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<?xml version="1.0" encoding="iso-8859-1"?>
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<div class="text" style="color: #FFFFFF"> A Web Site dedicated to the
perpetuation of Gregg’s Light-Line Phonography</div></td>
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- Anniversary Manual -</div></td>
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<td width="79%" colspan="2" class="text"><h3 align="center">CHAPTER
THREE</h3>
<p align="center"><strong>BLENDED CONSONANTS</strong></p>
<blockquote> Combination is the essence of invention.
<div style="text-align: right">—Thomas Edison</div>
<br />
Obtuse angles are especially objectionable,
and should be avoided so far as possible.<br />
<div style="text-align: right">—David P. Lindsley</div>
<br />
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.<br />
<div style="text-align: right">—Lord Bacon, <em>Novum Organum</em></div>
</blockquote>
<p> In beginning the previous chapter I said that
the importance of curvilinear motion in the system was not fully
appreciated by many writers and teachers. But the application of
curve motion in the formation of the Blended Consonants is more
than appreciated—it is the feature which, above all others,
is warmly commended by writers of our system and even by writers
of other systems. I suppose this is because other curve combinations
are obtained by the mere joining of the characters—as in <em>pr</em>,
<em>br</em>, <em>pl</em>, <em>bl</em>, <em>kr</em>, <em>kl</em>,
<em>gr</em>, <em>gl</em>, <em>fr</em>, <em>fl</em>, etc.—and
therefore require no conscious thought, whereas the blends are obtained
by the entirely original plan of allowing lines forming the obtuse
angle to blend in the form of a curve. Whatever the reason may be,
there is no question about the enthusiasm which the blending principle
evokes.<br />
<strong>A System Discussion. </strong>—
The origin of the blending principle is a rather interesting illustration
of how a valuable principle may be developed from a mere passing
suggestion. In discussing an earlier effort at shorthand construction
with Mr. William Pettigrew (a well-known Glasgow man who had been
prominent in the advancement of Pitman’s Phonography in its
early days) he strongly criticized the presence of many obtuse angles
in the specimens I showed him. Then he vehemently declared that
he had always maintained that the greatest weakness in the Pitman
system was the presence of many obtuse angles. Taking a piece of
paper he illustrated this by joining in succession the Pitman signs
for <em>p-k</em>, <em>k-p</em>, <em>t-ch</em>, <em>ch-t</em>, <em>p-t</em>,
<em>t-p</em>, <em>k-r</em>, <em>r-k</em>; next, he ran through a
similar series with the thickened letters, beginning with <em>b-g</em>;
then, the same series of characters with thick and thin strokes
alternating; and finally he wrote the curve and straight line combinations
like <em>l-p</em>, <em>f-r</em> (upward <em>r</em>), <em>r-sh</em>
(downward <em>sh</em>), <em>t-sh</em> (upward <em>sh</em>), <em>m-ch</em>,
etc.<br />
After each example he would say with great emphasis,
“In rapid writing those lines will run together in the form
of a large curve. You can’t prevent it unless you write very
carefully”—and so on for at least an hour.<br />
It was evidently a hobby with him; and he had
discussed it so many times with other phonographers that he had
the illustrations at his fingers’ ends. I omitted to say that
Mr. Pettigrew had left the phonographic ranks because, like Mr.
T. A. Reed, Mr. William Relton, and others, he objected to the introduction
of the large initial hooks and some of the other changes made in
the system.<br />
I listened to his exposition with considerable
deference for I was very young at that time, and Mr. Pettigrew was
a man of standing in the community — a member of the City
Council, I believe. But when he had finished his denunciation of
the obtuse angles in Pitman I ventured to point out that the outlines
in the specimens submitted to him were on the longhand slope and,
therefore, there could be only <em>two</em> obtuse angles—those
between the horizontal line and the upward straight line, and <em>vice
versa</em>—while in Pitman’s Shorthand there were no
less than <em>eight</em> obtuse angles <em>between straight lines
alone</em>. The occurrence of these eight, too, was doubled by shading
(<em>b-g</em>, etc.) and tripled by alternating light and heavy
characters (<em>b-k</em>, <em>k-b</em>, etc.).<br />
“Well,” he said, “that is
an improvement, but why have them at all? Why not have alternative
characters for these upward and horizontal letters so as to exclude
the obtuse angles? Besides, these letters are common letters [at
that time I had adopted the Duployan arrangement of the horizontal
line for <em>t</em>, <em>d</em>, and the upward line for <em>r</em>,
<em>l</em>,], and <em>tr</em>, <em>dr</em>, will run together. To
prevent that you will have to slow up in the writing,—you
can’t observe those angles in rapid writing. Besides, you
may say the t and d slant upward slightly. That makes the angle
less acute and the lines more liable to run together. To prevent
this you ought to provide alternative signs for them.”<br />
(Incidentally, I may say that a little while
afterwards an attempt was made to overcome this tendency by a special
“positional” expedient which, however, could be applied
only at the <em>beginning</em> of words.)<br />
Mr. Pettigrew was somewhat mollified by my contention
that the <em>number</em> of obtuse angles was greatly reduced by
the adoption of the longhand slope, and soon afterward he was won
over to at least an academic support of the system. To be fair about
it, I believe that his controversies with orthodox phonographers
inclined him to support almost any system that promised to vindicate
one of his theories!<br />
The last time I was in Glasgow I called at Mr.
