming, meng, maug, mung, mawing, mong, mowing, 
 mooing, mewing. 
 
 PHONIC READING EXERCISE IX. 
 
THE LITERARY STYLE. 
 
 WRITING EXERCISE IX. 
 
 53 
 
 Ye've, you've, yeas, ewes, you, } T es, use, using, j r outh, 
 you'd, Yates, yet, yacht, yawn, yon, yield, Yale, yell, yawl, 
 you'll, yidge, year, yard, yore, j'our, yoke, ying, yeng, yang, 
 yong, yankee, young, Yingling, were. 
 
 Zouave, zoof, zebra, zip, zim, zem, zum, zez, zaz, zooz, 
 zis, zes, zas, zus, zaas, zith, zed, zide, Zenas, zone, zounds^ 
 zish, zeal, Czar, Zoar, zigzag, Keke, zack, zing, zang, zung, 
 zink, sink, sunk, sinking, Sankey. 
 
 DRILL NO. 13. 
 
 JOINED CONSONANTS. 
 
54 
 
 THE KIROGRAFIK TEECHER. 
 
 WRITING EXERCISE X. 
 
 Sieve, save, sev, sift, safe, sef, saf, suffer, sib, seb, sab, 
 sub, sob, sip, sep, sap, sup, sop, soap, soop, seem, sim, 
 same, sem, sam, sum, psalm, sees, says, sez, sawes, sowes, 
 sews, size, souse, siss, ses, sas, sus, sauce, seethe, sith, 
 sayeth, Seth, sath, suth, saweth, soweth, sigheth, seed, said, 
 sad, sud, sawed, sod, sowed, sued, sighed, seat, sit, set, sat, 
 sought, sot, soot, site, seem, siu, sane, sen, san, sun, sawn, 
 soon, sign, sound, sish. sash, seal, sill, sail, sell, sal. sul, 
 Saul, sol, sole, soil, seige, sage, sedge, seech, such, sig, seg, 
 sag, sog, seek, sick, sake, sek, sack, suck, sank, sock, soak, 
 seeing, sing, seng, sank, sung, sawing, sowing, sewing, 
 sighing. 
 
 REM. 37. Writing Exercises without a corresponding Phonic 
 Reading Exercise, should be corrected by the teacher when 
 possible. 
 
 DRILL NO. 14. 
 
 JOINED CONSONANTS. 
 
THE LITERARY STYLE. 
 DRILL NO. 15. 
 
 JOINED CONSONANTS. 
 
 WRITING EXERCISE XI. 
 
 Theiving, thief, theft, thibet, theme, them, thumb, these, 
 this, Thace, thes, thus, thas, those, thither, thud, thod, thoid, 
 thought, theme, tim, thane, then, than, thunder, thawn, 
 thine, thill, hatch, Theirs, Thayer, Thursday, Thor, thug, 
 thick, thack, ting, thang, thank, think. 
 
 Dave, dev, dove, dive, deaf, dif, dof, duf, daft, deb. dab- 
 ble, dub, double, daub, dobbs, deep, dip, dep, dap, dupe, 
 deem, dim, dame, dem, dam, dumb, dome, doom, dime, days, 
 dazzle, dues, des, dust, dost, duce, dice, douse, 
 
56 
 
 THE KIROGRAFIK TEECHER. 
 
 WRITING EXERCISE XII. 
 
 Death, doth, dyeth, doeth, deed, did, dead, dad, dudds, 
 Dodd, died, Dowd, ditto, date, debt, dat, dot, dote, diet, 
 doubt, duet, Dean, din, Dane, den, Dan, dun, dawn, don, 
 done, dine, dish, dash, douce, deal, dale, dell, dal, dull, doll, 
 dole, duel, Doyle, dodge, ditch, Dutch, Dach, deer, dare, dirt, 
 door, doer, dire, dower, indure. 
 
 Taft, tull, tuff, tib, tabe, teb, tab, tub, toby, tube, tip, 
 tape, tep, tap, top, type, team, tim, tame, tern, tarn, turn, 
 Tom, tomb, time, tease, 'tis, toes, two's, ties, toys, toss, tice, 
 teen, tin, ten, tan, tun, tawny, tone, tying, town, tune, tish, 
 
 DRILL NO. 16. 
 
 JOINED CONSONANTS. 
 
 WRITING EXERCISE XIII. 
 
 Nash, kneel, nil, nail, knell, nal, nuh 1 , knoll, Nile, Newell, 
 nudge, near, nur, narrow, nor, knower, nigher, newer, nig, 
 neg, nag, nug, nog, nick, neck, knack, nuck, knock, nook, 
 ning, nang, nung. 
 
THE LITERARY STYLE. 57 
 
 Azure, shiver, shave, shev, shove, sheaf, shof, shaf, shufle, 
 sheep, ship, shape, shep, shap, shop, shame, Shem, shain, 
 shum, Shay's, Sliaw's, shows, shoes, shies, sheathe, sheath, 
 showeth, shoeth, shieth, shade, shed, shad, shudder, shod, 
 showed, shoe, should, shied, sheet, shut, shot, shoot, shin, 
 shun, shone, shine, shale, shell, shall, shawl, shoal, shear, 
 share, shore, sure, shire, shower, shaggy, sugar, shake, 
 shock, shook, shing, sheng, shang. 
 
 WRITING EXERCISE XIV. 
 
 Leave, live, lave, levity, love, live, leaf, Lafj r , left, laugh, 
 loft, loaf, aloof, life, Libby, lab, lub, lob, lobe, leap, lip, leper, 
 lap, lop, lope, loop, limb, lame, lem, lam, loam, loom, lime, 
 Lees, Lizzie, lazy, laws, lows, loze, lies, lease, lice, lace, less, 
 loss, lass, loose, lice, lith, lath, loth, tythe, lid, laid, led, lad, 
 lud, lode, lowed, lide, Loyd, loud, lit, late, let, latter, lot, 
 loot, light, lout, lean, Lynn, lane, lens, lun, lawn, lone, loon, 
 line, loin, leisure, Lozier, lash, ledge, lodge, latch, lear, lair, 
 lyric, Lord, lore, lyre, lowering, league, leg, lag, lug, log, 
 log}', leak, lick, lake, luck, lock, look, like, luke, ling, leng, 
 lang, lung, long, lowing, lieing, allowing. 
 
 WRITING EXERCISE XV. 
 
 Jove, jiffy, Jeff', jaf, jib, jabber, job, Job, jibe, jip, Jim, 
 jam, jum, Ja3 7 's, jaws, Joe's, Jew's, juice, Joyce, just, jostle, 
 joist, Judd, jewed, jet, jut, jot, Jute, Jean, gin, Jane, John, 
 Jone's, join, June, gill, jail, jelly, jolly, jewel, judge, jeer, 
 journey, jig, jag, jug, jog, Jake, Jack, joke, jingle, jungle. 
 
 Chieve, Chev, chief, chaff, chub, cheap, clu'p, chap, chop, 
 chum, chime, cheese, chose, choose, chase, chess, choice, 
 chewed, chide, cheat, chit, chat, chin, chain, chill, child, 
 cheer, chair, cherry, charred, chore, chewed, chug, cheek, 
 
58 
 
 THE KIROGRAFIK TEECHER. 
 
 chick, check, chuck, chalk, choke, ching, cheng, chang, chung, 
 chewing. 
 
 DRILL NO. 16. 
 
 JOINED CONSONANT-. 
 
 WHITING EXERCISE XVI. 
 
 Heave, have, hove, hive, half, huff, hotf, hoof, hub, Hobb, 
 heap, hip, happen, hop, hope, hoop, him, hem, ham, hum, 
 horn, home, Hume, his, Haye's, has, hawes, hose, Hugh's, 
 hiss, hess, huss, hoss, house, hayeth, heth, hath, hoeth, 
 heweth, heed, hid, hade, head, had, huddle, hawed, had. 
 hoed, hide, hewed, heat, hit, hate, hat, hut, haughty, hoot, 
 height, Hoyt, Haynes, hen, hun, hon, hone, hound, hewn, 
 hash, hush, heal, hill, hale, hal, hull, haul, holly, whole, 
 wholly, Hoyle, hawl, hodge, hitch, hatch, hotch, hear, hair, 
 her, hard, horrid, hoary, hire, hewer, higgle, haggle, hug, 
 
THE LITERARY STYLE. 
 
 59 
 
 hog, Hoag, hick, hack, hock, hoax, hook, hing, hang, hung, 
 hong, hoeing hewing. 
 
 WRITING EXERCISE XVII. 
 
 Reeve, rave, rev, rav, rove, rive, reef, riff, ref, raf, ruff, 
 roof, rib, reb, rab. rub, rob. robe, ruby, reap, rip, rape, rep, 
 rap, rup, rop, rope, ripe, ream, rim, rem, ram, rum, rom, 
 Rome, room, rhyme, raise, rose, ruse, rise, rouse, race, rust, 
 rasp, Ross, rui.se, rice, Royce, wreathe, wreath, rith, wrath, 
 wroth, roweth, rueth, writhe, reed, rid, raid, red, ruddy, rod, 
 rode, rude, ride, writ, rate, rat, rut, rot, wrote, root, write, 
 rout, rind, rain, wren, ran, run, roan, Rhine, rowen, rouge, 
 rash, rush, reel, rill, rail, rel, rally, role, rule, ride, Royal, 
 Rowel, Ridge, rage, rudge, reach, reach, rich, wretch, ratch, 
 roach, rooch, rear, rare, roar, rig, rag, rug, rog, rogue, reek, 
 rick, rake, wreck, rack, rock, rook, ring, reng, rang, rung, 
 wrong, rueing. 
 
 DRILL NO. 17. 
 
 JOINED CONSONANTS. 
 
GO THE KIROGRAFIK TEECHER. 
 
 WRITING EXERCISE XVIII. 
 
 Give, gave, Gough, gab, gob, gobble, gape, gap, Guppy, 
 game, gam, gum, gaze, guzzle, goes, guise, guess, gas, gust, 
 goose, geth, gath, gad, God, goad, good, guide, gate, get, 
 gat, got, goat, gout, gain, again, gan, gun, gone, gown, 
 gash, gush, gill, gale, gal, gull, Gaul, goal, guile, ghoul, 
 engage, gudge, gouge, gear, girth, gore, gig, gag, gog, gang, 
 gong. 
 
 WRITING EXERCISE XIX. 
 
