far enough below the fingers to touch the paper without special effort. The third and fourth fingers should bend under the hand and away from the first two, resting on the paper, thus supporting the hand, and rendering the movement of the thumb and pen-fingers freer. The arm

and hand should lie on the desk, with the least possible weight, that the movement in any desired direction may be unimpeded. A heavy rest at any point will hamper that freedom of stroke necessary to all good writing, and especially so to easy short-hand. The writer must learn to avoid any rigidity of muscles caused by resting heavily, holding the pen tightly, or stiffening the arm, hand or fingers; all of which must be easy and flexible, as only under such conditions can the highest skill in execution be acquired.

It is the practice of some writers to hold the penholder between the first and second fingers, instead of the thumb and forefinger. This position is sufficient for the movement of the arm, but the pen between the fingers forces them apart, and the movement of each is against the pen-holder, instead of on, and in harmony with, each other; hence it should not be practiced in short-hand, in the execution of which the finger movement is so essential.

A habit of bending the fingers too much, can be easily overcome by placing the end of the thumb against the holder, opposite the first joint of the forefinger, and resolutely maintaining it in that position, entirely preventing bending of the fingers.

It is essential that the points of the pen should press equally on the paper. To accomplish this while the hand

is rolled a little to the right, it will be necessary to roll the pen in the fingers a little toward the thumb. If the writer takes the pen in his hand as above instructed, he will see that the right point touches the paper first, and if the pen is a sharp one, it will scratch the paper when moved. Let him now press down a little with the thumb, thus rolling the pen to the left, and the left point of the pen will also touch the paper, its movement becoming smooth and easy.

In sitting at a table to write, if square before it, place both arms on it, leaning slightly on the left, thus leaving the right arm free. Place the arm well on the desk across the middle of the paper, and parallel with its sides. Thus positioned, it will move with equal readiness to the right or to the left, and will be perfectly buoyant, like cork on water, possessing great power for protracted work. For a change of position, and the ease consequent to it, the right side may be turned obliquely toward the table, resting the left hand on the edge of the table or on the left arm of the chair, sitting resolutely erect to maintain a healthful posture and lightness of rest.

The short-hand writer should frequently practice writing on a book or small board placed on his knee, resting the hand and arm only on the ends of the third and fourth fingers; he should also write standing with the book or paper held on his left hand, to fit himself thus for any emergency that may accidentally arise.

Movement.— In short-hand, the movement must be both circumscribed and exact, while it is free and flowing. Flourishing has no place here; hence all the exer

cises and all practice for the development of movement, while they tend to freedom, must result in absolute certainty of form. In long-hand, it is customary to give large, flowing, free exercises to induce a bold and off-hand. execution; but in short-hand no drill can be better for the movement required than the characters themselves, which should be written singly and combined with a free but careful movement, slowly at first, steadily increasing the rate of speed as familiarity with their forms is acquired, writing always in a free-hand manner, yet with an uncompromising purpose to secure exactness in form, direction and size. The pen should neither drag nor hurry; its movement never slow, but always deliberate and decisive. Persevering practice, with careful attention to these points, will, by daily accretion of power, finally impart skill to the most obstinate muscles.

Pens.— Use only good ones, with fine but smooth firm points and flexible nibs. Such, with good paper and good ink, will, if properly handled, always produce satisfactory results.

It is impossible to specify any pen adapted to all writers, as the pen must necessarily vary in flexibility and fineness with the delicacy and sensitiveness of the hand which wields it; still, any hand will acquire power faster and more surely by the use of a delicate and well appointed instrument than with an inferior one. There is a magnetism in the action of a good pen that at once lifts the hand to its utmost power.

The following are used by the author with perfect satisfaction; viz: Gillott's Nos. 404, 303, 1, 170; Esterbrook's No. 128, with some of the Spencerian and Payson,

Dunton and Scribner's pens. A gold pen, if adapted to the hand and to the style of writing to be done, is superior to all others in ease of action and certainty of results. The author has invented and patented a firstclass combined fountain pen especially for short-hand writing, which he is prepared to provide to order, adapted to the requirements of any hand. (See advertisement at the end of this volume.)

The writer should not use a heavy, large holder, nor one very highly polished, as either will impair freedom of movement. In selecting a holder, be careful to see that it does not, as many cheap holders do, pitch the pen forward. When in its place, the pen should stand true on a line with the holder. Be careful in placing it in the holder to insert it exactly in the middle of the slot and not to one side of it, as this will materially modify its action.

Use only first-class paper with the pen.

Should a pencil be used, let it be a hard one, say No. 3, and always well sharpened.

The pencil requires soft paper, else it is liable to slip, producing indefinite lines. The classical practice books that are prepared to accompany this system are adapted to the use of either pen or pencil.

CHAPTER II.

FULL CORRESPONDING STYLE.

ECLECTIC Short-hand is divided into Full Corresponding, Abbreviated Corresponding, and Reporting styles. The full style, called also the Literary and the Business style, consists in writing words without abbreviations, as in the writing of long-hand, differing from long-hand only in the use of a new alphabet. It is adapted to all cases in which shorthand is required, except that of verbatim reporting. For corresponding, business writing, sermon writing, lawyers' briefs, notes or memoranda, it is of great importance, as it can be written from four to five times as fast as longhand, and is nearly as legible. Add to this style a few simple contractions and word signs, and the abbreviated style is attained. To acquire the full style, the student has but to learn a new alphabet, in which each letter is represented by a single line, and to learn to unite these lines in the easiest way. There are a few contractions and signs which are in themselves most simple, and are therefore added to this style. A few hours' study are sufficient to acquire it, and a little daily practice for a few weeks will render it facile. When the learner has acquired the same facility in its use that the pen of a ready writer displays in the expression of long-hand characters, he will have at his control a powerful medium for the record and