Pettigrew’s shop, but was grieved to hear that he had passed
to the Great Beyond. I had looked forward with pleasant anticipation
to telling him the momentous consequences that came from that discussion
so many years ago. Doubtless I should have discovered the blending
principle in working out the curvilinear motion principle to its
logical conclusion; but I am inclined to believe that unconsciously
Mr. Pettigrew started the train of thought which resulted in the
discovery of a new principle in shorthand by which the obtuse angle
has been almost entirely eliminated.<br />
<strong>The Execrated Obtuse Angles. </strong>—
I am sure that Mr. Pettigrew would have read with delight and hearty
approval the following passages which I found some time ago in the
preface to Munson’s “Shorthand Dictionary” written
by the author of one of the most popular textbooks on Pitmanic shorthand
in the United States:</p>
<blockquote> We often see theorizing authors of
shorthand works demonstrating by rule and dividers and by the counting
of pen-strokes, the superiority of their systems in point of speed;
while they fail to take cognizance on the other hand of the many
hindrances to speed that inhere in their outlines. </blockquote>
<p> Mr. Munson then proceeds to discuss these hindrances.
One of them he names as:</p>
<blockquote>
<p> <em>Too frequent obtuse angles between stems—a
very great impediment to speed</em>, as may be readily demonstrated
by tracing with exactness, but as quickly as possible, a line
like the first of the following diagrams, and then in like manner,
one like the second.</p>
</blockquote>
<p> (Mr. Munson then gives two lines of outlines,
one with sharp, and the other with obtuse angles.) He adds:</p>
<blockquote>
<p> It will be seen that the outline with obtuse
or blunt angles requires a much slower movement than the one with
sharp angles.</p>
</blockquote>
<p> Benn Pitman and Jerome B. Howard, in their
“Reporter’s Companion,” in discussing the “graphic
impediments to phrasing,” state that the presence of an obtuse
angle may be a “sufficient reason for breaking a phrase, no
matter bow suitable for combination its elements might be from a
grammatical standpoint.” They’ then go on to explain
that:</p>
<blockquote>
<p> Obtuse angles require a slowing and steadying
of the band in their execution, and are, therefore, stenographically
objectionable in themselves. In the building of outlines of <em>words</em>
the obtuse angle must at times be submitted to; but in <em>phrase-writing</em>
it is generally avoidable and to be avoided. It should be observed
also that the difficulty of an obtuse-angle joining of a half-length
stroke is greater than is that of full length stroke, while the
joining of the ticks, <em>a-an-and</em>, the, and of the vowel
logograms at an obtuse angle is still more objectionable.</p>
</blockquote>
<p> Another author, Mr. D. P. Lindsley, declared:</p>
<blockquote>
<p> When an angle must be formed, the more acute
it is the more easily can it be made. Obtuse angles are especially
<em>objectionable</em>, <em>and should be avoided as much as possible</em>.</p>
</blockquote>
<p> Mr. W. S. Rogers, author of “Lessons
in Graham Shorthand,” says:</p>
<blockquote>
<p> We really have but two easy joinings, and
those are strokes joined by circles or by sharp angles. Strokes
joined by obtuse angles are more likely to detract from speed
than add to it.</p>
</blockquote>
<p> In the Introduction of “A Critical and
Historical Account of the Art of Shorthand,” the authors (Hugh
W. limes and George Carl Mares) say:</p>
<blockquote>
<p> The obtuse joining is altogether condemnable,
seeing that in writing performed with even a moderate degree of
haste, it is liable to be rounded off and the two strokes appear
as a single curve.<sup><a href="basicp05.html#1">1</a></sup>
A system in which obtuse angles occur frequently would prove untrustworthy.</p>
</blockquote>
<p> The famous reporter, and foremost exponent
of Isaac Pitman Shorthand in England, Thomas Allen Reed, in “Leaves
from my Note-Book,” in explaining the nature of various phrases,
said, “The easiest joinings are those of straight lines or
<em>curves</em> that run into one another. Right angles and obtuse
angles are less easy. Unless the junction is easy and flowing, no
