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<?xml version="1.0" encoding="iso-8859-1"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><!-- InstanceBegin template="/Templates/main.dwt" codeOutsideHTMLIsLocked="false" -->
<head>
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<title>Gregg Shorthand</title>
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<td colspan="2" valign="top" bgcolor="#CC3333" style="height: 10px; background-image: url(images/title2.gif); background-position: top right; background-repeat: no-repeat">
<div class="text" style="color: #FFFFFF"> A Web Site dedicated to the
perpetuation of Gregg’s Light-Line Phonography</div></td>
<td width="182" bgcolor="#CC3333"><div align="center" style="color: #FFFFFF">
- Anniversary Manual -</div></td>
</tr>
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<td width="182" valign="top" bgcolor="#CCCCCC" class="unnamed1"><table width="186" border="0" cellpadding="2" cellspacing="2" class="text">
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<td width="178"> <span><a href="index.html">Home</a><br />
<br />
<strong> Reporting</strong><br />
<a href="jc.html">A Judge’s Charge</a><br />
<a href="repnotb3.html">Dupraw’s Notes</a><br />
<a href="repnotb1.html">Sklarew’s Notes</a><br />
<a href="repnotb2.html">Zoubek’s Notes</a><br />
<strong> Pre-Anniversary</strong><br />
<a href="abpreann.html">Description</a><br />
<a href="preannireference.html">Reference Material</a><br />
<a href="preanbfs.html">Brief Form List</a><br />
<strong> Anniversary</strong><br />
<a href="abannive.html">Description</a><br />
<a href="annireading.html">Reading Material</a><br />
<a href="annireference.html">Reference Material</a><br />
<a href="anbfs.html">Brief Form List</a><br />
<a href="anphrase.html">Most-Used Phrases</a><br />
<strong> Simplified</strong><br />
<a href="absimpli.html">Description</a><br />
<a href="smpbfs.html">Brief Form List</a><br />
<a href="dupraw.html">Dupraw on Note Size</a><br />
<strong> Diamond Jubilee</strong><br />
<a href="abdiamon.html">Description</a><br />
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<a href="djebfs.html">Expert Brief Form List</a><br />
<strong> Series 90</strong><br />
<a href="absrs90.html">Description</a><br />
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<strong> Centennial</strong><br />
<a href="abcenten.html">Description</a><br />
<a href="cenbfs.html">Brief Form List</a><br />
<strong> Taquigrafía Gregg</strong><br />
<a href="taquibfs.html">Gramálogos</a></span><br />
<strong> German Gregg</strong><br />
<a href="grmng001.html">Manual</a><br />
<strong> Esperanto Gregg</strong><br />
<a href="espgrg01.html">Manual</a><br />
<span><a href="esperbfs.html">Brief Forms</a><br />
<strong> Irish Gregg</strong><br />
<a href="irishgregg.pdf">Manual</a><br />
<br />
<a href="http://greggshorthand.blogspot.com/">Gregg Group</a><br />
<a href="http://www.greggshorthand.proboards.com/">Gregg Learning Forum</a><br />
<a href="http://www.shorthandclasses.com/">Ms. Letha’s SH Site</a><br />
<a href="http://www.shorthandshorthandshorthand.com/">Shorthand³</a><br />
<a href="http://www.omniglot.com/writing/shorthand.htm">Omniglot's Entry</a><br />
<a href="http://en.wikipedia.org/wiki/Gregg_Shorthand">Wikipedia's Entry</a><br />
<a href="http://www.stenospeed.com/">Stenospeed Dictation</a><br />
<a href="http://www.stenospeed.com/">Practice</a><br />
<a href="http://www.jandrewowen.com/">Andrew Owen</a></span> </td>
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<td width="79%" colspan="2" class="text">
<p align="center"><strong>PREFACE</strong></p>
<div style="text-align: justify"> Confronted by
a new invention an American almost invariably asks: “Will
it work?” Until satisfied on that point, he is seldom interested
in the mechanical principles on which the invention is constructed.
