Advantages
OF STENOTYPY.
1. The system can be learned in a few hours, and requires no more practice than is generally devoted to acquire speed in ordinary type-writing.
2. Stenotypy is exceedingly more legible than any system of phonography or shorthand. In Pitman's, Graham's, Barnes', Pernin's, and all other less popular systems, one sign is made to represent two, and sometimes three letters. For instance: To write the words catholic, character, queen, king, only one sign for the initial letter of each of these letters is phonographically given. N and Q are left out in all phonographic systems. Every reporter knows how difficult it is to designate by heavy and light strokes, or half or double length strokes, P, T; F, V; CH, J; K, G; S, Z, &c. In Stenotypy all the letters of the Alphabet (soft and hard, long or short), may be used, thereby rendering the reading less difficult. It is very easy for a shorthand writer to dash off eighty or 100 words per minute; but it often requires years of practice to read what has been so quickly written. Stenotypy is especially adapted for facile reading, besides being adapted to a speed far greater than phonography could ever attain.
3. It must be remembered that Stenotypy has all the advantages of phonography, besides it expresses words and sounds by their proper letters, just as they are printed in a book or newspaper. Ksrss; cstion, of Pitman style, are not as legible as the abbreviated form of Stenotypy: xrcs; qstion, meaning exercise, question. In all systems of shorthand the exact positions of signs above, upon and below the line; also, perpendicular and horizontal positions, and half and double length lines must be carefully expressed lest the reading should be rendered impossible. Oftentimes life and property have been jeopardized by the mistaking of a half for a full or a double stroke; or a sign on for a sign above or below the line, Stenotypy can have no letter out of position; a single tap of the key defines the character of each letter.
4. Stenotypy dispenses with Pitman's awkward use of heavy and light strokes and triple positions, as also Pernin's small, large and larger circles and loops for vowels,
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