 Cave, cough, cove, cuff, calf, cafe, cab, cub, cob, keep, 
 kip, cape, kept, cap, cup, cop, coke, coop, came, kam, come, 
 calm, com, comb, coomb, keys, cause, cows, kiss, case, cost, 
 Keith, kith, uncouth, kid, Kade, ked, kad, cud, cod, code, 
 cooed, could, cowled, cued, kit, Kate, ket, cat, cut, caught, 
 cot, coat, coot, kite, Coit, cute, keen, kin, cane, ken, can, 
 country, con, cone, coon, kind, coin, cowl, Kewen, cash, 
 cowish, keel, kill, kale, kel, kal, cull, coal, cool, chyle, coil, 
 cage, catch, coach, couch, care, cur, car, core, kig, keg, kag, 
 cog, kick, cake, coke, cook, king, keng, kang, king, kong, 
 cooing, coyiug, cawing, cueing. 
 
 WRITING EXERCISE XX. 
 
 Tosh, toyish, till, tale, tell, tal, tul, tall, tole, tool, tile, 
 toil, teach, touch, tear, tare, turf, tar, tore, tour, tire, tower,, 
 teeg, tig, teg, tug, tog, tige, tick, take, teck, tack, tuck, talk, 
 token, took, tike, ting, tang, tongue, tongs, tying, toying, 
 towing. 
 
 Knave, navy, novice, Naphey, enough, knife, nib, neb, 
 nub, nob, neap, nip, nape, nep, nap, nim, name, nem, nam, 
 numb, noni, nayes, nez, nose, news, noise, neice, ness, nas, 
 noose, nice, neatn, nath, nothing, need, ned, nod, node, neat. 
 
THE LITERARY STYLE. 61 
 
 knit, net, nat, nut, not, note, night, Nute, ninny, nanny, 
 nun, non, known, noon, nine, noun. 
 
LESSON VIII. 
 
 GENERAL PRINCIPLES. 
 
 12. Lineality is secured in long words by hav- 
 ing the first upward or downward full length 
 sign, as Mi or Hi, rest on the line of writing. 
 Double length outlines as Pi-Bi^ Ki-Gi, are di- 
 vided in the middle by the line of writing. Words 
 with only horizontals rest on the line of writing. 
 
 LINE OF WRITING. 
 
 o. Words with Ft, Fi, Bi, Pi, Mi, fi, Li, Ji,Chi, Hi and 
 Ing conbinations with each other, or with other upward or 
 
THE LITERARY STYLE. 63 
 
 downward signs, are written in both the up and down direc- 
 tion. Lineality in the most difficult words in the language, 
 may be secured in this way. 
 
 WRITING EXERCISE XXI. 
 
 Secure lineality as far as possible in such words as rAppro- 
 brium, appropriately, approbation, momentum, vivify, vermi- 
 fuge, geneologically, physiologically, geologically, theologi- 
 cally, pathologically, Lexicographically, psychologically, ac- 
 cordingly, horticultnrally, rockingly, shockingly, conglomera- 
 tion. 
 
 REM. 38. Double Consonants. As a general rule, consonant 
 sounds are not doubled in spoken language, and should not be in 
 written language. Compound words, as book-case, and termina- 
 tions in Di or Ti preceded by the same sound are doubled as added, 
 wedded. Teachers who prefer to write double consonants as a more 
 accurate, Phonic drill, can do so in all cases where they arc clearly 
 double in the common pronunciation. When the initial and final r 
 sounds are united in such words as peer age-peer 'rage, wiry-icir'ry, 
 poorer-poor 'rer, use only one r sign. The reason for this is found 
 in the fact, that the adoption of the Scotch practice is far more 
 conducive to simplicity and ease of utterance. They join the r in 
 all cases, to the second syllable, in words like the following ; he'ro, 
 glo'ry, poo'rer, pee'rage, etc. 
 
 WRITING EXERCISE XXII. 
 
 Double consonants are not used in such words as the fol- 
 lowing : Holy, wholly, full}', foully, allot, collect, commute, 
 correct, attend, apply, annoy, afflict, adduce, accrue, abbre- 
 viate, keenness, soulless, common, commit, appoint, attract, 
 connect,, afflict, carrol, barrel, barren, merry, torrid, horrid, 
 borrowed, furrowed, Irish, iris, glory, lurid, poorer, boring, 
 airy, peerage, erring, searing, securing, barrack, period, car- 
 riage, marriage, opportunity, misstate, attend, necessary, 
 
64 THE KIKOGUAF1K TEECHER. 
 
 illegal, alliedge, immoral, arrest, arrogate, arrow, array, in- 
 nocent, innovate, account, accrue, acclaim, adduce, afflict, af- 
 fect, cannot. 
 
 REM. 39. Assimilation of Consonants. There is a very impor- 
 tant principle in constant operation in the construction and develop- 
 ment of language, viz : voiced sounds assimilate with voiced 
 sounds only ; and voiceless sounds assimilate only with voiceless 
 Bounds ; there are a few exceptions found with the voiceless Ith in 
 such words as breadth, etc., other exceptions are found with the 
 liquids and nasals Mi, Ni, E, L, Ing, all of which are voiced 
 sounds, but they readily assimilate with both voiced and voiceless 
 sounds. This principle gives a definite rule for adding Si or Zi and 
 Di or Ti as terminations to words, because Zi and Di unite only 
 with voiced sounds and Si and Ti unite only with voiceless sounds ; 
 of course this means outside of the exceptions already noted. 
 
 Be careful to write Ti in words that have this sound, as hatched 
 (hatcht). Do not write ed for Di as in loved (lovd). 
 
 WRITING EXERCISE XXIII. 
 
 Banged, sagged, aged, adds, enraged, robbed, loved, 
 grooved, moved, seized, ticks, tricked, etched, its, apt, oaths, 
 heft, lift, massed, splashed, lashed, hissed, passed, best, 
 kissed, missed, blessed, hanged, banked, planked, and, ant, 
 tempt, damp, heard, hurt, cored, court, breadth, width, 
 hundredth, thousandth, millionth, billionth, trillionth, quad- 
 rillionth, decillionth, fifth, fifteenth, tenth, ninth, eighth, 
 fourth, sixth. 
 
 REM. 40. The vocal Thi and aspirate Ith ; are, in very many 
 words, confounded by most students. A list of the common words 
 having these sounds are given in the two following Exercises. Th 
 word thither contains both sounds. 
 
 WRITING EXERCISE XXIV. 
 
 [The voiced Thi sign.] 
 Then, this, these, those, than, that, the, their, them, 
 
THE LITERARY STYLE. fifi 
 
 thence, therefore, thine, worthy, bequeath, beneath, writhed, 
 heathen, thither, though, thou, thus, thy, thyself, themselves, 
 thereat, therefor, thereby, thereabouts, thereafter, therein, 
 therefrom, thereof, thereinto, thereon, thereout, theirs, 
 thereto, thereunto, thereupon, therewhile, thereunder, there- 
 withal, therewith, thenadays, thenceforth, thenceforward, 
 thencefrom, they, father, fathom, hither, loathe, loathsome, 
 mother, brother, mouthed, mouther, breathing, brothel, 
 brethren, southeast, southerliness, southerly, southern, 
 southing, southly, southward, south, (v.) northeast, norther, 
 northerliness, northerly, northern, northerner, northernly, 
 northernmost, northing, northward, north-west, whither, 
 whitherward, whithersoever, whether, weather, weather-board, 
 weather-cock, weather-gage, weather-strip, weather-wise, 
 booth, seething, seethe, wreathe, breathe, scathe, lithe, blithe, 
 swathe, clothe, scythe, whither, smother, sheathe, neither, 
 either, booth, oaths, burthen, farthing, lather, leather, 
 together. 
 
 WRITING EXERCISB XXV. 
 
 [The voiceless Ith sound.] 
 
 Broth, breath, mouth, moth, froth, frith, fifteenth, fiftieth, 
 fifth, faith, thane, thank, thought, thaw, theandric, theanth- 
 ropic, theater, theatre, theave, Theban, Thebes, theft, the- 
 archy, theiform, south, (n.) southdom, southsea, southness, 
 north, north-man, theine, theism, theme, theodolite, north- 
 most, northiness, Northumbrian, northwardly, scath, bath, 
 Theogony, theological, theology, theopathetic, theopath}', 
 pith, lath, Lithograph, Seth, earth, dearth, nothing, author, 
 theophilanthropic, theorem, theorj', Theosophical, Therap- 
 eutic, ether, youth, Sabbath, Mythology, parenthesis, lev- 
 iathan, hypothesis, therf-bread, therial, thermal, thenuo-cur- 
 
66 THE KIROGRAFIK TEECHER. 
 
 rent, Thermology, antipathy, arithmetic, antithesis, anathema, 
 apothegm, thermometer, Thermoscopic, thesis, Thespian, 
 theta, thew, zenith, betroth, bismuth, anthem, ethics, method, 
 truths, troth, thick, thin, thicket, thief, thieve, thigh, thilk, 
 sheath, path, both, myth, plethoric, synthesis, thill, thimble, 
 thing, think, third, thirtieth, three, thirl, thirst, thirteenth, 
 thistle, thole, Thor, thong, thorax, Thornia, thorn, thorough, 
 Thorp, Thoth, thought, thousandth, Thrace, thrack, thrall- 
 dom, thrapple, thrash, thrave, thraw, thread, threap, threat, 
 threave, threshold, threw, thrice, thrift, thrill, thrive, throat, 
 throb, throe, throne, throng, throttle, throw, thrum, thrush, 
 thurst, thud, Thug, thumb, Thummim, thump, thunder, 
 thurl, Thursday, thus (resin), thwack, thwart, Thyroid, 
 withe, oath, Pathologic, pathos, pathway, Smith, Theodore, 
 sayeth, doeth, goeth, lieth, dieth, knoweth, roweth, hoeth. 
 RKM. 41. It is now generally conceded, that lu loses the Yi 
 element when preceded in the same syllable by a Dental consonant. 
 The reason for this is explained by the fact, that it is difficult to 
 utter the y element immediately following the Ji, CM, Zhi, Shi, R, 
 Di, Ti, Ni, Zi, Si, L and Th sounds when combined in the same 
 syllable, because the organs of utterance are already in a position 
 to pass with perfect ease to the utterance of Oa or Uu, and it is 
 very difficult to touch the intermediate y element. The tendency 
 of the development of the language is, to ease of utterance ; sooner 
 or later it will surely come about ; hence, the indications of nature 
 are, that all this class of words must be spoken without the y 
 element. We, therefore recommend that they be written so, until 
 such time as this question is settled by Science. 
 