time is saved; indeed it will often take less time to write such
words separately than without lifting the pen.”<br />
<strong>An Insoluble Problem.</strong> —
After I left Mr. Pettigrew I could not get his argument about the
obtuse angles out of my mind. A little later, when the combination
and curvilinear principles became fixed tenets in my shorthand creed,
Mr. Pettigrew’s denunciation of the obtuse angles seemed to
intrude itself in every experiment. When I was happy over some arrangement
of the characters for an alphabet I would find an obtuse angle;
and immediately there would flash into my mind a picture of Alderman
Pettigrew leaning over the counter of his shop in Sauchiehall Street,
pointing the finger of scorn at the offending angle! There were
no obtuse angles in longhand — I was forced to acknowledge
that—and if the “system of the future,” of which
I dreamed, and for which I worked, was to be the “distilled
essence of our common writing,” obtuse angles must be eliminated.
There seemed no way to eliminate them except by providing alternative
signs for the letters, as suggested by Mr. Pettigrew, and where
were sufficient signs for alternatives to be obtained in a script-hand
system? Seemingly it was an insoluble problem, and I was utterly
discouraged over it.<br />
<strong>The Solution Discovered.</strong> —
Then, one day came this thought: if lines which join with an obtuse
angle take on the appearance of large curves when the angle is obscured
in rapid writing, why is it not possible to contrive combinations
with that end in view? Why not arrange the horizontal and upward
lines so that when they blend in the form of curves these curves
shall represent very frequent combinations of letters?<br />
I well remember the enthusiasm and the feverish
energy ‘with which I worked day and night on that idea—how
I compiled table after table of all the common combinations of letters,
and tested each of them. I realized that it was not enough to have
conceived the theory: I must apply it to the most useful purpose.
The result you know: the <em>ten</em>, <em>den</em>, <em>tem</em>,
<em>ent</em>, <em>emt</em>, blends; and <em>def</em>, <em>dev</em>,
<em>jent</em>, <em>jend</em> (the latter afterwards extended to
<em>pent</em>, <em>pend</em>).<br />
<strong>The “Blends.”</strong> —
In presenting the “Blended Consonants” in the first
editions they were arranged in two groups:<br />
(1) The combinations <em>pr</em>, <em>pl</em>,
<em>br</em>, <em>bl</em>, <em>kr</em>, <em>kl</em>, <em>gr</em>,
<em>gl</em>, <em>ted</em>, <em>ded</em>, <em>ses</em>, all of which
combine without an angle. (<em>Fr</em>, <em>fl</em>, <em>vr</em>,
<em>vl</em>, were added later).<br />
(2) The combinations in which the obtuse angle
was eliminated through the “natural tendency of the hand to
allow such lines to form a curve”—<em>ten</em>, <em>den</em>,
<em>tem</em>, <em>dem</em>, <em>ent</em>, <em>end</em>, <em>emd</em>,
<em>def</em>, <em>dev</em>, <em>jent</em> (the last named being
afterwards extended to <em>pent</em>, <em>pend</em>).<br />
While the inclusion of the combinations given
in the first section helped to emphasize the fact that combination
was a basic principle in the system, it was not necessary to make
a special feature of them, as the characters joined without the
application of any special blending principle. For this reason I
thought it advisable in later editions to introduce them without
special classification in order that students might have a more
extensive writing vocabulary early in the course.<br />
The little “wave-like” <em>ses</em>
has always been a great favorite with writers; there was nothing
just like it in any system prior to “Light-Line,” but
it has been adopted in several systems since then.<br />
The joining of <em>t</em> to <em>d</em> to express
<em>ted</em>, <em>ded</em>, is an old expedient used in many other
systems.<br />
It may interest many writers of the system to
learn that the sign for <em>men</em>, <em>mem</em>, was not in the
system at first. At that time <em>ng</em> was expressed by the sign
now used for <em>men</em>, <em>mem</em>, and <em>nk</em> was expressed
by the lowered <em>n</em>. Later the lowered <em>n</em> was assigned
to <em>ng</em>, which was lengthened for <em>nk</em> (<em>ngk</em>).
