# Light-Line Phonography (Gregg)/Preface to First Edition

Layout 2
PREFACE TO FIRST EDITION.
A great and increasing demand for a simple, rapid and perfectly legible phonetic hand-writing for general use has led to the invention of Light-Line Phonography, which is the outcome of years devoted to stenographic study and research. The system is based on natural physiological laws, and the characters have been assigned to the various sounds after long and careful experiment Its main features may be briefly summarized as—
(1) The total absence of shading or thickening. By this is meant compulsory shading, for the student may write either light or heavy, according to the natural character of his hand-writing.
In the old methods cognate sounds being distinguished by shading it was necessary to represent the most frequently recurring sounds by downward signs—as in rapid writing only downward lines could be shaded with any degree of certainty—hence the constant tendency of the writing in these systems is downwards. The result is obvious—lineality, and consequently phraseography, is destroyed and the writer is greatly harassed by the straggling and uncertain character of the writing We confidently challenge comparison in this respect. In lineality and continuity of execution, the system is quite unapproached.
​(2) The characters being based on the elements of the ordinary longhand, the strokes are familiar and the motion uniform. Briefly expressed, Light-Line Phonography is writing, not drawing.
(3) The insertion of the vowels in their natural order without lifting the pen, and in such a manner that they usually increase the speed of execution, whilst their insertion not only imparts to the writing the legibility of print, but is the source of a most powerful, yet extremely simple and legible mode of abbreviation.
(4) The absence of positions or the placing of words on, above or through the line of writing to imply the omission of certain vowels or consonants.
This, one of the chief stumbling blocks to the shorthand student, is nowhere to be found in Light Line Phonography. Like shading, this principle is destructive to lineality and phraseography, and is a constant source of embarassment if applied, and of illegibility if neglected. Light-Line Phonography, like the ordinary long hand, may be written on unruled paper, and in one straight line.
(5) The predominance of curve motion. Curves, the prevailing element of the ordinary penmanship, being much more facile than straight lines, the author has, so far as is compatible with a well-balanced alphabet, assigned to them the representation of the most frequently ​recurring consonants. In addition to this the straight characters have been so arranged that the most frequently recurring combinations of letters form an obtuse angle at their point of junction, and such angle not being observed the letters are allowed to coalesce naturally in the form of a large quadrant, thus curve motion has its rightful preponderance, the maximum of facility obtainable from this source is secured, and the system is freed from the unnatural zig-zag motion of the ordinary shorthand.
(6) Consonantal blendings, systematically aрplied, based on physiological laws, and relieving the system of the objectionable obtuse angle.
(7) Individuality of form. Having few alternative signs, and these regulated by rule, Light-Line Phonography has a distinctiveness of form greater than that of any system hitherto published.
In conclusion, the endeavour of the author has been to compile a system so simple as to be readily acquired by the humblest capacity, and those possessed of little leisure, and yet rapid enough to reproduce verbatim the fastest oratory. In presenting his work to the public he asks for nothing beyond an impartial investigation, and with perfect confidence awaits the result.
Liverpool, May, 1888.