 WRITING EXERCISE XXVI. 
 
 Use Oo in such a words as : 
 
 New, duty, tune, lute, lewd, delusion, exclusion, blue, 
 blew, glue, flue, flew, Loo, lieu, lurid, lucid, fluid, plural, 
 lunar, fluke, flute, flume, news, new, nuisance, nude, nudity, 
 
THE KIROGRAFIK TEECHER. R7 
 
 suit, soup, sued, sues, superior, superfine, thew, thurible, 
 injure, injury, perjure, exposure, composure, abjure, jury, 
 July, juice, sure, sugar, shoo, shew, shoed, Shooke, rue, 
 rood, rude, brood, brewd, drew, rule, prude, prune, brute, 
 spruce, truce, true, truth, brutal, frugal, rural, rumor, ruler, 
 ruby, Druid, bruin, prudish, brew, grew, crew, drew, shrew, 
 tour, root, issue. 
 
 WRITING EXERCISE XXVII. 
 
 Use lu in such words as : 
 
 Unity, unicorn, uniform, unify, union, unique, unison, 
 unit, unite, universal, universe, University, univocal, 
 univocation, Unitarianisrn, ubiquity, actual, amulet, calumet, 
 century, educate, manual, petulent, punctual, regulate, 
 ritual, rivulet, saturate, strenuous, titular, tortuous, vir- 
 tuous, actuate, document, emulate, fabulous, genuine, 
 globular, gradual, granular, manuscript, monument, mutual, 
 jocular, popular, secular, adventurous, ambiguous, assid- 
 uous, bituminous, circuitous, conspicuous, contemptuous, 
 ingenuous, continuous, miraculous, perspicuous, ridiculous, 
 tempestuous, infinitude, impunity, execute, diminutive, retrib- 
 utive, rapturous, capture, creature, culture, failure, feature, 
 figure, fixture, flexture, fracture, future, gesture, jointure, 
 juncture, lecture, mixture, moisture, nature, nurture, pasture, 
 picture, rupture, vulture, departure, avenue, revenue, con- 
 tinue, indenture, measure, pleasure, treasure, embrasure, 
 leisure, chew, usury, erasure, disclosure, assure, pressure, 
 fissure, tonsure. 
 
 REM. 42. The / sign should be used always when it begins a 
 word, or any syllable of a word, although a Dental consonant pre- 
 cedes it in the immediate syllable, in such words as in Exercise 
 XXVII. Use the short Uu sound in such words as : 
 
 Would, should, wool, shoot, multitude, solitude, longitude, 
 
68 THE LITERARY STYLE. 
 
 latitude, rectitude, student, studions, studious, dubious, institute, 
 constitution, constitute, sedulous. 
 
 WRITING EXERCISE XXVIII. 
 
 Use Shi for Ch in words like these : 
 
 1 Shagreen, chagrin, chaise, chamade, chamois, cham- 
 pagne, champerty, champertor, champignon, chancre, chan- 
 delier, chanson, chaperon, charade, charlatan, chasselas, 
 chateat?, chatoyant, chaumontelle, chemise, cheval, chevaux, 
 chevalier, chivalry, chivalrous, chivalric, chevisance, chevron, 
 chicane, chiminage. 
 
 Use Ki for Ch in words like these : 
 
 2 Chalcedony, chalcography, chaldaic, chalybeate, cham, 
 chambrell, chamlet, chameleon, chamomile, chaos, character, 
 chasm, chelonian, cheley, chemistry, chersonese, chiaro- 
 oscuro, chiliad, chilifactive, chimera, chiragro, chirology, 
 chirography, chiromancy, Chiropodist, chirurgeon, chlamys, 
 chlorous, chlorine, chlorophyl, chlorosis, choir, choler, chol- 
 iambic. chondrodite, choral, choragus, chord, choreus, 
 chorion, chorography, chorepiscopal, chrism, chrismatory, 
 Christ, Christendom, chromatic, chronic, chronical, chyle, 
 chyme, chrysalis, chronography. 
 
 Use Gi in words like these : 
 
 3 Gay, go, gammon, gabardine, gabion, gellinaceous, 
 gomphosis, gordian, guillotine, grundsel, guttural, keg, geese, 
 geld, get, drugged, gig, giggy, gibbous, gibberish, giggle, 
 gild, gil, gimlet, gimmal, gird. 
 
 Use Ji for g or dg in words like these : 
 
 4 Genius, generous, gentian, gentleman, gerund, gilli- 
 flower, gypsey, gyve, gyre, mange, cridge, ledge, wedge, 
 bridge, age, sage, rage, adage, change, range, danger, ranger, 
 prestige, flange, peerage, age, ridge, Sedgewick, sledge, 
 
THE LITERARY STYLE. 69 
 
 smudge, trudge, danger, stranger, ginger, plunger, singeing, 
 impinging. 
 
 Some of the longest words in the language : 
 5 Transubstantiations, transmigrationary, transporta- 
 tions, disadvantageously, theophilanthropically, circumam- 
 bulations, circumnavigations, circumferences, contradictingly, 
 contradictorily, contradistinguishing!}-, accomplishments, ac- 
 cordingly, unconstitutionally, consequentially, simultaneously, 
 miscellaneously, pusillanimously, maladministrations, adver- 
 tisements, inexperienced, plenipotentiaries, re-incarnations, 
 uncomplimentary, mathematically, super-inducements, super- 
 intendents, magnanimously, extraordinarily, perambulations, 
 imprescriptible ness, horticulturists, providentially, steno- 
 graphically. 
 
 REM. 43. The general rule for short Oe, is, to use it in unac- 
 cented syllables as in paragraph 1 Exercise XXIX. The words 
 in paragraph 2 Exercise XXIX are pronounced with the short Oe 
 in some parts of the country, and with the long Oh in others places. 
 We, leave it with the Teacher to decide which to use the tendency 
 hower, seems to be growing towards the short sound, but it must 
 never be confounded with the short u in up. 
 
 WRITING EXERCISE XXIX. 
 
 1 Obey, only, phonic, bravado, Farrago, lumbago, octavo, 
 plumbago, potato, tomato, tornado, virago, volcano, embargo, 
 flamingo, martello, merino, morocco, palmetto, stiletto, to- 
 bacco, buffalo, calico, cameo, domino, indigo, nuncio, olio, 
 studio, vertigo, opinion, omit, symphony, sycophant, sopho- 
 more, hypocrite, pioneer, parody, reprobate. 
 
 2 Most, only, boat, bolster, bolt, bone, both, broke, 
 broken, choke, cloak, close, coke, coat, coax, colt, coulter, 
 comb, dolt, folks, goat, hold, homely, home, jolt, load, mol- 
 ten, molt, open, pole, polka, poultice, poultry, revolt, road, 
 
70 THE KIROGRAFIK TEECHER. 
 
 rogue, soap, sloth, smoke, sofa, spoken, stone, story, swol- 
 len, toad, upholsterer, hole, holy, wholesome, rote, wrote, 
 yoke, yolk. 
 
 Use Ing in such words as these : 
 
 3 Sing, singer, singly, singing, wing, king, whang, bang, 
 bring, stripling, yearling, condemning, contemning, anger, 
 finger, hunger, wronging, longing, longer, stringer, dipthongal, 
 canker, clangor, concord, concourse, congress, conquest, 
 singular, extinguish, elongate, delinquent, tangle, tingle, 
 jingle, single, ingot, ingle, gangrene, fungus, ink, sink, bank, 
 sank, lank, tank, rank, think, link, brink, wink, rink, drink, 
 blink, slink, slunk, drink, drank, drunk, bank, canker, func- 
 tion, tinker, trinket, twinkle, distinctly, conquest, concourse, 
 concord. 
 
 REM. 44. The short Italian Aa in ask is given more prominence 
 in this than in the previous edition. The tendency is to use this 
 sound in preference to the drawling long Ay in the language. This 
 tendency secures grace as well as ease in pronunciation. With few 
 exceptions, nobody in ordinary conversation, drawls out the long 
 Ay sound in the article act, then, why write it? Sound always the 
 word aa as in the following sentence : "aa picture of aa kite and 
 aa balloon will not always please aa boy." Words with this prefix 
 should be written with the aa sign as aavoid, aaway, aabout. There 
 may be a few words and phrases when strongly emphasized, which 
 will sound better with the long Ay sound as, "Ay mighty maze, and 
 all without aa plan." The word the is written with the short /sign. 
 
 NOTE : In using this sign for the word Aa, we are only follow- 
 ing in the footsteps of the practice in the public schools of Massa- 
 chusetts. The series of "Analytical Readers " of Richard Edwards, 
 L.L.D., President of the Illinois State University, adopts this 
 practice they are used in the public schools in this place. 
 
THE LITERARY STYLE. 71 
 
 WRITING EXERCISE XXX. 
 
 Words with the short Italian Aa : 
 
 Away, avoid, aft, after, amass, America, Asia, arnica, 
 algebra, Africa, Asa, Arabia, advance, advantage, alabaster, 
 alas, amass, answer, ant, ask, asp, enhance, enchant, en- 
 sample, Arabia, Eliza, Iowa, Waft, vast, veranda, fast, flask, 
 bask, basket, blast, branch, brass, bass, blanch, bath, pass, 
 past, pastor, pastime, plaster, prance, polka, pasture, pilas- 
 ter, path. Mass, mask, mast, mastiff, mischance, Minnesota, 
 Martha, staff, slant, sample, slander, surpass, soda, Celia, 
 shaft, dance, dastard, Deborah, disaster, draff, draft, draught, 
 task, trance, Noah, last, lance, launch, lass, lava, Laura, Julia, 
 chaff, chance, chandler, chant, hast, hasp, Hannah, raff, raft, 
 rafter, rasp, repast, gasp, glance, glass, graft, grass, ghastly, 
 graff, graft, grant, grasp, Georgia, cask, cast, clasp, class, 
 Cuba, Canada, Cora, Cordelia, Clara, casket, castle, contrast, 
 craft, quaff, Augusta, Anna, Indiana. 
 