But when the invention has been demonstrated to be a real advance,
he wants to take the motor apart to see how it works.<br />
This will explain why so little has been written
about the scientific basis of Gregg Shorthand. The policy pursued
in presenting the claims of the system was that of concentrating
attention on the <em>results</em> accomplished by its students and
writers. Even after Gregg Shorthand had achieved the most extraordinary
success ever attained by any system in the history of shorthand,
I was too busily engaged in the production of textbooks and magazines,
and in the building of a publishing organization, to respond to
the demand for a detailed explanation of the scientific principles
on which the system was constructed. At odd moments, as opportunity
offered and as the mood dictated, I made shorthand notations for
a series of articles on the subject. A few of the articles were
published in the <em>Gregg Shorthand Magazine</em> (England) some
years ago, but the reduction in the size of that magazine on account
of war conditions rendered it necessary to discontinue the series.
Since then so many teachers and writers of the system, on both sides
of the Atlantic, have urged me to complete the series that I decided
to do so, and to publish them in book form.<br />
The fact that the articles were first written
for a magazine published in England will explain to American readers
the numerous references to Isaac Pitman Shorthand, a system which
is now little used in America outside of New York City and some
parts of Canada, and also why so many quotations from well-known
authors and writers of other systems are used in support of each
principle expounded. In giving these quotations I had in mind
the fact that in England there is more reverence for “precedent”
and “authority” than is the case in this country.<br />
After reading this book in proof form, one
of the most capable supporters of our system said: “The
explanation of curvilinear motion as a basic principle in the
construction of the system was a revelation to me. What puzzles
me is why you made that feature so prominent in the Preface of
your very first edition and have practically ignored it in recent
editions.”<br />
The explanation I gave was that for many years
my problem was to “convert” teachers of other systems,
and in doing this I found it best to move along the lines of least
resistance by dealing chiefly with things that were familiar to
writers and teachers of the older systems. In discussing the system
question I began, for example, with the elimination of shading or
thickening. As all teachers and writers of the old-style systems
had experienced the difficulty of observing the distinction between
thick and thin characters, and knew that the thickening of a character
was an obstacle to rapid writing, they were willing to admit that
the elimination of thickened characters would be an advantage, “other
things being equal.”<br />
The next step was to explain that the vowels
were written in the outline. The difficulty of inserting vowels
after the “consonantal skeleton” had been written,
and the difficulty of reading shorthand when the vowels were omitted,
were so obvious that most teachers were willing to admit with
the <em>usual</em> qualifying expression that the insertion of
the vowels would be an advantage.<br />
The third step was to gain an admission that the placing of words
in various positions with relation to the line was an obstacle
to rapid writing and to phrase-writing. This generally elicited
the most hearty expressions of concurrence of any principle presented.<br />
Up to this point we were dealing with things
that were familiar to them. When I attempted to go beyond these
three principles, I found that Bagehot was right when he said, “One
of the greatest pains to humanity is the pain of a new idea. It
is so ‘upsetting' — you do not know at once which of
your old ideas it will or will not turn out.”<br />
Much experience convinced me that it was a
mistake in tactics to dwell very long upon the other principles
of the system, such as the Longhand Movement, Curvilinear Motion,
or Lineality, except perhaps in an incidental way. Any stress
placed upon features of the system that were absolutely new and
unfamiliar to teachers and writers of the old-style systems would
be so “upsetting” and confusing to them, and therefore
so provocative of argument, as to nullify the progress made up
to that point.<br />
The objective to be gained was <em>the creation
of a desire to study the system</em>. To accomplish this it was
best to show them how the system eliminated certain specific difficulties
or defects in the system they used. If they did study the system,
the advantages obtained from the other features of the system would
gradually, but inevitably, become clear to them as soon as they
could write the system on connected matter.<br />
In reading this, many hundreds of teachers
and writers of the system who formerly wrote other systems will
doubtless remember the various mental reactions which occurred
during the period of transition from the Old to the New, and will
smile appreciatively at this explanation of the process.<br />
As these articles have been written at various
times, and sometimes under pressure, they may lack the unity of
plan and treatment which is desirable in a work of this kind.