This change permitted the use of the lengthened <em>m</em> for <em>men</em>,
<em>mem</em>, and thus one of the most useful of all the combinations
was added to the system. Isaac Pitman, in an address before the
Shorthand Society, London, 1894, said:</p>
<blockquote>
<p> <em>M</em> and <em>n</em> are not only side
by side in the alphabet, but like loving sisters they walk through
the language hand in hand. These affinities must be regarded in
the selection of signs to represent the sounds, so that the letters
may run easily into each other as the sounds do.</p>
</blockquote>
<p> It will be seen that the dictum of the author
of Phonography applies more strongly to the representation of <em>n</em>
and <em>m</em> in Gregg Shorthand than it does to his own system.<br />
It is certainly remarkable how frequently <em>n</em> follows <em>m</em>,
and how seldom it precedes it. The saving effected by expressing
such common combinations as <em>men</em>, <em>mem</em>, by one impulse
of the pen is very obvious.<br />
<strong>As a Matter of Record. </strong>—
An attempt has been made to show that the blending principle was
not original with “Light-Line Phonography.” This is
highly complimentary, because it shows that the great value of the
elimination of the obtuse angle, and the resulting combinations
(one is tempted to say, “thus killing two birds with one stone”)
is fully recognized even by those opposed to the system. In attempting
to substantiate his assertion our critic points to arbitrary signs
for combinations of letters, such as have appeared in systems since
the beginning of shorthand, and which are in no sense blended signs.<br />
In view of these misstatements I may be pardoned
if I make a digression at this point to state that so far as I am
aware:<br />
(a) The blending of the obtuse angles in the
form of curves is not to be found in any previous system.<br />
(b) The curves representing the blends in our
system <em>are not used in the alphabet for any purpose</em>. Therefore
it is obvious that the blending principle was a fundamental part
of the construction of the alphabet, and not an afterthought.<br />
(c) The name, “Blended Consonants,”
was not used in other systems until <em>after</em> the appearance
of “Light-Line Phonography.”<br />
(d) In borrowing the name, “Blended Consonants,”
from “Light-Line” as a substitute for the names previously
used—“ syllabic contractions,” “consonantal
combinations,” “combined consonants,” etc.—to
designate contractions which are not obtained by allpwing lines
forming an obtuse angle to blend as curves, other systems have perpetrated
a ridiculous solecism. Webster’s New International Dictionary
defines “blend” in this way:</p>
<blockquote>
<p> To fuse, merge . . . to pass or shade imperceptibly
into one another . . . so that it cannot be known where one ends
and the other begins.</p>
</blockquote>
<p> The Century Dictionary defines it:</p>
<blockquote>
<p> To cause to pass imperceptibly into one another;
to unite so that there shall be no perceptible line of division.</p>
</blockquote>
<p> How admirably this describes the elimination
of the obtuse angle by the arrangement of the letters, so that they
pass “into one another” in the form of a large curve
“without any perceptible line of division” will be apparent
to any reader who is familiar with the system. And it will be equally
apparent that the name “Blended Consonants,” when applied
to arbitrary combinations of consonantal characters which join with
a sharp angle, and cannot therefore “pass imperceptibly into
one another,” is a misnomer.<br />
Perhaps I have written at too great length on
this subject. In coming to the explanation of this subject I found
a reminiscent pleasure, as it were, in recalling my boyish enthusiasm
and exultation over the discovery of the blending principle. In
those days it was an epic event! And in all the years that have
passed since then I have not had any reason to change my views about
its importance. Indeed, I would be wanting in frankness if I did
not acknowledge that the Blended Consonants have given me greater
satisfaction than any other basic principle of the system, except
Curvilinear Motion, of which it is a natural and logical development.</p>
<p> <sup>1<a name="1" id="1"></a></sup> The similarity
in the wording of this to our presentation of the blending principle
will be noted. It was published nine years after Light-Line Phonography,
hence the unconscious assimilation.</p>
<p align="center">- <a href="basicp06.html">Chapter Four</a> -</p></td>
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<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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