 HEM to. The vowel sound Eu in her is one of the most frequent 
 sounds in the language. It is to be regretted that it is not used 
 with more regard for unvarying rules. Terminations having the 
 same meaning should always have the same orthography. Even 
 when they are of different Etymological derivation, they should be 
 made to conform to the proper dress belonging to that termination. 
 To write the agent or doer in such words as stayer, layer, prayer, 
 worker, weigher, with Eu in the termination, should be followed 
 with uniformity in Doctor, author, abettor, Mayor and minor. It is 
 an insult to a child's reason to have it otherwise. The adjective 
 termination ought to be different in the language. We merely sug 
 gest that adjectives might be written with the E, and common 
 nouns ending in R might be written without the vowel, as papr for 
 paper ; such practice would improve the language and remove one 
 of its inconsistencies we only offer it, however, as a suggestion. 
 
 NOTE 1. Such words as curry and hurry are usually pronounced 
 with the short u sound as in up. The sounds Ay-En in prayer (one 
 who prays), must not be confounded with the Ai sound in prayer 
 (a petition or supplication), etc. 
 
72 THE K1ROGRAFIK TEECHER. 
 
 NOTE 2. Max Miiller in his second series of lectures on the 
 "Science of Language," page 134, Sec. 7, says: "There is, besides, 
 the most troublesome of all vowels, the neutral vowel, sometimes 
 called Uroocal. Professor Willis defines it as the natural vowel of 
 the reed, Mr. Ellis as the voice in its least modified form. Some 
 people hear it everywhere, others imagine they can distinguish va- 
 rious shades of it. We know it best in short closed syllables, such 
 as but, dust, etc. It is supposed to be long in absurd. Sir John 
 Hershel hears but one and the same vowel in spurt, assert, bird, vir- 
 tue, dove oven, double, blood, Sheridan and Smart distinguish be- 
 tween the vowels heard in bird and work, in whirl'd and world. 
 There is no doubt that in English all unaccented syllables have a ten- 
 dency towards it." 
 
 WRITING EXERCISE XXXI. 
 
 1 Words with the sound of Eu in her : 
 
 Inferred, infernal, urge, other, earth, error, early, earn- 
 est, were, word, world, worthy, weigher, worker. Whirr, 
 whirl, Verde, verdant, verses, versus, vertical, verdure, virtue, 
 vernon. Fir, fur, furrier, further. Bird, burn, burr, burden, 
 burrow, birth. Purr, pur, per, prayer, (one who prays), 
 payer, person, pertinate, perquisite, perpetrate, perturbation, 
 pervious, persecutor, persevere, perquisite, perpetrate, per- 
 manent, permeate, perjurer, perforate, perfector, proper, 
 prompter. Mercy, mirth, myrrh, myrtle, maternal. Yearn. 
 Sir, cir, circum , circle, certain, surd. Third, thorough, 
 thermal. Dirt, dirge, durham. Term, turn, Turk. Nurture. 
 Shirley, supernal, slayer. Lurk, learn, layer. Journey. 
 Churn, church. Her, hurt, herd, healer. Gurney, girt, gird, 
 girdle. Kurd, curd, cur, curdle, carder, cooper. Recur, 
 curfew, furlong, disbursed, purring, recurring, furry, 
 
 2. Words with E in en: 
 
 Very, ferry, ferule, berry, bury, perry, peril, perilous, 
 merry, derry, Terry, sherry, Jerry, cherry, heritage, Gerry, 
 Peradventure, peregrinate, peremptory, perish, periwig, per- 
 haps, etc. 
 
THE LITERARY STYLE. 
 
 WRITING EXERCISE XXXII. 
 
 73 
 
 Jaw breaking words : 
 
 Phagedeua, phenomena, phaeton, phalangious, phalanx, 
 phantasmagoria!, pharmaceutically, phenicopter, phenoga- 
 mian, philanthrophj*, philanthropic, phlegmatic, phosnix, 
 phthisis, phthisic, pneumatic, pneumatology, pneumatocele, 
 polynomial, polyonomous, polyphylkxis, polysyllabicaly, 
 psanimite, pseudo, pseudochina, pseudonymous, psittaceous, 
 psoas, psora, physchology, j)sychomancy, ptarmigan, ptisan, 
 ptolemaic, ptyalism, ptysmagogne, Czar, Ctesilas, Ctesiphon, 
 bdellium, gnostic, larynx, laryngean, schism. 
 
 PHONIC READING EXERCISE XXXII. 
 Jaw breaking: words : 
 
LESSON IX. 
 
 ACQUIREMENT OF SPEED. 
 
 13. The first step necessary lor every student 
 to take, in the acquirement of speed, is to thor- 
 oughly master the Alphabet, directions for writ- 
 ing the Signs, elements of Phonetic Analysis, 
 Joinings, Drills, and Phonic Reading Exercises. 
 The more thorough the work is performed in this 
 mastery of the elementary principles, the sooner 
 the pupil will be prepared for the next step. 
 
 The second step, is the practical acquirement 
 of the highest speed compatable with the tem- 
 perament of the pupil. The student should be- 
 gin a series of Drills on the elements by pract- 
 icing on the Alphabetical Signs, until both 
 consonants and vowels can be written in about 
 fifteen seconds of time. Then begin practice on 
 the Joinings, Drills, Writing, and Phonic Read- 
 ing Exercises, until they can be written with the 
 greatest mechanical rapidity. Then practice 
 from dictation, by having the reader or speaker 
 dictate so as to tax the writer's powers to the 
 
THE LITERARY STYLE. 75 
 
 utmost, for a short time every day, for five or ten 
 minutes. Then let this practice be carried into 
 other fields of Literature, Composition, or Cor- 
 respondence, until the acquirement of speed has 
 been equal to at least double that of the common 
 long-hand script. Some will gain a speed equal 
 to three or more times that of the ordinary script, 
 but persevering practice is the only short road to 
 success. The school room is the natural place 
 to begin the study of Kirografy. 
 
 HOE YOUR OWN ROW. 
 Alice Gary. 
 
 1. I think there are some maxims 
 
 Under the sun, 
 Scarce worth preservation ; 
 
 But here, hoys, is one 
 So sound and so simple 
 
 "Tis worth while to know; 
 All in a single line, 
 
 How your own row ! 
 
 2. If you want to have riches, 
 
 And want to have friends. 
 Don't trample the means down 
 
 And look for the ends ; 
 But always remember, 
 
 Wherever you go, 
 The wisdom of practicing 
 
 How your own row ! 
 
 3. Don't just sit and pray 
 
 For increase of your store, 
 But work ; who will help himself, 
 
76 THE KiRixniAFiK TEECHKR. 
 
 Heaven helps more. 
 The weeds, while you're sleeping, 
 
 Will come up and grow, 
 But if you would have the 
 
 Full ear, you must hoe I 
 
 4. Nor will it do only 
 
 To hoe out the weeds, 
 You must make the ground mellow 
 
 And put in the seeds ; 
 And when the young blade 
 
 Pushes through, you must know 
 There is nothing will strengthen 
 
 Its growth like the hoe! 
 
 5. There's no use of saying 
 
 What will be will be- ; 
 Once try it, my lack-brain, 
 
 And sec; what you'll see! 
 Why, just small potatoes, 
 
 And a few in a row; 
 You'd better take hold, then, 
 
 And honestly hoe! 
 
 HOE YOUR OWN ROW. 
 
 AHr*' C'arii, 
 
THE LITERARY STYLE. 
 
 77 
 
78 
 
 THE KIROGRAFTK TEECHER. 
 
THE LITERARY STYLE. 79 
 
 EDUCATION. 
 Phillips. 
 
 Education is a companion that no misfortune can depress, 
 no clime destroy, no enemy alienate, no despotism enslave ; 
 at home a friend, abroad an introduction, in solitude a solace, 
 in society an ornament. It chastens vice, it guides virtue, it 
 gives at once a grace and government to genius, Without it 
 what is man ? A splendid slave ! A reasoning savage, vas- 
 cillatiug between the dignity of an intelligence derived from 
 God, and the degradation of passions participated with 
 brutes ; and in the accident of their alternate ascendency, 
 shuddering at the terrors of an hereafter, or embracing the 
 horrid hope of annihilation. Without education what is this 
 wondrous world, man's residence? 
 
 "A mighty maze and all without a plan ;" a dark and deso- 
 late, and dreary cavern, without wealth or ornament, or order. 
 But light up within it the torch of knowledge, and how wond- 
 rous the transition ! The seasons change (with new mean- 
 ing) , the atmosphere breathes (with a fragrance imparted by 
 invisible flowers) , the landscape leaves (in the light of new 
 radience), earth unfolds (fairer fruits), ocean rolls (in more 
 magnificence), the heavens display their constellated canopy, 
 and the grand animated spectacle of nature rises revealed be- 
 fore him ; its varieties regulated, its mysteries resolved : The 
 phenomena which bewilder, the prejudices which debase, the 
 superstitions which enslave vanish before education. Like 
 the holy symbol which blazed upon the cloud before the hesit- 
 ating Constantine, if man but follow its precepts purely, it 
 not only will lead him to the victories of this world, but open 
 the very portals of omnipotence for his admission. 
 
80 
 
 THE KIROGRAFIK TEECHER. 
 
 EDUCATION. 
 
 Phillips. 
 
THE LITERARY STYLE. 
 
 81 
 
LMN8ON X. 
 