I believe, however, that those interested in shorthand as an art
and a science will find them helpful in tracing the process of
the evolution of the art of shorthand toward principles that are
logical and natural to the mind and characters and movements that
are natural to the hand.
<div style="text-align: right">J<font size="1">OHN</font> R<font size="1">OBERT</font>
G<font size="1">REGG</font></div>
<p>New York, 1922</p>
<p align="center">- <a href="basicp03.html">Chapter One</a> -</p>
</div>
</td>
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<td width="182" valign="top" bgcolor="#CCCCCC" style="background-image: url(images/gpco3.gif); background-position: top center; background-repeat: no-repeat"><div>
<div align="center">
<table width="100%" border="0" cellpadding="2" cellspacing="0" class="text">
<tr>
<td valign="top">
<a href="anprface.html">Preface</a><br />
<a href="anaboutg.html">About Gregg Shorthand</a><br />
<a href="aneditor.html">Editor's Note</a><br />
<a href="antwtbgr.html">A Talk with the Beginner</a><br />
<a href="analphbt.html"> The Alphabet</a><br />
Chapter I<br />
<a href="anunit01.html">Unit 1</a><br />
<a href="anunit02.html">Unit 2</a><br />
<a href="anunit03.html">Unit 3</a><br />
Chapter II<br />
<a href="anunit04.html">Unit 4</a><br />
<a href="anunit05.html">Unit 5</a><br />
<a href="anunit06.html">Unit 6</a><br />
Chapter III<br />
<a href="anunit07.html">Unit 7</a><br />
<a href="anunit08.html">Unit 8</a><br />
<a href="anunit09.html">Unit 9</a><br />
Chapter IV<br />
<a href="anunit10.html">Unit 10</a><br />
<a href="anunit11.html">Unit 11</a><br />
<a href="anunit12.html">Unit 12</a><br />
Chapter V<br />
<a href="anunit13.html">Unit 13</a><br />
<a href="anunit14.html">Unit 14</a><br />
<a href="anunit15.html">Unit 15</a><br />
Chapter VI<br />
<a href="anunit16.html">Unit 16</a><br />
<a href="anunit17.html">Unit 17</a><br />
<a href="anunit18.html">Unit 18</a><br />
Chapter VII<br /> <a href="anunit19.html">Unit 19</a><br /> <a href="anunit20.html">Unit 20</a><br /> <a href="anunit21.html">Unit 21</a><br /> Chapter VIII<br />
<a href="anunit22.html">Unit 22</a><br />
<a href="anunit23.html">Unit 23</a><br />
<a href="anunit24.html">Unit 24</a><br />
Chapter IX<br />
<a href="anunit25.html">Unit 25</a><br />
<a href="anunit26.html">Unit 26</a><br />
<a href="anunit27.html">Unit 27</a><br />
Chapter X<br />
<a href="anunit28.html">Unit 28</a><br />
<a href="anunit29.html">Unit 29</a><br />
<a href="anunit30.html">Unit 30</a><br />
Chapter XI<br />
<a href="anunit31.html">Unit 31</a><br />
<a href="anunit32.html">Unit 32</a><br />
<a href="anunit33.html">Unit 33</a><br />
Chapter XII<br />
<a href="anunit34.html">Unit 34</a><br />
<a href="anunit35.html">Unit 35</a><br />
<a href="anunit36.html">Unit 36 </a>
<p><a href="anindex.html">Index</a></p>
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<td height="6" colspan="3" valign="top"><div align="center" style="color: #FFFFFF">Design
Copyright © 2021
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Andrew Owen. All Rights Reserved.</div></td>
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