 ALPHABETICS. 
 
 a. Alphabetics is the science or art of transcribing lan- 
 guages by an alphabet. It may properly be subdivided into 
 four branches, viz: 1. Phonology or the art of making 
 Phonetic Analysis of the elementary sounds of Language : 
 2. Chirography (Kirograty) or the art of writing: 3. 
 'typography or the art of printing : 4. and Stenography 
 (Stenografy) or the art of writing in short-hand, by using 
 abbreviations. 
 
 b. It is self-evident that there can be no real science or 
 art of Alphabetics, unless it is founded upon the simple, but 
 all potential laws of Mathematics. To place the science on 
 this foundation will secure a common or Universal Alphabet 
 adapted for the transliteration or transcription of all lan- 
 guages with practically one alphabet for common script, type, 
 and short-hand. A common Mathematical, Kirografik, Typo- 
 grafik and Stenografik Alphabet should be as far as possible; 
 an embodiment of these five essential conditions. Other 
 essential conditions are needful such as securing an alphabet 
 that is pleasing to the eye, graceful in appearance and which 
 does not have too many letters with extended comet like 
 tails, either below or above the line of writing. The beauty of 
 
THE LITERARY STYLE. 83 
 
 the Roman t}"pe is marred by too man}' of such letter forms. 
 
 c. The Mathematical Alphabet presented here is nearly 
 completed for all the languages in the world. It will be ex- 
 tended in " How to Make the English Language Scientific 
 and Universal." The fundamental difference, between the 
 script and short-hand signs and the t}"pe letters, is that there 
 is an open or shut circle added to the script signs for the type 
 letter. Each type letter has some part of it struck in the 
 same direction as the corresponding script sign. Capital 
 signs or letters may be shaded or made thick in some part of 
 the sign for script, and enlarged in size for type letters. 
 
 d. The chaotic conglomeration called an Alphabet, now 
 in common use for script and type, requires a child to master 
 about a half dozen Alphabets to acquire what might be ac- 
 complished with one Mathematical Alphabet. No apology is 
 required for adding another new one to the long list already 
 before the public. The fact that none of them even attempt 
 to secure one Alphabet for script, short-hand and type, is suf- 
 ficient reason for presenting this one. If years of labor and 
 time can be spared, to the unborn millions of the coming 
 future, by the adoption of an Alphabet based on this princi- 
 ple and it can, then it is the duty of all humanitarians to 
 encourage such a desirable Alphabetic reform. 
 
 e. It will not be necessary to have a complete new set of 
 steel dies made, in order to make practical use of the type 
 letters in the Mathematical Alphabet. By cutting, filing and 
 reversing, such letters as u, h, q, d, a, o, c, e, Q, u, s, </, 
 p. and figures 6, 9, 3, can be made serviceable for a goodly 
 number of the type letters. Then again the Ellis-Pitman 
 and other new alphabets, have dies now for quite a number 
 of letters, as can be seen by a comparison with the Mathe- 
 matical Alphabet. 
 
84 THE MATHEMATICAL ALPHABET. 
 
 [A Universal Kirojrraflk. Stenojrrafik and Typografik Alphabet.] 
 
THE LITERARY STYLE. 
 
 85 
 
 THE MATHEMATICAL ALPHABET KEY. 
 
 [The Italic letters are the English equivalents of the script and 
 type signs and letters in the corresponding sections ot The Mathe- 
 matical Alphabet. A few sections have Roman accented letters 
 instead of italic.] 
 
 
 1 
 
 2 
 
 9 
 
 4 
 
 5 
 
 G 
 
 7 
 
 8 
 
 
 a 
 
 heel 
 
 lull 
 
 hail 
 
 hair 
 
 hfl 
 
 bal 
 
 her 
 
 hll 
 
 a 
 
 b 
 
 i 
 
 Sw. 
 
 e 
 
 e 
 
 F- 
 
 pere 
 
 G. 
 Viiter 
 
 F 
 
 ete 
 
 G. 
 
 Ki'inig 
 
 G. 
 B(icke 
 
 b 
 
 c 
 
 are 
 
 ask 
 
 haul 
 
 holly 
 
 hole 
 
 obey 
 
 pool 
 
 pull 
 
 c 
 
 d 
 
 F. 
 pate 
 
 F. 
 
 patte 
 
 
 
 F. 
 deiix 
 
 F. 
 
 jcunc 
 
 F. 
 
 rut' 
 
 G. 
 
 Siindc 
 
 d 
 
 e 
 
 high 
 
 Ho^/le 
 
 howl 
 
 ?Miite 
 
 m ute 
 
 
 F. 
 miJi 
 
 
 e 
 
 f 
 
 
 F. 
 an 
 
 Pr. 
 
 Al^m 
 
 F. 
 
 on 
 
 
 
 
 F. 
 
 mi 
 
 f 
 
 ff 
 
 wit 
 
 ic hit 
 
 uivid 
 
 //e 
 
 babe 
 
 peep 
 
 jiii\ini 
 
 li)p 
 
 {f 
 
 h 
 
 
 
 G. 
 wind 
 
 L. 
 ph 
 
 San. 
 l,'h 
 
 Sail. 
 p'h 
 
 San. 
 d' 
 
 San. 
 f 
 
 h 
 
 i 
 
 2/es. 
 
 G. 
 
 chinn 
 
 ooze 
 
 see 
 
 then 
 
 thin 
 
 did 
 
 tif/ht 
 
 i 
 
 k 
 
 Pareu. 
 
 
 
 San. 
 
 8 1 
 
 W. 
 LI 
 
 W. 
 
 Lluu 
 
 Ar. 
 
 ", 
 
 Boh. 
 
 t 
 
 k 
 
 I 
 
 nine 
 
 hint 
 
 azure 
 
 she 
 
 ill 
 
 lll\V 
 
 jndf/e 
 
 eacA 
 
 I 
 
 m 
 
 carton 
 
 Hy- 
 
 phen 
 
 Ellip- 
 sis 
 
 San. 
 Sh 
 
 Trill. 
 I 
 
 Trill. 
 
 I 
 
 San. 
 fh 
 
 San. 
 eh'h 
 
 m 
 
 n 
 
 'and 
 
 /land 
 
 Af. 
 click 
 
 Af. 
 click 
 
 San. 
 
 t/'/i 
 
 San. 
 Vh 
 
 San. 
 d'h 
 
 San. 
 Vh 
 
 n 
 
 P 
 
 air 
 
 rich 
 
 G. 
 
 Tsif/ 
 
 S. 
 loch 
 
 <Ai 
 
 kick 
 
 S\ny 
 
 sink 
 
 P 
 
 ! r 
 
 Trill. 
 r 
 
 Ar. 
 
 grhnin 
 
 Ar. 
 
 Ain 
 
 Ar. 
 
 t Hha 
 
 L. Sax. 
 r 
 
 L.Sax. 
 r 
 
 Trill 
 
 Trill 
 
 r 
 
 s 
 
 Gut 
 
 . Gut. 
 
 Pal. 
 
 Pal. 
 
 Dent. 
 
 Dent. 
 
 Lab. 
 
 Lab. 
 
 s 
 
 
 1 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 7 
 
 8 
 
 
86 
 
 THE INTRICACIES OF A WHEELBARROW. 
 
 Bailey. 
 [The Literary Style.] 
 
THE LITERARY STYLE. 
 
 87 
 
THE INTRICACIES OF A WHEELBARROW. 
 
 Bailey. 
 [In New Type Letters.] 
 
 , . 
 
 :OO, OQ' &OCDQO O0 OO OOO OOO OC> 
 QQQ OOOQ OO-'QOG. -' -OOQ~>OOO 
 
 00 0000 Q000>GQOpCQ OQ G 
 O&OO, OQ GO 900 OOJ ,06 OG. 
 
 OOQ OOQ 9OQ- 00)OO O(DQ QCQ 
 000 QCO&G eOOQ OCD;-aQQO;0, : O0OO 
 CQOCOO COO. GO 'QCOOO ' QOQ 
 
 OCQ 00 OO.Q C5LO.O. :-000 ' G'OOOO O- 
 
 o o 0.40.0 ; ' & ob ' : Q o o o o . o o Q cp oo a 
 
 0CQ-Q ' 0,00 OOQ, ' &0<&Q ,' ; OOQ O&OO 
 
 !r oa--a(S)0 OQQ -ooo a) ; -.00' eo 
 
 0(2- adO . OQO 0(DOO OQ QO . 0OQCQ 
 
 oa a OQ, -0ooGooOoo 00 QOQOOOOH - 
 oo .aooocoG, 6:6 OOQO o 00 oooo 
 
 )Q : OQ000 000 OQOQ 09 00 O' 
 OQQ "CIO QOOCQO.CQ OQj CO<D0O -Q Q , 
 ^00 0(D00 OOOOCO& OQ/.QOCG 0<OOO - 
 
 : QQ >' 0OQ...QCOOO OOOCQ O0 ; 
 
 90Q 0000 > COO -0000 ,(DQOOQ OO 
 OOOQ.Q Q00000000 OQ OOO 0OQ,< 
 
 'aoO^Q ^p'- ^00,000 OOOOOQ. 00 QOQOO 
 
 ^0000 *&Pi m !Z;000 OQ ~ 
 
 O&^QOdO - ;; 0)Q2)-0 000CQO OOO, &<D 
 
 oo" 60 ooo ooQo^o^Q .000 o 
 
 QOOOOOO, OQO QO OOQ GO OOQH' 
 000' 0(DQ .(pQOGff> iOO, OOQ OC 
 O 000 -.dOOOQ^; OOQ OQ OOOOO 
 OQ ' 0(D<&60. >' OOQ^OOO QO 
 
 OOCQ 00.090 Q^>0, :; 0(DO OQ GOO OOS)C 
 
 ooo.cQoo oo OQ oo; -ooo oooooo 
 
 QOOO . OQ 000 QOOQQOG. 
 
THE LITERARY STYLE. 89 
 
 THE INTRICACIES OF A WHEELBARROW. 
 
 Bailey. 
 
 If you have occasion to use a wheelbarrow, leave it, when 
 you are through with it, in front of the house with the handles 
 toward the door. 
 
 A wheelbarrow is the most complicated thing to fall over, 
 on the face of the earth. A man will fall over one when he 
 would never think of falling over anything else. He never 
 knows when he has got through falling over it, either ; for it 
 will tangle his legs and his arms, turn over him and rear up 
 in front of him, and just as he pauses in his profanity to con- 
 gratulate himself, it takes a new turn, and scoops more skin 
 off of him, and he commences to evolute anew, and bump 
 himself on fresh places. A man never ceases to fall over a 
 wheelbarrow until it turns completely on its back, or brings 
 up against something it cannot upset. It is the most inof- 
 fensive looking object there, but it is more dangerous than a 
 locomotive, and no man is secure with one unless he has tight 
 hold of its handles, and is sitting down on something. 
 
 A wheelbarrow has its uses, without doubt, but in its 
 leisure moments it is the great blighting curse on true dignity. 
 
 SOUNDS IN FOREIGN LANGUAGES. 
 
 1. The dipthong o or <K is found in several European languages. 
 This sound is somewhat like the Eu in her, yet different in organic 
 formation. It is found long in German Konig, or short in Bocke. 
 They have new signs as in the Mathematical Alphabet 7 b and 8 b. 
 2, The French eu is closely allied to the German o, and is found 
 long in French deux, or short in jeune. They have new signs in 5d 
 and 6d : 3, The French ne or u and German u are nearly similar 
 to Eu in fur, but more prolonged. They are intermediate between 
 u in up and German o, and combine the sounds of un and ee. They 
 are found long in French du, rue, German iiber, or short in French 
 hutte, German Siinde, liicke. They have new signs as in Id and 8cl. 
 
90 THE KIROGRAFIK TEECHER. 
 
 2. The general principle governing in the assignment of signs 
 to sounds in Foreign languages, is to provide a uniform alphabet of 
 signs and letters for the same or similar sounds. This is accom- 
 plished by modifying the signs or letters as used for English sounds. 
 In the actual practice of penmanship in Foreign languages all these 
 nearly related sounds should be written with the script sign used 
 for the nearest related or modified sound in English, but modified 
 signs for type should always be used in printing. But in transcrib- 
 ing words from Foreign languages into English the modified signs 
 should be used where accurate pronunciation is required. This 
 accommodating practical arrangement will prevent unnecessary 
 confusion. The abrupt or stopped short vowels in met, mit, mat, 
 mut are taken as the extreme of short-vowel sounds and are written 
 without moclifers. 
 
 3. The sounds of Foreign languages can be designated, near 
 enough for all ordinary literary purposes, by adding modifiers to 
 them to indicate either a lengthened or shortened sound. A glide 
 added to a sound can be designated in this manner when necessary. 
 The following principles govern in the assignment of modifiers to 
 signs, viz: 1, A short tick added to any sign or letter, when 
 struck at right angles, indicates that the sound is similar but more 
 or less prolonged than in English : Example, German a in Vater, 
 which is similar to a lengthened English e in men, as shown by its 
 sigu in 5 b : 2, A short tick added to any sign or letter, when 
 struck at acute angles, indicates that the sound is similar but more 
 or less shortened than in English : Example, French e in pere, 
 which is similar to a shortened English ai in air, as shown by its 
 sigu in 4 b. The i in 1 I, & in 3 b, Swedish e in 2 b and French e in 
 G b are examples of shortened vowel sounds found in Foreign lan- 
 guages, as shown by their respective signs. 
 
 4. Nasalization of vowel sounds are common in French, Port- 
 uguese and some other languages. The nasal vowel sounds as 
 represented by an, on, an, in, en or em never have the consonant 
 sounded. They are produced by having a portion of the sounding 
 breath escape through the nasal passage-way in sounding the vowel. 
 Nasalization is indicated by attaching a dot to any sign as shown 
 in2/. 
 
 5. The trilled r is found in European languages, perhaps the 
 
THE LITERARY STYLE. 91 
 
 sound in English terror may give an idea of it; or better the Arabic 
 grhain or Northumberland lunjrh. The trilled r is represented as 
 in 1 r and 2 r : and the trilled I as in 5 m and 6 m. The sign and 
 letter for Trills is given in 7 r and 8 r. 
 
 6. The hard or surd aspirates k'h, t'h, p'h, etc., occur in Greek 
 and Sanskrit in connection with the consonants k, t, p. They are 
 represented by joining the Hi sign to the other consonant signs as 
 shown in 6 n : 2, The soft aspirates are of frequent occurrance in 
 Sanskrit. They are found also in French, Italian, Spanish and 
 Portuguese so strongly aspirated that the Euglish ear does no easily 
 recognize them. They occur in connection with the voiced con- 
 sonants ffh, d'h, 6'A, etc., and are represented with the 'h or hie sign 
 as shown in 5 n. 
 
 7. The Dutch sch is similar to English sk, but harsher and more 
 guttural, the German sch sounds like sh. but the Italian sch sounds 
 like k : 2, The sound represented by the sigh Och in 3 p, is found 
 in Scotch loch, Irish Och! and German daeh. Its short cognate is 
 found in German Tage. This sound formerly belonged to such 
 words as through, though, etc., in English; and it is still extant in 
 Gaelic : 3, The cognate of y is found in German China or ich and 
 Is a harder sound than y in year. Its sign is shown in 2 i : 4, 
 The German and Swedish z has the sound of English ts ; the Ital- 
 ian z sounds like English dz and zz like ts. The Hungarian cz sounds 
 like English ts. All these sounds are represented by using the signs 
 for their English equivalents. 
 
 8. All mouille or softened Palatal Consonants, as in Spanish 
 ano, French famille familye, and English canon are represented by 
 adding a y or iu sign to them as in 1 m : 2, The n in link repre- 
 sents nearly a sound found iu many European languages and is re- 
 presented by a halved ng sign as in 8 p. 
 
 FOREIGN DOUBLE VOWELS. 
 
 9. Double vowels are of very frequent occurrance in some foreign 
 languages, and in English there are several of them. They are 
 always represented by joining together the signs for their simple 
 elementary sounds, viz : 1, Oo-ah is found in Zouave. The French 
 dipthong oi is similar and is sounded like w-ah or oo-ah as in Moi. 
 They are represented as in 7 : 2, Short i in it is joined with its 
 
92 THE KIROGRAFIK TEECHER. 
 
 small circle sign as ee-i in being, ay-i in clayey, au-i in Caughey, 
 oh-i in owing, oo-i in Louis, long ie-i in eyeing, oy-i in coying, ou-i 
 in bowing, iu-i spewing, i-u in plenteous : 3, Other combinations 
 of double vowels are found as long ie-u in pious, oh-e in owed, ay-eu 
 in player, long ic-en in dyer, ou-cu in shower, oh-en in sower : 3, 
 Another numerous class are represented in some languages by join- 
 ing short uu in put to other signs, thus : Ee-uu, i-?eii, ay-uit, ai-iiu, 
 e-uu, a-uu, u-uu, ah-wi, aa-uu, an-uu, o-uu, oh-uu, oo-uu, uu-uu, etc. 
 This scale is extended by joining the uu before all other simple 
 vowels in some languages : 4, A 'lipthong represented in some 
 European languages by ei or ey is equivalent to ay-ce. All possible 
 dipthougs are represented by joining together the signs for their 
 simple elements. 
 
 10. The w in German and some other languages, is nearly like 
 English v uttered by the lips alone or without the aid of the teeth, 
 as in Quelle. The Spanish b is also nearly like our v and is formed 
 by bringing the lips loosely in contact with each other. It is often 
 interchanged, as in Cordoba for Cordova, etc. The cognate of this 
 sound is lound in Greek, and in Latin ph. These sounds are written 
 with v and/ as in 3 h and 4 h. 
 
 DIAMOND POINT SIGNS. 
 
 11. The Diamond point signs are added to other signs, to indic- 
 ate, Guturalization, Palatalization, Deutalization or Labialization of 
 sounds, viz : 1, In Sanskrit we find, besides the ordinary dentals , 
 th, d, etc., the linguals or cacuminals (cerebrals,) represented by t', 
 th' t d', etc. They may properly be represented by adding Palatal 
 Diamond point 3 s or 4 s to them as in 7 h and 8 h : 2, In Arabic 
 we find, besides the ordinary dentals, another set of linguals called 
 the "Semitic" or Arabic Guturalizations, which are represented by 
 the Diamond point in 1 r or 2 r. The Arabic voiced Ain in 3 r and 
 its cognate Hha in 4 r are examples of this class of sounds. Ac- 
 cording to Max Miillcr they are between the Och and Ich and the 
 deep guttural r of the Low Saxons and the French Provencal trilled 
 r. 3, The dental t found in Spanish and some other languages, and 
 the dorsal t of Bohemia, may both be represented by the Diamond 
 point in 5 s and G s, as shown in 8 k : 4, The Diamond point in 7 s 
 and 8 s, ,may be used to express Labialization of sounds when 
 necessary. 
 
THE LITERARY STYLE. 93 
 
 12. The peculiar African or Zulu Kafir clicks are represented as 
 in 3 n and 4 n. 
 
 13. All modifiers for Trills, Clicks, Aspirations, Nasalizations, 
 Gutnralizatious, Palatalizations, Dentalizations, and Labializations 
 of sounds, are joined after signs in script ; hut in print, these letters 
 are kept independent, and are inserted after the sign to which they 
 belong. It has not been thought necessary to give illustrations of 
 these print letters as used the script signs have only been given 
 as in 5 n, etc. 
 
 14. The Typographical punctuation marks, used in the ordinary 
 print, are also used with the Mathematical Alphabet with the fol- 
 lowing exceptions, viz : Hyphen or Dash as in 2 m : Ellipsis as in 
 3 m : Parenthesis as in 1 k. 
 
 NOTE. We have consulted the writings of the following persons 
 in the preparation of this work, viz : Max Miiller, Prof. Whitney, 
 Prof. March, Prof. Philbrick, Prof. Bell, Isaac Pitman, Ben. Pit- 
 man, S. P. Andrews, James E. Munson, D. P. Lindsley, E. C. 
 Hoyt, Noah Webster, L. L. D., and others. The Engravings in 
 Lesson X were executed by E. B. Parke of Chicago, 111. 
 
INDEX 
 
 Sec. Rein. Page. 
 
 INTRODUCTION, 1 
 
 Review of. Stenographic Alphabets, . . 3 
 
 Gabelsbergers Principles, .... 3 
 
 Phonography, etc., .... 5 
 
 Duploye's Stenography, .... 6 
 
 The new Stenography, .... 6 
 
 Illegibility of Shaded Alphabets, ... 7 
 
 Acknowledgements, .... 7 
 
 LESSON I. Alphabet of the Vowels, . . 9 
 
 Lingualized vowel signs and letters, . 1 9 
 
 Direction to strike signs, c 9 
 
 Phonic method of teaching, ... 1 9 
 
 Primary Instructions, 2 10 
 
 Position for holding the pen, ... 3 10 
 
 Drill No. I, 4 11 
 
 Correction of Exercises, etc., . .511 
 
 Labialized and Dipthongal vowel signs, . 2 12 
 
 Si/.e of vowel signs, d 12 
 
 Drill No. 2, 13 
 
 Classification of the Alphabet, . 6 13 
 
 Vowel sounds in or, idea, studio, etc. . 9 15 
 
 LESSON II. Alphabet of the Consonants, . 16 
 
 Labial consonant signs, .... 3 16 
 
 Slanting upward signs, ... a 16 
 
Sec. Kern. Pa^e 
 
 Size of Labial consonant signs, ... ft 16 
 
 Names of consonant signs, ... 10 17 
 
 Drill No. 3, 17 
 
 Deuto-Palutal consonant signs, 4 17 
 
 Horizontal consonant signs. c 18 
 
 Size of signs for general use, d 18 
 
 Drill No. 4, 19 
 
 The lu in both vowel and consonant scales, J2 19 
 
 The Palatal consonant signs, ... 5 19 
 
 Perpendicular consonant signs, e 19 
 
 Size of signs for //. /,/. Ji, Chi, Hi, f 19 
 
 Drill No. 5, 20 
 
 // and Li signs interchangeable, ... 12 20 
 
 Guttural consonant signs and letters, . 6 20 
 
 A'/ and /*. and Och and l<-h interchangeable, g 20 
 
 Size ol Guttural consonant signs, h 21 
 
 General direction of striking signs, . . 13 21 
 
 Diagrams and Mnemonic aids, . . 14 21 
 
 Geometric outlines of signs, ... 15 21 
 
 Mnemonic aids for t, d, p-k, y-b and r, . 16 21 
 
 Analogy between sounds and signs, . . 17 22 
 
 Drill No. 6, 22 
 
 LESSON III. Backward and Forward Motion, 23 
 
 Backward and Forward Motion Diagrams, 7 23 
 
 Rules 1 and 2 in Rhyme, .... 7 23 
 
 Drill No. 7, a 24 
 
 Drill No. 8, 6 24 
 
 Drill No. 9, C 24 
 
 Practice, speed and correction of Exercises, 18 25 
 Thi. Ith, 117, Whi, Zhi, Shi, not compound 
 
 sounds, 19 25 
 
 Lessons, their size, ..... 20 25 
 
 Continuous Nasals Ing, Hi, Ni, Mi, . . 21 25 
 Explosives, Dividers, Sibilants, Coalescents, 
 
 Trilled. 22 26 
 
 Vowel signs, assignment of signs for them, 23 26 
 
 LESSON IV. Joined Vowels and Consonants, 27 
 
96 INDEX. 
 
 Sec. Rem- Page. 
 
 Hand Diagrams illustrating Back and For- 
 ward motion, 8 27 
 
 Ay and Ai joined to perpendiculars with a 
 
 hook, a 27 
 
 E and A joined to horizontals with a hook, a 27 
 Si and Ir interchangeble and joined by a 
 
 largo final hook, . ... 6 27 
 
 Angle to strike consonant signs at, . c 28 
 
 Angle to strike vowel signs at, ... d 28 
 
 llules 3, 4, 5, and 6 in Rhyme, e 28 
 
 A short-tick added to secure good angles, . / 28 
 
 Interchangeable, Hi, Ir, II, Li, Och, and Ich, g 29 
 
 Kcasous for making inter-changeable signs, 24 29 
 
 The Yi and lu elements, .... 25 29 
 
 Equivalents of c, q and x, . 26 29 
 
 Writing Exercise I, 30 
 
 Phonic Heading Exercise I, ... 30 
 
 Writing Exercise II, ...... 31 
 
 Phonic Reading Exercise II, ... 31 
 
 Writing Exercise III, 31 
 
 Phonic Reading Exercise III, ... 32 
 
 LESSON V. Angles and Curves, ... 33 
 
 Diagrams illustrating Angles and Curves, 9 33 
 
 Variation of strokes, ..... a 34 
 
 Right lines, Facing and Opposing Curves, b 34 
 
 Right Angles, c 34 
 
 Acute Angles, d 34 
 
 Obtuse Angles, ........ e 35 
 
 Same Curves repeated, . . / 35 
 Opposing and Facing Curves in the same 
 
 direction, g 35 
 
 Opposing and Facing Curves in different 
 
 directions, h 36 
 
 Drill No. 10, ...... 36 
 
 Facing Curves, ...... i 36 
 
 Drill No. 11. Lines and Curves joined, k 37 
 
 Laws of Motion modify speed, ... 28 38 
 
INDEX. !)7 
 
 Sec. Rcm. Page. 
 
 Perpendiculars shorter than Slanting strokes, 29 SB 
 
 How Curves, Angles, etc. are modified, . 30 38 
 
 Shading in Ornamental writing, . . 31 38 
 
 Shading signs destroy speed and legibility, 32 39 
 
 Frequency of easy junctions of Curves, 33 3D 
 
 Doubling Hi, Mi, Ni, Ing, .... 34 40 
 
 Rules 7, 8, 9, 10, and 11 in Rhyme, . . 40 
 
 Writing Exercise IV, ..'... 40 
 
 Phonic Reading Exercise IV, ... 41 
 
 Writing Exercise V, ..... 41 
 
 Phonic Reading Exercise V, ... 42 
 
 Writing Exercise VI, ..... 42 
 
 Phonic Reading Exercise VI, ... 43 
 
 Writing Exercise VII 43 
 
 Phonic Reading Exercise VII, ... 44 
 
 LESSON VI. Phonic Analysis, . 45 
 
 Phonic Analysis the basis of Orthography, 10 45 
 
 Analysis of Vowel sounds, a 46 
 
 Analysis of Dipthong sounds, ... ft 47 
 
 Analysis of Consonant sounds, c 47 
 
 Analysis of Double Consonant sounds, d 48 
 
 Terminations in il, el, cu, on, ... 55 48 
 
 LESSON VII. Joined signs, .... 4 
 
 Joined signs, .11 49 
 
 Signs written in two directions, a 49 
 
 Drill No. 12, 50 
 
 Rules governing in joining signs, . . 36 50 
 
 Phonic Reading Exercise VIII, ... 51 
 
 Writing Exercise VIII, .... 52 
 
 Phonic Reading Exercise IX, ... 52 
 
 Writing Exercise IX, .... 53 
 
 Drill No. 13, ...... 53 
 
 Writing Exercise X, .... 54 
 
 Drill No. 14, 54 
 
 Writing Exercise XI, .... 55 
 
 Drill No. 15, ; 55 
 
 Writing Exercise XII, .... 56; 
 
SMS INDEX. 
 
 Sec. Item- Page. 
 
 Writing Exercise XIII, .... 56 
 
 Writing Exercise XIV, .... 57 
 
 Writing Exercise XV, .... 57 
 
 Drill No. 16, ...... 58 
 
 Writing Exercise XVI, . 58 
 
 Writing Exercise XVII, .... 59 
 
 Drill No. 17, 59 
 
 Writing Exercise XVIII, .... GO 
 
 Writing Exercise XIX, .... f>0 
 
 Writing Exercise XX, .... GO 
 
 LESSON VIII. General Principles, ... 62 
 
 Lineality of Writing, .... 12 62 
 
 Variable signs promote Lineality, a 62 
 
 Writing Exercise XXI, .... 63 
 
 Double Consonants, 38 63 
 
 Writing Exercise XXII, .... 63 
 
 Assimilation of Consonants, . . . 39 64 
 
 Writing Exercise XXIII 64 
 
 Vocal Tlu and Aspirate Ith, .... 40 64 
 
 Writing Exereise XXIV, .... 64 
 
 Writing Exercise XXV, .... 65 
 
 How to use In and Yi signs, ... 41 66 
 
 Writing Exercise XXVI, .... 66 
 
 Writing Exercise XXVII, .... 67 
 
 The lu sign when initial, .... 42 67 
 
 How to use the Uu sign, .... 42 67 
 
 Writing Exercise XXVIII, .... 68 
 
 How to use Oh and Oe signs, ... 43 69 
 
 Writing Exercise XXIX, .... 69 
 
 Short Italian Aa, 44 70 
 
 Writing Exercise XXX, .... 71 
 
 The -er -or terminations, etc., ... 45 71 
 Writing Exercise XXXI, .... 
 
 Writing Exercise XXXII, . . . 73 
 
 Phonic Reading Exercise XXXII,. . . 73 
 
 LESSON IX. Acquirement of Speed, . . 74 
 How to acquire speed in writing, . . 13 
 
INDEX. 9ft 
 
 Sec. Bern. Page. 
 
 Hoe Your Own Row, Alice Cary, ( Print), 75 
 
 Hoe Your Own Eow, Alice Cary, (Kiografy), 76 
 
 Education, Phillips, (Print), ... 79 
 
 Education, Phillips, (Kirografy), . . 80 
 
 LESSON X. Alphabctics a 82 
 
 Mathematics as a foundation for Alphabetics, b 82 
 
 Difference between script and type letters, c 83 
 
 The Roman Alphabetic Conglomeration, d 83 
 
 Dies for new type. e 83 
 
 The Mathematical Alphabet, ... 84 
 The Mathematical Alphabet Key, . . 85 
 The Intricacies of a Wheel.Barrow, (Kirog- 
 rafy), 86 
 
 The Intricacies of a Wheel-Barrow, ( new 
 
 type), 88 
 
 The Intricacies of a Wheel-Barrow, (print), 89 
 
 Sounds in Foreign Languages, 1 89 
 
 Assignment of signs to Foreign Languages, 2 90 
 
 Modifiers added to signs, .... 2 90 
 
 Nasalization of Vowel sounds, 4 90 
 
 The Trilled r and I signs, .... 5 90 
 
 The Hard and Soft Aspirates, ... 6 91 
 
 Consonantal Equivalents, .... 7 91 
 
 Mouille or Softened Consonants, 8 91 
 
 Foreign Double Vowels, .... 9 91 
 
 German w and Spanish b, ... 10 92 
 
 Diamond Point signs, ..... 11 92 
 
 Zulu Kalir Clicks, 12 93 
 
 All Modifiers written after signs, . . 13 93 
 
 Punctuation Marks, 14 93 
 
 INDEX, 94 
 
Kirografik, Stenografik and Phonetic Publications, 
 
 THE KIEOGEAFEE AND STENOGEAFEE 
 
 Is an original Quarterly Magazine, devoted to Reform in Orthogra- 
 phy, Chirography, Stenography, Typography, Language, Educa- 
 tion, and kindred arts and sciences. It will contain in each num- 
 ber, 24 pages and cover of matter, profusely illustrated with Wood 
 Engravings. Each number, after the first issue, will contain En- 
 gravings in the new type and in the Literary and Primary Report- 
 ing, or Reporting Styles of the new Stenography. Phonetic Re- 
 form will be vigorously advocated, by both theory and practice, 
 from the Scientific standpoint, of having a universal script, short- 
 hand and type Mathematical Alphabet. 
 
 No. 1, January 1878, contains a general review and exposition of 
 Alphabetics ; and a new Mathematical Alphabet, adapted for Uni- 
 versal use in script, type, and short-hand. 
 
 No. 2, April 1878, begins with the serial publication, in regular 
 installments, of the "Key to Kirograflk Teecher" : and the flrst in- 
 stallment, consisting of the Improved Word-Signs, and Principles 
 of Contraction of the Primary Reporting style, of the second 
 edition of the " Stenografik Teecher". 
 
 Price $1.00 per annum : Specimen Numbers 25 cts : For clubs of 
 four 80 cts. per annum : Clubs of six 75 cts. per annum. Clubs 
 of ten 70 cts. : Clubs of fifteen or more one third discount. 
 
 KEY TO KIEOGEAFIK TEECHEE 
 
 With additional new Reading and Writing Exercises, will be pub- 
 lished in installments, in the "Kirografer and Stenografer," begin- 
 ning with No. 2. It will contain numerous Engravings. Size about 
 50 pages. Price bound in board 60 cts. 
 
 THE KIEOGEAFIK AND STENOQEAFIK DICTIONARY. 
 
 Will follow the publication of the " Stenografik Teecher " in Vol. 
 2 of the "Kirografer and Stenografer." It will be published in reg- 
 ular serial installments until finished. It will be adapted for Schools, 
 Academies, Colleges, and practical Stenografers. It will combine 
 the advantages of an ordinary Dictionary as to orthography, pro- 
 nunciation, and definition, with the additional feature of furnishing 
 in the new Mathematical Alphabet, the engraved Chirographic, 
 Stenographic, and Typographic outlines fbr every word. It will be 
 electrotyped : and bound in substantial form, after publication in the 
 Magazine. It is intended to give in it a Chapter of phrases for 
 Verbatim Reporters. It will contain about 300 pages. Price $3.00. 
 
 Publication Office, Amherst, Mass., Lock Box 43. : J. B. and 
 E. G. Smith. 
 
 Branch Publication Office, Chicago, 111., P. O.. Box 104, or No. 
 64 and 56 Madison St. : E. B. Parke, with D. B. Cooke & Co. 
 
Kirografik, Stenografik and Phonetic Publications, 
 
 THE KIROGRAFIK TEECHER. (Second Edition). 
 
 A text-book of 100 pages on the Literary Style of the Art, which 
 is built on a Stenographic Alphabet, without Contractions, and in- 
 tended as a Phonetic substitute for the common Orthography and 
 cumbersome long-hand Script. It contains graduated Exercises, 
 adapted for use in Common Schools, High Schools, Academies, and 
 Colleges. This text-book is profusely illustrated with Wood En- 
 gravings, with "Joinings, " "Drills," " Writing Exercises, " and 
 "Phonic Reading Exercises. " It contains a Lesson in Alphabetics 
 with a "Mathematical Alphabet," adapted for Universal practical 
 use as a type, script and short-hand Alphabet. It is printed in the 
 best manner on fine, heavy paper, strongly bound, and is indispens- 
 able to the teacher and student, as a thorough treatise on the ele- 
 mentary principles of the Art. Price, Board bound, 1.00 
 
 THE STENOGRAFIK TEECHER. ( Second Edition. ) 
 
 This text-book is intended to follow the elements in the Kirograflk 
 Teecher : It is in two parts, viz : Part I, is an Improved repro- 
 duction of the First Edition of the "First Stenogrartk Teecher;" 
 and is devoted to a full exposition of the Primary Reporting Style. 
 Part 2, is an Impi'oved reproduction of the First Edition of the 
 " Second Stenografik Teecher; " and is devoted to a full exposition 
 of the Reporting Style. This text-book is adapted for use in High 
 Schools, Academies, and Colleges, or for Private Instruction. It is 
 profusely illustrated with Wood Engravings, printed in the best 
 manner on heavy, fine paper, strongly bound, and a thorough treat- 
 ise on the new Improved phonetic short-hand. It will be published 
 first in the " Kirografer and Stenografer, " beginning with No. 2, 
 and running through successive numbers, before being bound in 
 book form ; and will contain about 100 pages. Price, Board bound, 
 $1.00. 
 
 TRIPLE DASH ELECTROTYPE CUTS, size 4 by 8 inches. 
 All ready mounted for printing Reporting paper. Price for a single 
 cut 3.00. 
 
 TRIPLE DASH PAPER, for pen reporting, ruled light on one 
 side, size 4 by 8 inches. Price per hundred single sheets 60 cts. 
 
 TRIPLE DASH PAPER, for pencil reporting, ruled light on 
 one side, size 4 by 8 inches. Price per hundred single sheets 45 cts. 
 
 Publication Office, Amherst, Mass., Lock Box 43. : J. B. and 
 E. G. Smith. 
 
 Branch Publication Office, Chicago, 111., P. O. Box 104, or No. 64 
 and 56 Madison St. : E. B. Parke, with D. B. Cooke & Co. 
 
Kirografik, Stenografik and Phonetic Publications, 
 
 THE FIRST READER. 
 
 Will be published in regular serial installments until finished in the 
 "Kirografer and Steuografer," beginning with No. 2. It is a Primary 
 Reader for Children in the new Mathematical type-letters. It will 
 be published exclusively in new type letters. It will contain about 
 25 pages. Price 25 cts. in paper or 40 cts. in board. 
 
 HALF PRICE BOOKS. There are a few copies left of the first 
 edition of the "Kirografik Teecher, " " First Stenogratlk Teecher, " 
 and "Second Steuografik Teecher," which which will be sold as 
 mementoes of the infancy of the system, for less than half price, 
 or 10 cts. per copy. 
 
 HOW TO MAKE THE ENGLISH LANGUAGE SCIENTIFIC 
 AND UNIVERSAL (in preparation). 
 
 It will follow the "Dictionary" in the "Kirografer and Stenogra- 
 fer." It is an original application of scientliic principles to the 
 improvement of the English Language. Price bound in paper 25 cts. 
 
 REPORTING COVERS, to hold the reporting paper, when tak- 
 ing notes. Leather with Elastic bauds, size suitable for 4 by 8 inch 
 paper. Price 1.00. 
 
 CARTE DE VISITE, with Autograph in the new Kirografy, of 
 John Brown Smith, inventor of the new Stenografy. Price 50 cts. 
 
 STATIONERY, Etc. All kinds of stationary, reporting pencils, 
 steel pens, gold pens, and other material required by Reporters, 
 will be furnished at retail and wholsale prices when desired. 
 
 CIRCULARS AND POSTERS, adapted for use by teachers and 
 lecturers on Short-hand and Phonetics, will be furnished at retail 
 and wholesale prices. 
 
 THE WHOLESALE PRICE, to teachers, agents, clubs, and 
 others, who order a dozen or more copies or packages, of any 
 one of the Magazines, Books, Cuts, etc., is a discount of one third 
 off retail prices. 
 
 ALL ORDERS AT RETAIL PRICES, will be sent free, per 
 mail or express, to any part of the country. 
 
 Publication Office, Amherst, Mass., Lock Box 43. : J. B. and 
 E. G. Smith. 
 
 Branch Publication Office, Chicago, 111., P. O. Box 104, or No. 
 64 and 5G Madison St. : E. B. Parke, with D. B. Cooke & Co. 
 
Los Angeles 
 This book is DUE on the last date stamped below. 
 
 Form L9-25/n-9,'47(A5618)i44 
 
 UNIVERSITY 01 
 
 AT 
 LOS ANGELES 
 
A 000 571 355 7 
 
 1878 
 
 m 
 
OPINIONS OF TILF, IMiFSS. 
 
 From the Manchester, X. II., Daily Union : Which we judge to 
 ry useful hook. 
 
 From the St. Joseph. .Mo., Daily Herald : We arc. 1 glad to s< 
 new and handsomely printed pamphlet. It is one more indication 
 of the linn hold the improved system of spelling, writing and print- 
 ing lias taken of the public mind. 
 
 From the Bolckow. Mo., Weekly Enterprise : This is a valuable 
 little book and everybody should have a copy, as yon can, by its 
 instructions, soon learn the system of short-hand writing. 
 
 From tin; New JBrunsu i.-k. X. J., Daily Fredonian. In Air. Linds- 
 ley's Tachygraphy as in all phonetic short -hand sy 
 
 i.ni of two distinct consonant sounds d< 
 
 sign, that, is. the saim> character thai- stands !'< for // 
 
 the latter being shaded a little heavier than the former, a 
 not easily made in rapid writing. Jonx Bitmvx SMITH, of Am 
 Mass., has jnst issued a new system of short-hand, designated 
 Stenography, in which he claims to overcome the last named 
 lion to Phonography, by giving a sign for every sound in our lan- 
 guage. Such a system made practical, is (he desideratum of all 
 short-hand writers, professional reporters especially; and if Mr. 
 Smith has succeeded in this hitherto unaccomplished object, he is 
 entitled to the gratitude of the report orial profession. 
 
 Sometime ago we referred to John Brown Smith's system of 
 
 short-hand, in which he discards I'itman's principle of pairs of 
 
 signs, differently shaded, for pairs of sounds, and establishes a 
 
 distinct sign for each sound in the language. In this particular, 
 
 dt Ii's system, which claims t.o be phonetic in its character, 
 
 ni advantage over Pitman's Phonography ami Lindsley's 
 
 Tachygraphy : since to the beginn. ), the learning of a few extra 
 
 has no comparison t.o the . haded 
 
 characters. 
 
 From the Buffalo Sunday Xews : These \vorks are neatly u 
 up and are profusely illustrated with short-hand. They ai 
 signed as elementary aids in a course of new Stenography, to re- 
 place the present systems of Pitman, (iraham, and Miinson. From 
 a careful examination of the works, our Stenographer e,xp: 
 the o[)iiiioii that there is considerable in the system. 
 
 :i the Dennison, Texas. Daily News: The author has _ 
 the subject of brief writing much thought, and his inventions, or 
 discoveries, which are incorporated in this original system, are de- 
 cidedly new, and cannot fail to attract attention. * * 
 the student of Stenography in general, the series of works of which 
 the one before us is the last, oilers a new field of research, in con- 
 tractions, expedients, etc., the object of which is "Teat speed, with 
 perfect legibility the aim of all Stenographic authors and prac- 
 titioners. 
 
 From Prof. Dr. /ichig's jjit'rui.tir Til < tit (Royal Stenographic 
 Institute) Dresden, Germany: So much is certain, thi- 
 StetiQgrkphy is radically new, and- a dillerent creation, altogether, 
 from the other English methods.